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January music reviews

Greg Brown: In the Hills of California

Red House Records/Elite

One of the great things about music reviewing is the chance to travel. With Greg Brown it is high summer and I am at the Caswell Vineyards in Sonoma County California. I am lying back under a shady tree; Greg is strumming to those immortal words ‘Lord I have made you a place in my heart and I want you to leave it alone’. It is a 21st Century Woodstock, with better sanitation. I have achieved several life goals: to visit California, be at a Greg Brown concert and to know that some of the proceeds support ‘local school children with the opportunity to attend performances that showcase world-class artists from a variety of countries’. I feel so pure and clean. To top it all off the concert is fantastic with plenty of original material and a sound as mellow as the breeze with its gentle hint of marijuana. This is Greg Brown at his best with every track a winner. Come and join me, it is little bit of heaven on earth and while you are up fetch me some more ice for the beer. John Groom

The Clash: London Calling 25th Anniversary Edition

Columbia

Can it really be 25 years since this seminal album came out? The 25th Anniversary Edition includes two CDs plus a DVD. The original album is on the first CD (and yes, Train in vain is listed – the artwork for the LP was prepared before that track was added to the album. The second CD, called The Vanilla Tapes, are rehearsal demos of 21 songs, including five tracks that never made it to the album. The DVD contains a “making of” documentary modestly called The Last Testament.

This is an important album in rock’s history. But what makes it such an interesting and enjoyable listen – outside of the often discussed lyrical content – is the care that went into the varied arrangements of the tracks, the different tonal colours and dynamics.

This is wonderful stuff. Michael Jones

Leonard Cohen: Dear Heather

Columbia

The man’s capacity to polarise opinion has not eluded him, even at the age of 70. Either he’s admirably complex (viz. readiness to spin sequences of evocative images), or else irritatingly unfathomable (spin for the sake of spin). Either reciting poetry across coolly subdued jazz platforms, or rambling inconclusively over a disconnected soundtrack. The vocal performance is resonant and gravely sing-speaking, or it’s a husky-hoarse cigarette-shafted shadow. He has wisdom and dignity that speaks with precious directness and finality; or is he guilty of indulgent introspectiveness that bewilders rather than beguiles? (One man’s meat, etc).

Either way, this album is not just about or by Leonard Cohen – it’s co-performed/written/produced by L.C. with one or more of Anjani Thomas, Sharon Robinson and Leanne Ungar, and together they sound very beautiful, often. The Master is still omnipresent, however – even when he opts for a backing vocal role. His own songs are supplemented with a selection of lyrics from Byron (Go No More A-Roving), Stewart and King’s Tennessee Waltz, a Quebec folk song, and a poem by Frank Scott – the opening lines of which (“From bitter searching of the heart,/ Quickened with passion and with pain/ We rise to play a greater part”) seem to sum up Cohen’s capacity for examining the detail of the dark side.

Twilight contemplation of purpose and charm. Paul Green

Bruce Hornsby: Halcyon Days

Columbia

Dear Bruce – Was open to the idea of liking your latest. Fond memories of that primo pop piece Changes, even though I know Tupac’s version is way more potent. You got the stout Brit rear-guard on board: Elton and Sting pep up your vocals, and EC plays svelte licks here and there to make a change from overkill on the keys. But, at the risk of sounding patronizing, let me tell you why I can’t get too excited about this offering. The music usually sounds promising when it first starts (robust rhythm, snappy passage of piano, auspicious purpose), but then the keynote phrasing is repeated tiresomely and we don’t seem to go anywhere. Thought maybe the lyrics might prove to be a redeeming feature, but if we’re zeroing in on self-exploration, you’ll need to get more incisive than “Got a big-ass nose/ Fat gaps in my teeth…What the hell happened to me?”, (even if it is played dry Dr John style). In Hooray for Tom you gripe about all that “useless information (so I can talk above my station)” you had to learn at school. Well, I wish you’d at least hung on in there for the poetry classes so that when you earnestly push that chorus about how you thought “gonna be some changes made”, it’s for deeper reasons than because you realised there was a bit of dribble on your lip. Sorry, mate – but if you want me to listen, please tell me something. Paul Green

Tord Gustavsen Trio: The Ground

ECM/Ode

What an act to follow. The Tord Gustavsen Trio's debut album Changing Places absolutely exploded onto the jazz scene last year, drawing almost universal praise for it's timeless melodies, wonderful playing and immensely beautiful feel. Here we are, less than two years later and the follow up, The Ground has hit our Australasian shelves. (The rest of the world doesn't see it until February 2005.) 

