Allan Holdsworth "Flat Tire", Megazoidal Records, 2001
Allan Holdsworth is a paradox. He's nearly unknown to the masses but a mythic figure to
guitarists. His thundering dynamics are off-putting to jazz lovers, the cerebral nature
of his scales and chords too complicated for most rock fans. Still, fingerstylist Phil Keaggy
has described the experience of listening to Holdsworth as "sitting down to a gourmet
dinner", and Holdsworth's acoustic work with Gordon Beck on "The Things You See" is one
pointed example. His newest CD "Flat Tire" is a solo project, but there is no
acoustic guitar as one might presume a solo project to be. These are solo synthesized tone
poems that are ambient, as if cinema soundtracks. His runs over the fretboard are
dexterity-defying, but longtime Holdsworth fans may feel that the music yearns for
Jimmy Johnson's bass and Chad Wackerman's drums. As per usual with Holdsworth, the
listener's mindset on "Flat Tire" will require a bit of a paradigm shift in order to
bask in this particular work of this creative genius.
©Alan Fark
Ed Gerhard "House of Guitars", Virtue VRD1925, 2001
On this, his seventh CD, New Hampshire's Ed Gerhard sets out to prove it is not the guitar,
but the guitarist who is responsible for the music. He does so by using a "Tone Poems in
Reverse" strategy, using a variety of pawn shop specials, none of which cost more than
$200. Further, he did not even change the strings on the guitars he used (one of them,
the Maccaferri plastic archtop, had strings that were 35 years old!). Using his standard
lowered tuning, he succeeds in making his point: the full, rich sound that has become
associated with his touch in present throughout, both on solo guitar pieces such as
McCartney's "Junk" and on four- or five- part pieces such as the traditional "Poor
Wayfaring Stranger" and Blind Willie Johnson's "I Just Can't Keep From Crying Sometimes".
Standouts include The Beatles "I Will" and the Everly Brothers' "Let it Be Me"
(each of which would have fit nicely on his Counting the Ways CD of love songs). He says
"Ultimately, it's the heart, soul and hands of the player that comes through the guitar.
A better guitar doesn't guarantee anything. If you've got nothing to say, or if your tone
or touch are crude, that's what comes through." With his new CD, Gerhard's trademark sound
comes shining through the most humble of guitars.
©Patrick Grant
Jim Bizer "Closer to the Surface", Brozone Records 123, 2001
Jim Bizer seems to have stumbled onto James Taylor's secret formula for the right mix
of evocative chords, bluesified rhythms and wanna-sing-along harmonies to easily hoist
you aboard with his feel-good vibe. "Falling Into It" and "Get To Me" especially
recapitulate the kind of songwriting with which JT wowed millions on classics like
"Your Smiling Face" and "Mexico". Bizer can also get funkifized ("Be Alright"), reggae
like Sting ("Wake Up") or mellow out á la Jim Croce ("Closer to the Surface").
©Alan Fark
India.arie "Acoustic Soul", Motown 440 013 770-2, 2001
Tracy Chapman, Jonathan Butler... there's not too many musical emissaries of the
"acoustic soul" subgenre. India.arie is a bright young singer-songwriter whose brush
paints a style of soul likely to capture the imagination of a much wider and younger
audience than Tracy Chapman. Though she pays homage to the traditional Motown influences
of Sam Cooke, Marvin Gaye and Donny Hathaway on the opening cut of her debut CD "Acoustic
Soul", a hip-hop edge to her sound reminiscent of Lauryn Hill becomes quickly apparent.
Her acoustic guitar accompaniment is basic but contagious, transformed by a pastiche of
vocal rivulets into pop masterpieces sure to bring neophytes into the fold by hooking them
with quality music that is likable and accessible.
©Alan Fark
Franco Morone "Running Home", Acoustic Music Records 319.1239.2, 2001
Franco Morone’s latest recording, "Running Home" articulates the multiple
experiences of travel, rest, driving, solitude, community, and nature
through a range of distinct, yet evocatively composed instrumental guitar
pieces. Each of the twelve selections featured here utilizes various
percussive slaps, open tunings, rhythms, bottleneck slide techniques, and
harmonic overlays that cut across multiple geographies and musical
traditions. While songs like Andy’s Waltz mark Morone’s ability to revisit
this well-known melody through his own "Mediterranean" roots, the Alex de
Grassiesque "Wind Catcher" represents this guitarist’s ability to organize
harmony and melody around a distinct texture and surface effect. The
listener will find selections like "Le Voyage de Giselle" and "Celtic Dog
Blues" technically reminiscent of Pierre Bensusan and Leo Kottke. At the
same time, Italian traditionals such as "Serenata" express Morone’s more
serious artistic registers and delicately homespun interpretations. The
metaphoric storytelling that Morone accomplishes with only 6 steel strings
defines the purpose of instrumental playing itself and reminds us what it
means to communicate through musical performance alone.
©Bernard Richter
Professor and Maryann "Professor and Maryann", Bar/None Records AHAON-116, 2001
This duo keep the acoustic folk flame alive with a strong collection of intelligent
melodic songs. Like David Gray, Tracy Chapman, and Shawn Colvin, Danielle Brancaccio
and Ken Rackwood have mastered the art of spinning stories that span generations.
Rockwood, who plays guitar, ukulele, and concertina takes a unique approach to
accompanying Brancaccio's tender voice. Rather than employing tired arpeggios and atypical
strumming patterns that saddle most unplugged acts, Rackwood opts for legato downstrokes,
rootless voicings, and slow half-time figures. The effect is haunting, allowing Brancaccio
plenty of space to inject personality and emotion. If you're a folk player this record will
spur fresh ideas for new arrangements, and if you're a folk fan, tilt your beret and pour
me another cup of espresso.
©Tom Semioli
Mark Yodice "June Again", Quiet Earth Music QEMOO1CD, 2000
Some first CDs are a window to yet-unformed musical ideas of someone who has the
possibilities of producing really interesting music. Mark Yodice's debut offering,
June Again, is a work marked by some nice playing and composing, but still lacking
the artist's maturity and consistency. The recording itself captures the expressive
nature of acoustic steel string guitar. Yodice employs Travis-picking on "Porchbuddies",
and we hear shades of Michael Hedges in the warmth of "Glow". He shows considerable chops
on the opening cut "Snow Day", and "Jamu, the Bewildered Buddhist". We all are a bit
bewildered by some of the tunes which start and stop like a Beetle on the Santa Monica
Freeway, darting from idea to idea without ever really hitting overdrive. But for me the
whole CD is redeemed by "Past Bloom", a slow and almost mournful melody, yet edged with
hope; it makes you want to cry & smile at the same time. He puts the elements together
here, and they work.
©Kirk Albrecht