May/June, 2010
Vicki Genfan, "Uncovered," Acoustic Music Records, 2009
Lots of artists do records of covers. On Vicki Genfan’s latest, "Uncovered," she brings her signature guitar
virtuosity and smoky voice to some well-known hits from equally well-known singers. It’s not a jaw-dropping outing
this time around for Genfan, but more an ovation for some great songs by great songwriters and singers. She pays
tribute to them by not going too far afield in her interpretations, but with taste... and a good measure of fine
guitar playing. And "Uncovered" highlights a handful of women artists who help bring a fresh vibe and their own
musical prowess the songs. A lovely reverbed part to begin "Fragile" by Sting sets up the song to bring a fresh
loveliness to that enviable melody. Signature slaps weave in and out of "Groovin," providing the rhythmic trance
the original produced. Probably the most adventurous cut is John Lennon’s anthem "Imagine." At almost 6:30, it’s
by far the longest track of the CD, and she takes the melody line and bends it with electric guitar from Susan
Weinert (whose tasteful playing pops up several times on the CD). Things crank up a little on the Doobie Brothers’
"Long Train Running," getting some great vocal help from Trina Hamlin, who also has a killer harmonica solo. Make
no mistake: Genfan’s guitar that drives the tune. Kerstin Blodig plays seamlessly with Genfan in a mostly-instrumental
version of the Mamas and the Papas hit "California Dreamin’." "Leaving on a Jet Plane" features Genfan getting
percussive on one part, while her picking rocks you through the melody, sung with a subtle power by Sally Barker.
The CD concludes with the standard "Amazing Grace," a chestnut for people of faith for generations. Genfan sings
and plays it with the right touch of emotion, with almost atmospheric guitar parts. Another solid outing from
Vicki Genfan.
John Jorgenson Quintet, "One Stolen Night," J2 Records, 2010
What can you say about John Jorgenson? From his days with Elton John, to the rollicking Hellcasters, to
innumerable sessions where he has lent his fierce chops, Jorgenson has shown he is a man of prodigious talents.
Lately, Jorgenson has been applying his skills to Gypsy jazz and swing a la Django Reinhardt and the great hot
jazz of Paris. On his latest CD, "One Stolen Night," Jorgenson leads his quintet in rhythms sweet and hot, smooth
and spicy. This is the second recording of the John Jorgenson Quintet, and we would hope for more in the future.
The band is a great combo, and these guys hold their own with Jorgenson’s flash. Jorgenson even adds clarinet to
his credits. Most of the tunes are Jorgenson originals, with some standards given his signature attention. We open
with a Django déjà vu of sizzle on "Red on Red," with breathtaking runs streaking across the fingerboard. The title
cut "One Stolen Night" has Jorgenson on Greek Bouzouki, conjuring smoky nights by the Mediterranean dancing cheek
to cheek. Clarinet guides the bluesy "Souvenirs des nos Peres." Violinist Jason Amick pairs swift fluidity to
Jorgenson’s bouzouki on "Kentucky Kastrinos," a sort of Bill Monroe meets Zorba. The CD has 2 bonus tracks. The
lone Django tune, "Hungaria," takes listeners back to those golden days with Stephane Grappelli; Jorgenson sends
notes everywhere, right hand flying while the left moves like a madman possessed with sanity. The first is the
lovely "Istiqbal Solo" where Jorgenson caresses both guitar and listener with an enchanting melody in the Gypsy
style. The final cut is a tango, "Dark Romance," where passion moves in sweeping rhythm. "One Stolen Night" is
Gypsy jazz at its finest, but it’s much more... it’s a great CD of outstanding music from great players led by a
wizard.
Martin Taylor's Spirit of Django, "Last Train to Hauteville," P3 Music, 2010
The group Spirit of Django has been a part-time concern for Martin Taylor since its inception in 1994. They backed
Stephane Grappelli on the tribute CD, "Celebrating Grappelli," afterward performing and recording sporadically in
between Taylor’s other solo and group projects. The current lineup is Taylor on guitar and mandolin, Jack Emblow on
accordion, Alan Barnes on reeds, John Goldie on rhythm guitar, Terry Gregory on bass, son James Taylor, on drums and
newcomer Alison Burns on vocals. Taylor plays a cleanly amplified electric guitar, a bit of mandolin, and serves as
the group’s chief composer. In this group context he plays rhythm and leads with a flatpick, in contrast to his solo
work, most of which is performed fingerstyle. His adventurous solos on the title tune, which opens the CD, are a
fine introduction to his skill at improvising single lines. The ensemble swings mightily, and I especially enjoyed
the rich textures achieved when the accordion, reeds, and guitar play in harmony, as on "Double Scotch" and the
humorous "Monsieur Jacque", (Taylor lets us in on the joke in the liner notes). Emblow and Barnes each take a
generous share of the solos, complementing Taylor perfectly. Alison Burns sings some ensemble parts wordlessly
and covers "La Mer" ("Beyond the Sea") in French. The whole project, in fact, has a French theme, inspired by
Taylor’s extended stays in France over the last few years. Spirit of Django realizes Taylor’s more traditional
jazz leanings without sounding cloying or dated. This thoroughly enjoyable CD deserves a wide audience.
