Pete Smith & John Buckley "Jack Spratt and all that...", 2004
Internationally acclaimed, U.K. fingerstyle guitarists Pete Smith and John Buckley have delivered an acoustic,
spirited romp with "Jack Spratt and all that..." Alternating between ragtime -- "Tiger Rag" and an arrangement
of "All of Me," classic jazz -- "I Got Rhythm," and Django Reinhardt's "Nuages," traditional tunes, bluegrass
and original material, this duo simmers and sizzles and offers up some of the finest acoustic guitar playing
in years. Particular favorites include the duo's version of Sonny Rollins's "St. Thomas" with its beboppy
calypso flair, and the Smith/Buckly original "When the Fog Lifts," which takes the listener on an unusual
but pleasantly dynamic journey. Their version of the wistful, Ellingtonesque Reinhardt composition
"Nuages" is also a treat. Competence, humor, and sheer musicality abound.
©
Chip O'Brien
James Hurley "The Sun and the Moon" 2004
"The Sun and the Moon" is a musical delight in every way. James Hurley owns a rare combination of talents - pop
songwriting that is intelligent in its eloquence of lyrics and chordal changes, oh-so-silky vocals and harmonies,
an unpretentious jazz-like virtuosity on acoustic guitar, and the guts to lay those talents bare with a very austere
production. Like Stephen Bishop's, Hurley's style is up-beat and catchy, but very genuine. Fans of Brian Wilson's "SMiLE" will love
the ethereal vocal coda at the end of "In My Dreams." "Whisper" is reminiscent of Kenny Rankin's Brasilian balladry.
There's even a Sgt. Pepperish and playful use of tuba on "London Bridge," disclosing a strong Beatles influence that
seems ubiquitous to his generation of songwriters
©
Alan Fark
Clarelynn Rose "Meadow Run", 2004
The back cover of Clarelynn Rose’s third self-produced fingerstyle guitar recording "Meadow Run" greets the
expectant listener with a taciturn elk staring straight at you. These magnificent creatures are featured all
over the well-designed CD package, reflecting both power and grace -- perhaps a visual key to Clarelynn’s music.
Her sound reflects the legacy of Windham Hill guitar recordings of days gone by with influences (both explicitly
and implied) of William Ackerman and Alex DeGrassi, as well as Celtic master John Renbourn. It’s a gently
soothing elixir of carefully woven melodies. Clarelynn has such a strong connection with those horned
quadripeds that the title cut "Meadow Run" is in DGDGAD tuning, which she calls Elk. She reveals a good
Celtic feel in the sprightly "A Jig for John," "Headlands," and the reflective "Dust Dance." We take a
silent trip on "The Road to Roberton" through fields awash in muted colors and filled with spring’s dawning
peace, while "Phoenix" calls us to contemplation. One piece, "White Roots," shows off a new direction in
Clarelynn’s musical journey on the Baroque Lute, telling a bitter-sweet tale of rumbling bass notes and
haunting minor chords. If you’re searching for solo guitar music which demands only an open heart, "Meadow Run" is
a worthy place to spend some time.
©
Kirk Albrecht
Toothpick "Time Travelin' Couch", 2004
Yes, you can play an acoustic guitar and move people on to the dance floor. Genre crossing hip-hop flavored artist
Toothpick deserves strong comparison to Beck and Everlast on this funky, free-spirited collection of rap roots pop.
Employing a DJ along with a traditional rhythm section locked in to a tight, phat groove, Toothpick's knack for
weaving thought-provoking and often ironic stories incorporated into breezy melodies emerges as a winning
combination. Every cut exudes a positive vibe, especially the regretful "High Life" by way of a salty,
politically fueled diatribe punctuated by neat slide riffs and a shimmering brass arrangement. The always
dependable I-IV-V progression of "Every Day & Every Night Girl" never sounded as fresh, even with an old
school "Like A Rolling Stone" keyboard motif buried deep in the mix. Enhanced CD features two music videos
including "Super Size Me" from the acclaimed documentary.
©
Tom Semioli
Johann Helton, "Tell Me a Story", 2004
Idahoan Johann Helton plays various steel and nylon string guitars, the terz guitar (tuned a third higher than
standard) and basses. His approach is calming and very musical without resorting to flashy techniques. Helton
performs live primarily as a solo guitarist and also plays bass for several groups. Several other musicians
assist him on this CD, including Ben Burdick (guitar and slide guitar), Richard Kriehn (mandolin and violin)
and Lawson Hill (drums). Some more noteworthy pieces include the originals "Say You Will," "Talking Wind,"
"Watercolor Rain," "Easy Livin'," "Disguise the Limit" and Roy Acuff's "The Precious Jewel." On the closer,
"Heart So Wide," Helton plays lead on his upright bass with backing from his own 12-string and bass guitars.
There is a muted quality to many performances on "Tell Me A Story" and I wonder if Helton has suppressed some
of his technical and interpretive abilities in favor of producing effective ensemble arrangements. That said,
this CD should please Johann Helton's regional audience and give him an opportunity to reach more listeners.
©
Patrick Ragains
The Dave Pittenger Band "Photographs to Nowhere", 2003
This youthful quartet deftly draws from funk, progressive, folk, and jazz on their spunky, spirited debut disc.
Vocalist/guitarist Pittenger, who also doubles on keys, and lead guitarist Jay Wolbach are a match made in heaven,
tempering slick rhythm patterns and tasty leads over Nicky Cardillo's percolating Jaco Pastorius flavored electric
bass lines and drummer Brian Killan's flashy fills and cymbal work. The fur flys on "Alright," from where the album
title emerges, by way of dexterous unison lines, scrappy, percussive acoustic guitar patterns, three-part vocal
harmonies, and warm, electrified arpeggios. Pittenger's staccato guitar phrases mesh perfectly with his snarling
vocal delivery which tend to mellowsout in the B sections, then come back up for redemption in a series anthemic
choruses from cut to cut. Akin to Dave Matthews Band and Ben Folds Five, you never know which way the DPB will
turn next, which is a very good thing.
©
Tom Semioli
Chris Moore "Figurines", 2004
Moore reminds me of Neil Young -- ballads reminicent of Young's "Harvest" period and crunchy indie rock tunes
like Young's later offerings. The songwriting is just as solid with great lines like, "Hate to pin the song on
you but it's you who volunteers," ("Volunteer") and melodic changes that don't always go where you expect.
There's a roots rock feel, like alt country without the twang, in "Accelerated Changes." "Wrinkled and Flawed"
is a cynical blues shuffle while "These Words" show a pissed off Moore slamming out distorted guitar chords.
The title cut features delicate lyrics wrapped up with an old upright piano. The liner notes are too artsy to
be readable but this isn't the kind of CD you buy because it's pretty.
©
Jamie Anderson
Paul Iwancio "Open Heart Stories", 2004
Armed with an acoustic guitar and sincere songs in pop arrangements, this singer-songwriter sings of love and
finding inner strength. His voice is perfect for the material -- folky with a bit of a quaver hinting at
vulnerability. "The Revolution Begins Inside of You" uses clothing metaphors to encourage the listener to
"lead your own parade." The pop/jazz "Perfect Enough for You" is a duet with the lovely-voiced Nita
Paul-Calliahn while "Morning Glory" is a folky number, also about love. Not all is sweetness and light,
as evidenced in the angry "Standing in the Shadows of the Big Man." Too many of the songs are overpowered
by pop arrangements. The simply produced cuts were my favorites, like the sweet love song "My Oasis."
©
Jamie Anderson