Having initially met about ten years ago at the Conservatory of Music in Trondheim, Norway, the trio didn't really come together as a unit for another five years or so. While working with Norwegian singer Silje Nergaard (an absolute star in her home country but sadly underrated elsewhere) it became evident that there was something special going on within the group. Surprisingly when Changing Places was recorded, the trio hadn't actually played much in a live setting without Nergaard. Regardless, I'm quite confident that the album they produced will stand the test of time to be regarded as an absolute classic. Now with unanticipated speed we have the mouthwatering prospect of a second album to consider. 

Cutting to the chase, this is another wonderful collection of music. Rather than simply repeat a winning formula, The Ground explores different territory. CP was built on the space around the music with the quiet studio air essentially being a forth instrument. With the new album there's a more obvious blues feeling, a more driving swing and a busier dynamic between the trio members.  Don't get me wrong, you aren't going to mistake this for a McCoy Tyner album or anything similar but right from the first track you get a sense of greater urgency and greater propulsion.

The melodic beauty that marked the first album is still evident as is the amazing understanding between Tord (on piano), Harald Johnsen (double-bass) and Jarle Vespestad (drums). Where on Changing Places Jarle's astonishing drumming was serving more to add layers of depth, texture and feel, here there seems to be a more obvious virtuosity on show. Harald maintains his approach, which is built on transmitting more passion through his strings than most any other bass player I've heard. His tone, intonation and musical feel are simply faultless. And then there's Tords piano work. Passionate, tender, intuitive - these words keep coming to mind as I listen to his playing. He and the piano become one to a level that I've rarely heard.

Don't buy The Ground expecting Changing Places II. Rather buy The Ground because it's beautiful, moving, and powerful. Buy it because it's played by one of the freshest sounding trios in modern jazz. Buy it because it's a great album. Buy it. Craig Fenemor [Craig Fenemor has also interviewed Tord Gustavsen - Editor]

Norah Jones: Live in 2004

Blue Note

Norah Jones’ previous DVD, Live in New Orleans, was a little embarrassing for Norah. The performances were fine, but Ms Jones looked so gawky and uncomfortable as a front person that I felt awkward watching the DVD. Live in 2004 is much better in that regard. Here, she’s grown into her role fronting the band. The band features a couple of changes from the previous DVD. Most notable to me is the inclusion of Robbie McIntosh, previously in Paul McCartney’s band, on guitar.

Recorded in the Ryman Auditorium in Nashville in August 2004, the main part of the DVD contains 16 tracks. Most of the tracks are from the last album, along with three covers and – curiously – only one song (Don’t Know Why) from the Come Away With Me album. Even more curiously, the song Come Away With Me is included elsewhere as a “bonus outtake”. Quite why it’s not part of the main concert remains a mystery.

The performances from Norah and her Handsome Band are excellent, with the singing and musicianship excellent. Some guests appear on various tracks, including recent visitor Gillian Welch and a hyperactive Dolly Parton on Creepin’ In.

A must buy for Norah fans. Michael Jones

John Lennon: Acoustic

Capitol

The idea behind this album is great – showcasing acoustic versions of many Lennon solo songs. The reality of this CD is somewhat different. The origin of many of the tracks are crude recordings, often on cassette. That’s not so much of a problem. Instead, a big problem is the amount of digital noise reduction used. Sure, there’s no hiss, but the artefacts from the digital noise reduction creates a swirling sound that makes it hard to listen. Musically the CD is suspect as well, with too many songs from the justly maligned Some Time in New York City album. Even completists should think twice before buying this CD. Michael Jones

Jacques Loussier: Impressions on Chopin’s Nocturnes

Telarc/Elite

The pianist, Jacques Loussier has been delighting audiences for 45 years with his jazzed up versions of the classics. This Chopin rendition follows successes with Vivaldi, Handel, Bach, Ravel and Satie. In his own words “I created my own road between classical and jazz... anyway there are 200 excellent recordings of Chopin played straight - why would I add to them?” If you agree with this sentiment then you will find this beautifully recorded CD refreshing, clever and impressive. This 70 year old is obviously still in his prime. If like me however you still find the original Chopin involving and moving enough to deeply satisfy, then why bother? John Groom

Maria Muldaur: Love Wants To Dance

Telarc/Elite

Having enjoyed many a release from this superb blues artist over the years, in particular 1995’s Sweet and Slow and last year’s wonderful tribute to Peggy Lee, A Woman Alone With the Blues, it comes as no surprise to find this latest release is another welcome gem in the blues genre.