Peter Karp & Sue Foley, "He Said She Said," Blind Pig Records, 2010
Karp and Foley bring powerful ammunition to the sometimes nasty (and I mean that in the nicest way) war between
the sexes in "He Said, She Said." Karp plays guitars, organ, and piano. He loves it loud and fast. Foley plays
acoustic and electric and-the first time we meet her formally, in her "So Far, So Fast" -- charming nylon finger-picked
lines that follow the vocals. It's a folkie loper with a calliope rhythm and a piano solo out of Sir Elton. Fittingly,
the set opens ("Treat Me Right") with some vocal and guitar sparring. "Wait" showcases Karp's Dylanesque vocals
(listen for the Bob in the way he stretches "anymore") and sharpest word-smithing ("Been dead in the water with a
sail full of fury / heart broke and happy with a bellyful of worry"). And, after Karp says, "Let's pick it up," you
can feel the joy in his fingers as all the instruments accelerate to take the tune out. The couple gives off
sparks in "The Rules of Engagement." And Ms. Foley -- who largely serves as the deadpan Cher to Karp's "testosteronic"
Sonny -- proves she can wail. "Mm Hmm's" cool off-center horn arrangement puts the right touch on both parties'
fantasies about a rendezvous that depends on the "lie to each other that it will never end." "Danger Lurks" as
Foley's nylon strings help turn this out-of-time torch song into a flamenco soleá of pain and despair. There's
welcome harmony in "Dear Girl," a two steppin' number with some nice country slide from Karp. But the harmony
won't last. Karp leaves us with "Regret." Foley gets the last word, "Lost in You," an extended metaphor comparing
a lover to an ancient town worth exploring. It might be the prettiest number on the record but I was hoping they'd
go out together, whether lovin' or fightin'. Both were gun barrels of fun.
Laurence Juber, "Wooden Horses" (instructional DVD with transcriptions), Solid Air, 2009
Laurence Juber has produced a valuable body of instructional material for fingerstyle guitarists, focusing on
repertoire as well as musical knowledge necessary to arrange for solo guitar in DADGAD, standard, and other tunings.
Here, he covers pieces from his recent CD, "Wooden Horses." Juber uses a relaxed, no-frills approach, sitting with his
music stand in front of a fixed camera. The production has an intimate feel, he’s generous with his time and
very comprehensive. For example, he takes over ten minutes to cover "The Ornament Waltz. Guitarists will gain a lot of
insight into melodic development, chord voicings and rhythms, as Juber emphasizes the conceptual building blocks of
his music over the purely physical challenges of playing these pieces (which are nonetheless formidable).
The fingerstyle mainstay "Shebeg and Shemore" is covered, with Juber adding some nice modern-sounding chords
in a few spots. The transcriptions are in standard notation and tablature in pdf format on the disc. This DVD
is a strong addition to Juber’s instructional catalog.
Carter Lancaster, "Case Closed," Harp guitar Music, 2009
There's nothing like the look of a harp guitar in someone's hands to grab a person's interest right away. That
visual could be one of the reasons behind Andy McKee's phenomenal success on YouTube, his harp guitar tune "Into
the Ocean" registering over 6 million views there. The Holloway
Model 5 harp guitar cradled by Carter Lancaster on the cover of his new CD "Case Closed" is at once a visual
curiosity and a beauty luring the listener in... but it's Lancaster's compositions that will reel him in hook, line
and sinker. Like McKee, Lancaster possesses a deft touch for melodic phrasing which is bestowed upon only a given
few on the planet. "Logan's Garden," "Easy Street," "Blue" and "Case Closed" are all striking examples of how a
self-assured player does not hesitate to pay honor to melody and pathos first and foremost, using masterful technique
only as a tool toward this end. Even those tunes on which his technique is showcased with rhythmic hammer-ons and
chiming, such as "Busy in New York" and "Jubal's Tomb," it's apparent that Lancaster's priority is always to render
a song listenable rather than pretentious. Feel-good waltzes are a specialty: "Birthday Bells" and "Widow Walk"
will have your head bobbing and body swaying... and yes, even your mouth dropping open... especially when Lancaster
nails those silken arpeggios on "Widow Walk."
