James Taylor, Hourglass. Some artists make a life's work of reinventing themselves, forever burning bridges to their past. Others find boundless inspiration within a single musical room of their own. So it is with JT, whose latest record offers few surprises but such grace that listening to it is like slipping into a pool of warm water. Less folky than 1991's New Moon Shine and entirely lacking his bluesy side, Hourglass gently considers themes of spiritual renewal and surrounds Taylor's elegant guitar work with a keyboard-centered ensemble. Even if the arrangements at times get a little too "lite" for my ears, the man's melodies--God, the chord progressions alone--are so lovely that all I can say is, I'm feeling better already. (Columbia)
--Jeffrey Pepper Rodgers
Richard Thompson and Danny Thompson, Industry. Richard and Danny Thompson (no relation) collaborated on this suite of songs and instrumentals that brood on the grim side of the rise and fall of British industry. It's good and dark, and the five haunting songs by Richard hearken back to some of his great early solo work. "Sweetheart on the Barricade," in particular, will set fans' fingers to twitching. The small, horn-rich ensemble Danny directed strikes a somber yet hopeful mood throughout, with melodies as steely gray as a Manchester winter sky. The band includes some familiar names, like Christine Collister, Dave Mattacks, and Tony Roberts, but the focus is on the larger story rather than the individual musicians. (Hannibal/Rykodisc)
--Danny Carnahan
Frank Wakefield, That Was Now . . . This Is Then! After nearly a half century of acclaimed work with Red Allen, the Greenbriar Boys, and other bluegrass icons, not to mention "alternative" gigs with the New Riders of the Purple Sage and symphony orchestras, Wakefield has recorded the all-instrumental mandolin album he's always wanted to make. His style is clean, often blazing, staccato and melodic, with less emphasis on the drive and "chop" pioneered by Bill Monroe (Wakefield demonstrates this difference in the short intro to "Sleepy Eyed John"). It's little surprise that Wakefield is considered a mentor by David Grisman and an inspiration to many others. (Rosewood Records, PO Box 364, New Castle, PA 16103)
--Ben Elder
Enrique Coria, Latin Touch. Perhaps the best part of this CD is its natural, unadorned quality--like Coria, the current guitarist for the David Grisman Quintet, has stepped into your den for a private guitar recital. Pull up another chair for Walter Rios playing the melancholy bandoneón in duets by tango master Astor Piazzolla. Other duets feature Paul Hanson (oboe), David Grisman (mandolin), Nicolás Brizuela (guitar), Carlos Crespo (bamboo flute), and Matt Eakle (flute). In every combination, Coria's passionate guitar pays tribute to Argentina's musical legacy. (Acoustic Disc, PO Box 4143, San Rafael, CA 94913)
--Riley Tharp
Christine Lavin, Shining My Flashlight on the Moon. In our cliché-ridden culture, there's something commendable about a songwriter grappling with Pluto's fading status in the solar system, even if the results do sound rather forced ("Planet X"). But on her ninth solo recording, Lavin finds success with more conventional concerns. "Robert and Annie in Larchmont, NY" (about first love), "As Bad as it Gets," and "Happy Divorce Day" (a very civil unlove song) are all standouts, as is the title cut, which is enhanced by Lavin's lustrous harmonies. (Shanachie, 13 Laight St., Sixth Floor, New York, NY 10013)
--Steve Boisson
John Williams and Timothy Kain, The Mantis and the Moon. Williams has teamed up with Kain to make a delightful recording of 16 unusual guitar duets from around the world. Though works by Falla, Granados, Soler, Brouwer, Takemitsu, and Shostakovich are featured, only three (by Falla and Granados) are repertoire standards. The album showcases an array of new and custom-arranged pieces. Paulo Bellinati's "Jongo" is an impressive gallop, and Nigel Westlake's "Songs from the Forest" starts majestically before exploring Stravinskian primitivism and dark, brooding arpeggios. Despite some ragged moments, Williams and Kain play insightfully and with daunting finesse. (Sony)
--Mark L. Small
Fapy Lafertin and Le Jazz, Hungaria. Since the '70s, when he was working with the Dutch group Waso, Lafertin has been regarded as one of the finest guitarists working in the Gypsy jazz tradition. His second record with the British group Le Jazz highlights his fiery technique and strong melodic sense and takes the re-creation of '30s music one step further than most. The group recorded the music gathered around a single vintage 1938 microphone, much like Django Reinhardt and the original Quintet would have done. The resulting sound has an immediacy that most multitracked recordings lack. (Le Jazz, 44 Ravenshaw St., London, England NW6 1NW)
--Michael Simmons
Roy Book Binder, Travelin' Man. This rerelease of Book Binder's 1971 album pays homage to blues masters like Reverend Gary Davis, Blind Willie McTell, and Blind Lemon Jefferson. Besides showcasing his well-known sense of humor on tunes like Pink Anderson's "Travelin' Man," Book Binder turns in a soaring rendition of Davis' "Delia" and solid performances on classics like McTell's "Statesboro Blues" and Willie Brown's "Mississippi Blues." A welcome reincarnation of classic tunes by a contemporary hero of the blues. (Adelphi/Genes, PO Box 7688, Silver Spring, MD 20907)
--Kermit Pattison
Sylvia Herold, A Bowl of Crystal Tears. Herold is known for her work in the jazz vocal trio Cats and Jammers and for her tenure as one of the rhythm guitarists with the Hot Club of San Francisco. On this solo CD she returns to the music that first inspired her: Celtic and British ballads. Herold is drawn to sad songs and sings them in a way that highlights their melancholy spirit without descending into maudlin mush. The spare instrumental accompaniment (guitar, violin, harmonica, and accordion) matches the material perfectly and never overpowers the lyrics and delicate melodies. (Tuxedo, 2557 Wakefield Ave., Oakland, CA 94606)
--Michael Simmons
Bill and Bonnie Hearne, Diamonds in the Rough. Bill and Bonnie Hearne capture the openhearted and independent spirit of the West in their major-label debut. Their
selection includes Bonnie's originals and covers of tunes by Nanci Griffith and Lyle Lovett, who provide harmony vocals as well. Bill's breezy flatpicking and Bonnie's rollicking piano are backed up by the likes of Stuart Duncan's fiddle and Lloyd Maines' pedal steel. These folks leave no doubt that contemporary cowboy music is alive and well. (Warner Western)
--John Herndon
|
|
|
|
|
|