Zoran Dukic "Balkan Muses," 2014
In these days of digital downloads, it's not often that people rush to purchase a CD, much less several, because
the music simply is too exquisite and unique not to be owned and shared others. But "Balkan Muses" rises to that level.
Zoran Dukic of Croatia is among the finest guitarists anywhere, and his playing is beyond exquisite. The music under
the umbrella of "Balkan" is characterized by its modal language and unusual and frequent changes of meters, often
played at astonishing speed. The music that Dukic has chosen for this collection were nearly all composed by
guitarists and emphasize less of the folk influences of Balkan music and more of the more modern and abstract
aspects, including jazz. The pieces by Dušan Bogdanovic (Belgrade) - "Six Balkan Miniatures" and "Fantasia" -
are among the most technically challenging and exhilarating. The "Miniatures," each about a minute long, are
compressed jewels of feeling, ranging from the limpid notes of "Lament," to the abrupt slaps of "Vranjanka" to
a riot of show-stopping techniques in "Wide Song" and "Tiny-Knit Dance." "Fantasia," written for Dukic, and at
five and a half minutes one of the longest, is a more complex, abstract, improvisational piece. Here Dukic's bass
lines are rich and thick, while his treble notes are crisp, yet raw. "Sonata No. 1," by Atanas Ourkouzounov
(Bulgaria) employs compound rhythms; Tadic's "Walk Dance" features rumbling arpeggios and feverish passages. On
"Macedonian Girl" by Miroslav Tadic (Serbo-Croatia), based on a traditional Macedonian folk piece, the separate
lines are so distinct that it sounds like two different guitars. "Sonata" by Vojislav Ivanovic (Sarajevo), is a
tour de force among tours de force. While it follows the classical sonata form, its rhythmic, melodic, and harmonic
aspects reflect jazz and Balkan influences. The album closes with "The Chase Dance" by Apostolos Paraskevas, from
the Greek tradition; it will raise pulses as it races through alternating 2/8, 5/8, 6/8, and 9/8 meters. This
magnificent CD does a wonderful job of exploring the music from this part of the world. Dukic has won more guitar
competitions than any other guitarist. He is a virtuoso performer, but it is the perfection of his tone and the
range of colors he achieves that make his playing so breathtaking.
©
Céline Keating
Lawrence Blatt "Emergence," 2014
"Emergence," the title of Lawrence Blatt's new CD goes beyond a track reference. It is the basic tenant and
controlling idea to the structure and performance of the music presented here, a gestalt. The simplicity and
lyrical quality of the brief opening "A Promise in the Woods" belies the complexity yet to come. Track after track
blooms with a complex interplay between guitar and a variety of accompaniment featuring exquisitely played violin by
both Lila Sklar and Charlie Bisharat. A hint of classical structure permeates these lilting and undulating musical
interludes. Far more than a guitarist crafting guitar music, "Emergence" has depth and breadth that transcends
musicality, flirting with spirituality. Both "Walking Among Tulips" and "The Place Where Monarchs Go" offer a
window to the soul with rare musical sublimity, whilst "Passing Up Bridges" unites guitar, violin, accordion,
mandolin and penny whistle in to something truly fine. Is it any wonder that Will Ackerman produced this gem?
©
James Filkins
Little Spencer 2014
Little Spencer is an acoustic guitar duo from Australia currently residing in the cultural mecca of Berlin. Their
eponymous debut is an eclectic synthesis of many diverse styles, creating an eclectic myriad of musical landscapes.
Geordie Little plays a nylon stringed flamenco in a very unorthodox way. He seamlessly alternates between brilliantly
executed finger style passages and his own percussive lap slack technique. Bob Spencer, on the other hand, played in
several prominent Australian Rock bands and offers impressive single note soloing and chordal accompaniment on his
steel string. He selflessly compliments rather than competes with Little's impressive and innovative style. The
playful "Afro Judit" features Little's intricate percussive passages graced by Spencer's bluesy riffing. The
flamenco flavored "Red Plains" showcases dazzling syncopated rhythmic playing by Little and articulate minor key
improvising by Spencer. The pastoral "Plant the Seed," contains lush chords, impassioned single note motifs, and
elegantly performed counterpoint passages. There is a delicate and intuitive interplay between the two players
that is reminiscent of John Abercrombie and Ralph Towner's seminal collaborations. The album closes with the
cinematic ballad "Spiders Webb." Little Spencer has released a recording that is both innovative and alluring
and is highly recommended for all listeners of new age or contemporary instrumental music.
©
James Scott
Keith Lykins "Shadowland," 2014
For Keith Lykins, the slap is the thing… hey, his website is even called slapguitar.org! Like Preston Reed and
Thomas Leeb, Lykins fires repeated rounds of emotion from his guitar with percussive two-handed techniques. He
has even created a "drum guitar" called the DAGR9, a 9-string guitar with three doubled bass strings. His newest
release "Shadowland," however, is a collection of originals performed on a simple 6-string acoustic which percolates and
pops in Lykins' capable hands. "The Long Road Home" is a beautiful exception to the rule on "Shadowland" --
a melodic anthem the like of which I would love to hear interspersed more between the insistent percussion defining
most of the recording.
©
Alan Fark
Si Hayden "The Four Seasons," 2014
There has been a long tradition of arranging various forms of instrumental music for the solo classical guitar.
While oftentimes arrangers look towards repertoire with an already-guitaristic flare, occasionally they will attempt
to arrange large chamber or orchestral works, pushing the boundaries of what one can do with just two hands and six
strings. In this case, Si Hayden has taken on the monumental task of arranging the complete "Four Seasons" by Vivaldi
for solo guitar; the first time this has ever been attempted. I approached my first listen with a measured degree of
skepticism, but was treated to a lovely and unique take on these classic compositions. The works take on a fresh and
charming new life when applied to the guitar, while still being satisfyingly true to the original melodies and
harmonies. Occasionally Hayden employs various extended guitar techniques to achieve a desired effect, flirting
with the limits of the instrument, and making for a particularly enjoyable listen for any guitarist. If you're
already a fan of the original Vivaldi "Four Seasons," you will no doubt relish in this new and clever take on them.
©
Timothy Smith
Guajira - Masala
Jim Pharis - Having a Ball
Brian Smalley - Key
Tony Cox - Padkos
