Townhall "The New Song", 2003
Witness an American jam band that can write songs not solely intended as vehicles for
improvisation. Funky, horny, rootsy, rocky, jazzy, folksy, bluesy, and soulful,
Townhall's organic idiosyncrasies serve them well on this stellar collection of barefoot
fables. Akin to Dave Matthews, Taj Mahal, Phish, Widespread Panic, and Ben Harper,
Townhall gathers steam by stretching tempos, employing plucky counterpoint and forging
strong, linear melodies. Vocalist George Stanford carries the weight of the world in his
ragged delivery as the band follows each lyrical and melodic nuance with refreshing call
and response interplay. The rich arrangements coupled with earthy harmonies are reminiscent
of the post-psychedelic Grateful Dead and the Band (Garth Hudson cameos on one cut) during
their early 70's apex, which could only mean that Townhall and their growing legion of
fans are in for a long, strange, enjoyable trip. Tune in, turn on... you know the rest.
©
Tom Semioli
Eric Loy "Free Hand", 2001
From the moment the laser hits the disc, it's apparent that Eric Loy is a maniacal
string-slapper who is not afraid to take the road less traveled. Loy is as much
percussionist as guitarist, fretboard and soundboard taking the abusive brunt of his
unbridled and spontaneous enthusiasm. Loy's music seems like a free-form version of
Preston Reed's, exalting in serendipity as it offers up themes as they come, and maybe
even as a surprise to Loy when they take form as if by prestidigitation.
©Alan Fark
John Hasbrouck "Ice Cream", Ruthless Rabbit Records RRR1961, 2001
Although new to recording (this is his first release), southpaw guitarist John
Hasbrouck has been around a long time, spending over 25 years playing and studying
American guitar music. The years of absorption pay off in his unique take on what he
chooses to call "Acoustic Americana." This well recorded, wonderfully diverse collection
was selected by Acoustic Guitar magazine as one of the Top CDs of 2002. The twenty flavors
of musical ice cream offered include country, blues, jazz, ragtime, movie music, and
eight original compositions. These servings are scooped out by nine different guitars,
including 6 and 12-string resophonic steel bodies. With titles like "Fragment of An
Unfinished Requiem for Blind Joe Death" and "Behold! Rows of Zebras Miraculously Announce
Nirvana", his Hasbrouck's John Fahey influences are obvious. Elsewhere, he offers a
totally deconstructed version of "House of the Rising Sun" that is full of humor and
needs to be heard. One of the sweetest scoops is his version of John Renbourn's "Lady
Nothynge's Toye Puffe." A second helping of his instrumental version of "As Time Goes By"
is recommended. This is rich collection of sweet sounds, to be savored through repeated
listening.
©
Patrick Grant
Jerry Krahn "No Wires Attached", Heartdance Music HDC-235, 2003
Nashville is a fertile musical community, and guitar pickers are about
as common as bees on honey. The list of well-known players in Music
City could fill a small phone book, so getting heard isn’t always easy.
Sometimes you need a special hook. Jerry Krahn does his thing on
vintage Epiphone archtops, and they sound fine. His second CD, "No
Wires Attached", features both solo playing and duets with musicians
helping out on various instruments. The opening cut, "Kayak", teams
Krahn and accordionist Jeff Taylor in an unusual pairing gliding through
a jaunty, rollicking tumble down the rapids. There are capable versions
of jazz standards like "Satin Doll" and "Peg Leg Shuffle", and George
Benson’s "Breezin’". Krahn adds the luscious Epi touch to Jose
Feliciano’s "Light My Fire" with a trombone on the side! His ’46
Broadway mixes well with violinist Paul Kramer on "In The Morning",
while he Chets us through "Freight Train". For lovers of Spanish
music, there is even a solo rendering of "Caravan of Malaguenas" which
recalls some of Django’s stylings. The CD ends sweetly with a tasty and
mellow "Pieces of Dreams/But Beautiful". Krahn doesn’t blow us away
with technique or speed, but he has a good sense of time and mood of
each piece, and his arrangements, and it’s good listening.
©
Kirk Albrecht
Travis & Austin Nevels "Freestyle Guitar II"
Travis and Austin Nevel's Fingerstyle II is halfway excellent. Half the tracks
featuring Nevels Sr. on solo fingerstyle cook with quick precision hammer-ons and
pull-offs that set a new standard for modern boogie blues. On alternate tracks, Nevels
Sr. graciously but prematurely allows Nevels Jr. to step into the spotlight, soloing on
electric guitar over dad's rhythm guitar. There's sincerity in Austin's playing that is
certain to ripen with age, and a youthful skill that bodes honing in the future, but for
now, dad's obviously the star. Stay tuned... this will be a formidable guitar duo with
simply an investment in "family time".
© Alan Fark
Clarelynn Rose "Elegant Tern" Heartwood Music 2002
Clarelynn Rose's Celtic fingerstyle tunes are steeped in mystery, lament and pathos.
A forester by vocation and Buddhist by spiritual inclination, her exclusive use of
alternate tunings on steel string guitar conspire with her view of the world to lead her
music inevitably to a place of serenity in a listener's heart. Particularly on "Sunshower"
and "Damnation Trail", unexpected chordal maneuvers and use of pause for suspense releases
the mostly solemn trajectory of her music to take the most elegant of turns.
©
Alan Fark
Jay Howlett "American Ghost Town", BlahBlahWoofWoof 2003
A song-cycle which loosely chronicles Howlett's rural travels throughout the United States,
American Ghost Town bemoans an ongoing social, economic, and environmental decline of
a heartland he loves dearly. Rather than curse the future, the singer / songwriter
celebrates the past with a folksy diary of tunes torn between the author's fierce
patriotism and society's dispassionate conservatism. Never preachy, Howlett spins his
engaging tales with a spare, low-key demeanor, strumming his acoustic guitar behind the
beat as fretless bassist Myron Dove, percussionist Tim Siefert, mandolin/fiddle whiz Joe
Craven join a host of harmony vocalists who weave a shimmering backdrop to the strong,
plaintive melodies in each cut. With lyrics made all the more powerful by rootsy, spare
arrangements Howlett's collection is essential listening for fans of Bruce Cockburn, John
Prine, Louden Wainwright III and solo Bruce Springsteen.
© Tom Semioli
Alan Goodman "Romance, Revenge, Redemption", Cancoll Music 2002
The liner notes of Alan Goodman's new disc "Romance, Revenge,
Redemption" list inspirational thanks to Paco de Lucia (famed flamenco
artist) and Kurt Cobain (Nirvana) as well as others. The musical
influence of these musicians is heard in the original compositions
included on this recording. The melancholy mood of "La Ultima" reflects
the tonality of contemporary pop music. This is contrasted by the
fiery performance of both "Don Ramon" and "Taming the Golem" which reflect
the more traditional Spanish flamenco sound. Tonally, works like Can
Coll share much with the compositional style of contemporary Latin
jazz.
The recording quality is clear and warm. The overall level of
the performance is high although some weaknesses in tremolo do show
through. I recommend this disc for any who enjoy the many sides of
contemporary flamenco guitar music.
© Philip Hemmo