Scott Nygaard & Crow Molly, 2010
This latest example of guitar virtuoso Scott Nygaard's creative evolution is as striking, original, and satisfying
as anything he's done. The Grammy-nominated Nygaard was the guitarist with Tim O'Brien's old-time/bluegrass band and
has played or recorded with such stars as Jerry Douglas, Darol Anger, and Chris Thile. His Dreamer's Waltz (1996)
was nominated for an Indie as Best Instrumental Album by the Association for Independent Music. But if the mainstream
limelight has eluded him so far, it's for lack of hubris, not talent. He has that rare blend of gifts -- fluid, pristine
playing, depth, and highly intelligent tunesmithing -- that makes every one of his albums an understated gem.
Here, with fleet-fingered string support from Lauren Rious (violin) and Joe Walsh (mandolin) and vocal harmonies
from Aoife O'Donovan, Nygaard weaves in new influences, notably his Scandinavian heritage. Nygaard is adept at
adapting fiddle and banjo styles to guitar, and to blending in waltzes, polkas, even Brazillian choros. But while
his songs are rooted well within roots tradition, Nygaard is gracefully experimental. Sophisticated jazzy and
bluesy elements emerge throughout, as on the stunning "Walktz from Munkedal" and originals "Too Hungry" and
"Haapavesi Nights."
For guitarists the most exquisite pleasure might be Nygaard's solos -- the Celtic-tinged "Wildwood Flower" and his
complex rendition of "Man of Constant Sorrow," where nothing distracts from the sheer tonal beauty and phrasing
of his playing.
Bruce Mathiske, "Rhythm Hunter," 2010
It’s obvious from even a casual listen to "Rhythm Hunter" by Australian guitarist Bruce Mathiske that the man has
some chops, and he’s spent a lot of time developing his guitar playing in multiple genres, from classical, to Celtic,
to Calypso, and even in Bluegrass. This CD is an eclectic stew of genres, sometimes cascading together in a single
song. The opening cut, "Celtic Quest" sounds more Kentucky than Dublin, especially when Dave Hellens comes in on the
5 string banjo with Earl Scruggs finger rolls. "Formidable Sea" takes us in and out of the Caribbean while Mathiske
flies up and down the fingerboard. The brief "The Approaching Russian" introduces themes that segue into "Rushin
Around," a fast-paced fingerpicker channeling some of Tommy Emmanuel’s work. Like Emmanuel, his lightning-fast
picking is saucy and playful, like we’re supposed to just sit back and laugh, and not take him too seriously, all
the while our jaws are hanging open because we aren’t quite sure how he’s doing that. The Mason Williams’ classic
"Classical Gas Espanol" steps on the pedal in a Spanish style to take the work to a whole new level. The ballad
"The Water is Wide" showcases multiple guitar parts, retaining the sensitivity of the beautiful melody. Mathiske
covers a couple standards as well. "A Taste of Honey" is a swinging groove, with a driving bass line, while
"My Way" starts out gently and contemplative on nylon string guitar, but morphs into a bossa nova feel. I guess no
Aussie picker worth his salt would neglect "Waltzing Matilda" on his CD, and Mathiske closes out his guitar
showcase with his own arrangement, complete with the throaty sounds of didgeridoo. Although a bit uneven and
almost schizophrenic at times, "Rhythm Hunter" is a fine display of guitar talent from Down Under, and we’ll be
hearing more from this player I’m sure.
Daniele Bazzani, "Untitled 2010," 2010
"Untitled 2010" is Daniele Bazzani's third solo CD. In many ways the Italian Bazzani is a lens through which various
aspect of several guitar players can be heard in new ways.
