Vincent's Chair "The New Vibe" 2014
Vincent's Chair is, above all, Kathie Renner, her voice, her guitar, and her songs. Next, you'll notice the divine
Karen De Nardi, who places the viola square in the center of luscious pop acoustic arrangements, with a tone and
presence that perfectly match the guitars of producer/band mate Sam Leske and Renner. Open tunings and chords
figure prominently in Renner's music, leading to plenty of Joni Mitchell comparisons. The opener, "He Said She
Said," is jazz inflected acoustic pop distinguished by staccato starts and stops that recall a bit of Ani DeFranco
in the vocal phrasing. "One Door Closer," with its folk chords and pizzicato viola that almost recall the charengo,
reinforce that the focus of The New Vibe is on the voice and the exquisite arrangements. Renner's singing reveals
a precision you might find in a voice like Linda Ronstadt's, and her discursive lyricism recalls songwriters like
Lucy Kaplansky. It's a very pleasant listen, and a very well-recorded team effort.
©
Steve Klingaman
Neck Bros. "Coude a Coude" 2013
The Neck Bros.'s Coude a Coude is a noteworthy collaboration between French virtuosos François Hubrecht and
Arnaud Leprêtre. The two met at GIT in 1991 and began their musical journey covering jazz, pop, and blues
standards. Soon they began playing various festivals throughout Europe. Coude a Coude features ten carefully
crafted originals as well as a reflective reading of Stevie Wonder's ephemeral classic "Cause We've Ended as
Lovers." Leprêtre primarily plays steel string; whereas Hubrecht's instrument of choice is the nylon stringed
guitar. Throughout the recording they construct intricate counterpoint harmonies and chordal excursions flanked
by brilliantly conceived and executed solos. From the joyous opener "Again" to the Rocking "Mc Cadden Place,"
and to the playful Argentinian influenced "Dame Croqu'," the album is graced by their impassioned playing. The
consummate musicians complement rather than compete with each other. Their intuitive and synergistic interplay
is at the heart of this striking release. François Hubrecht and Arnaud Leprêtre have eclectically synthesized
jazz, blues, and international music to create alluring musical landscapes that beacon repeated listening.
Coude a Coude is highly recommended for all discerning listeners of acoustic, improvised music.
©
James Scott
Bill Phillippe "Ghosts" 2014
Veteran of the San Francisco Bay music scene for the last twenty years, Bill Phillippe, has released his first
solo acoustic album. Ghosts is a collection of 1920s blues and Phillippe's own compositions, plaintive tunes that
fit snugly alongside the traditional blues on the album. Phillippe's vocal and guitar playing are understated and
pleasing. No pyrotechnics or self-conscious playing here, just straight up musicality. Phillippe also has a knack for
writing good songs, as evidenced by tracks like "Father's Lament," an intimate and heartfelt melody and lyric.
"Broken Cup" is another keeper. Both bring to mind the music of "Mississippi" John Hurt. Honestly, after several
listenings to Ghosts, I could take or leave tracks like Robert Johnson's "Come on in the My Kitchen" or Son House's
"Death Letter." Both are good performances, but Phillippe really shines on his own compositions. And I'd love to
hear more.
©
Chip O'Brien
New Latitude "Convergence" 2015
Colorado guitarists and composers Dave Erickson (acoustic guitars) and Jim Carr (acoustic guitars, electric bass)
play a mean blend of slow smooth jazz on their first duo project. Just when a piece begins to feel a bit too mellow,
they raise the stakes with tour de force playing, often astonishingly fluid and precise single note runs, as on "New
Day" and sultry "Sunset." The interplay of the two guitars is topnotch throughout, as one might expect from two
veteran guitarists, each of whom has performed in many other configurations and projects. The all-original
compositions, whether by Erickson or by Carr, are more melodic than abstract, with a pleasingly subtle intricacy,
and laced with blues, classical, and pop influences. Some notables among the eleven pieces are "Trailblazing,"
one of the more uptempo numbers; "Seven Falls," with brooding repetitive motifs; and "Reflections," which has a
loose freewheeling quality and playfully incorporates a few notes of the Beatles' "Elinor Rigby." Especially lovely
are "14 & Green" and "Eastern Square," which capitalize on repetitive chiming tones and captivating melodies.
Although the tempo doesn't vary considerably throughout, the compositions are complex and multilayered, yet
accessible. Erickson and Carr play with effortless skill and verve, bringing unusual accents and a bit of bite
to their brand of smooth jazz.
©
Céline Keating
Toulouse Engelhardt "Mind Gardens" 2014
Toulouse Engelhardt's Mind Gardens opens with "Nierika", an exquisitely ethereal composition performed on classical
guitar before launching into the "Theme to the First Annual Bluebelly Lizard Roundup", an invigorating and
melodic 12-string bluegrass infused and lick laden romp reminiscent of some of Jimmy Page's acoustic work.
With little chance to catch our breath Engelhardt transitions into the challenging Francis Poulenc composition
"Sarabande". Not only has he arranged this for 12 string, his performance is hauntingly precise; creating an
overall tone of reverence that elevates the complex melodies into pure acoustic splendor. The following nine
compositions, all original with exception of "The Wedge" by Dick Dale, are a veritable roller-coaster ride on
Engelhardt's undulating, oscillating and invigoratingly robust fret board prowess, complete with a flute and
Spanish Guitar finale, "Dialogue with an English Rill", that brings the listener full circle. Toulouse
Engelhardt's guitarra vitae speaks for itself and after four decades this finger-style master is at the
top of his game.
©
James Filkins
Paul Tiernan & John Lester "Live" 2015
I always like to hear a CD come in at more than 60 minutes of recorded music – now that's a good value for
listeners! On "Live" by Paul Tiernan (vocals and guitar) and John Lester (bass, nylon string guitar, and vocals),
we get 67 minutes! The CD has a simple vibe of just instrument, bass, and voice, and it works well for these guys.
The tunes are smart and the lyrics crafty, with just enough ornamentation instrumentally to give space. The two
split most of the song writing credits depending on the song. The 13 songs cover lonely love, brokenness, dreams,
and those strange life situations. There is plenty of pain ("Union Street"), and sad mixed with sweet on "Last
Letter to Theo." An elegiac cover of "Long Train Running" (made famous in popluar rock by the Doobie Brothers)
makes you really think about the repeated refrain, "without love, where would you be now?" The boys get funky
about love on "So Many Reasons" while "Boxcar Ballerinas" makes you want to cry. Tiernan breaks out his mandola
to suppport "The 13th Floor." The disk ends with "The Happy Man," one of Lester's songs, reminding us that life
is a choice every day - "the happy man lives for today."
©
Kirk Albrecht
Shai Sebbag & Adrien Janiak - Rendez-vous
Toby Tobias - Africa You Belong to Me
Nick Dellar - The Alder Tree's Year
James Varda - Chance and Time
Bruce Hector - Moonrise
Doug Kolmar - Closed for the Season