Perhaps, this is the hallmark of players that have the potential to achieve an audience that transcends genres and
reaches audiences across continents. What Bazzini gleans
from guitar virtuosos such as Tommy Emmanuel and Chet Atkins is stamped with Bazzani's own skill and fretboard vitality, verve and sensibility. As an introduction to
Daniele Bazzani, the bluesy intensity of the opening track on "Untitled 2010," "Red Steve
Boogie", piqued my interest instantly. The melodic "Let it Ring" flows and slides perfectly into my favorite
track "Carroll's Road", which has charm and melody in spades. Bazzani plays with an elegance and savviness that is
undeniable on these 15 tunes, 12 of whichare originals. A duet with USA Fingerstyle Champion Todd Hallawell on Paul
Craft's
"Cotton Candy Land" is a treat all the way around and has the sort vibe that could only
mean it was a joy to play and record. Bazzani has the ability to effortless sift through various styles and techniques
that adds up to a sonic symmetry that pleases throughout the CD. As of late I have been more drawn to players who push
the edge or boundaries
of musical genres. However, this CD has invigorated in a me a desire to revisit many
players I have not listened to in quite a while. "Untitled 2010" is no-brainer in terms of
instant appeal. If your listening Daniele, how about a duet with Michael Fix on CD #4?
Henderson-Kolk Duo, 2009
True mastery of the classical guitar relies upon a rare obsession with one's instrument; classical guitarists study,
rehearse, perform, and reflect for years in an endless quest for seemingly unattainable speed, accuracy, and richness
of tone. Only when these elusive elements come together can classical guitarists truly begin to explore the
interpretive possibilities of their instrument. In their most recent release the Henderson-Kolk Duo not only
display a rare and complete knowledge of their instruments, they do so in flawless synchronization with one another,
expanding exponentially the dynamic and polyphonic possibilities of the guitar. The disc features equal parts
original arrangements of well known classical music, and duets composed originally for two guitars. Opening the
recording with J.S. Bach's Italian Concerto BWV 971, is a bold statement that draws the listener in instantly.
This, one of Bach's finest works, presents a thorough cross section of this duo's abilities, requiring them to draw
upon their talents both technically and musically. What follows is their arrangement of Maurice Ravel's "Le Tombeau
de Couperin", which was a highlight for me as I am intimately familiar with this work. Hearing it for the first
time on two guitars was a unique and captivating experience. The next works continue their homage to the Baroque
period with a set of contemporary Preludes and Fugues composed by Mario Castelnuovo-Tedesco. These complex works
are an excellent example of the extended harmonies that characterize Tedesco's works, making them sound distinctly
twentieth century while still being very accessible to the average listener. The recording closes as boldly as it
opened with Lhoyer's Duo Concertant in D minor. Again the Henderson-Kolk Duo relies upon their impeccable technique
to deliver a truly thrilling rendition of this work. This disc is an example of classical guitar at its finest,
and promises to be a delight to even the most discerning of listeners.
Rafael Andia, "Recueil des Pièces de Guitare Composées," GHA Records, 2009
While most people are familiar with the classical guitar and its predecessor the lute, many may not realize that
in fact there were several other variations on these instruments that were popular in different regions over the past
several centuries. One such overlooked instrument is the baroque guitar. In his recent release, baroque guitar
virtuoso Rafael Andia performs works composed by the French baroque guitarist and composer François Le Cocq. For
anyone who have heard a classical guitar or lute, the baroque guitar is a little perplexing at first, the texture
is very similar to the guitar, having about the same number of strings, yet at the same time the characteristic
unisons one expects from the double courses on a lute are present. It is and instrument with a unique and refreshing
timbre, and as Andia proves, a very versatile instrument as well. The disc is made up entirely of Baroque dances,
in the French style of course, affording Andia ample opportunity to guide us through a gentle and stately Sarabande,
or to dart excitedly through an energetic Gigue. Throughout the recording Andia's exemplary interpretations are
ample evidence of his career as a Baroque Music scholar. For anyone who has yet to experience the Baroque Lute,
this album is an excellent choice.
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Heal Over"
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Red on Red"
©
Patrick Ragains
Buy it at Amazon.com
Listen to "Madame Haricot"
©
David Kleiner
Peter Karp & Sue Foley's MySpace
Listen to "Hold on Baby"
©
Patrick Ragains
Buy it at Acoustic Music Resource
©
Alan Fark
Buy it at Amazon.com
Listen to "Busy in New York"
Listen to Carter Lancaster at our podcast 
©
Celine Keating
Buy it at Amazon.com
Listen to "Waltz from Munkedal"
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Rushin Around"
Listen to Bruce Mathiske at our podcast
©
James Filkins
Buy it at his website
Listen to "Red Steve Boogie"
©
Timothy Smith
Buy it at Amazon.com
Listen to "Bach - Presto"
©
Timothy Smith
Buy it at CD Universe
Listen to "Bourree"
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