Ten songs about and around ‘love’ would at first glance make an overkill of the subject matter, but Muldaur plans the set with the benefit of more than three decades of experience in the studio. Perfectly paced from the more up-tempo opening tracks to the smoke laden stripped down blues tracks that take the session out. It’s the blues tracks that had me exclaiming loudly “finally a blues singer that can sing the blues. Hallelujah!” (Yes, a sideswipe at the current crop of want-to-be’s).

Stand out track for me is the Sheila Smith penned Every Day’s a New Day, but when the other songwriters include Ivan Lins, Blossom Dearie, Bob Dylan (Moonlight), Taj Mahal and Harold Arlen you get the idea that Muldaur knows the repertoire so very well.

The band features Chris Burns (piano), Danny Caron on some perfectly judged guitar solos with Seward McCain (bass) and Lance Dresser (drums) completing the excellent rhythm section. Another treat from one of America’s finest. Allan McFarlane

The Network: Money Money 2020

Reprise

Question: how do you get a record deal if you refuse to reveal your identity to the public? Answer: be  famous and influential already and sell your ‘anonymity’ to the record label as a marketing gimmick . A case in point is Paul McCartney, who releases the occasional bit of oddness in the guise of The Fireman [and Percy Thrillington, among other non de plumes – Editor]. XTC was also guilty of this ploy when they released two albums as The Dukes Of Stratosphear (forgivable, because they’re really good albums). Now we have The Network, a five piece outfit that various internet forums have no trouble identifying as Green Day and a couple of mates.

Green Day they may be, but this homage to the edgier styles of the 1980s is not about a treading a new path, but clearing old tracks, long overgrown. All 14 songs on the album are new, but with a synthesizer-heavy and electronically distorted lean invoking the spirit of past experimenters, most particularly Devo, with occasional hints of angrier post-punk acts like Public Image Limited. It’s not altogether clear what the point of the album is – the music was done better 20 years ago, when the irritation factor inherent in this type of music was cool, rather than just, well, irritating. This could be the product of a bored band wanting to play at being their musical inspirations, or maybe using an alter ego to package music that didn’t work well on their regular releases. Brent Burmester

Tin Hat Trio: Book Of Silk

Ropeadope/Elite

Book Of Silk, the fourth album for Tin Hat Trio, has continually confounded my attempts to review it. What I hear just won't allow itself to be described in whatever words I clumsily try to wrap it up in. From my repeated listening I can only suggest that the stylistic influences shown here are music, just about all of it. Classical - yep. Folk - yep, Blues - yep. Jazz, mainstream and avant-garde - yep. I simply don't think it's possible to classify this stuff. One reviewer did his best with "rootsy chamber music" and as I'm not brave enough to label it myself, that will have to serve you I'm afraid. All I can say is that the music is played with passion and a great deal of skill.

The basic trio, Rob Burger, Carla Kihlstedt and Mark Orton, cover the following instruments: accordion, piano, prepared and toy pianos (?!), bass, diatonic harmonicas, marxophone, violin, trumpet, e-string violins, viola, voice, guitar, dobro and banjo. Add a couple of special quests on harp, tuba and euphonium and you've got an awfully interesting mix.

The end result is an amazingly rich amalgam of textures, tones, and emotions. From playful to intense to sorrowful (and that's only the first three tracks) you're bounced all over the emotional spectrum. I'm sorry if this is a review of platitudes and non-specific accolades but I simply haven't heard anything along these lines before and words continue to fail me. Suffice to say the music contained on Book Of Silk speaks much more elegantly than I. Via odd groupings of acoustic instruments Tin Hat Trio seems to me to encapsulate the gamut of emotions that we know of as life. A wonderful album. Craig Fenemor

Travis: Singles

Independiente/Sony

It’s timely compilations such as that make one want to head for the Coromandel with the top down and the stereo blasting. It must be summer. I can smell the tar-seal melting as I play through this set time and again, enjoying the favourites - Sing, Driftwood,Walking in the Sun, Why Does It Always Rain On Me? - and learning the forgotten tracks all over again. Thank God someone said it was okay to write a good tune again without having to resort to manufacturing a ‘super group’. A self-recommending release from the Scottish masters that will give enormous pleasure. Don’t hesitate. Allan McFarlane

Neil Young: Greatest Hits

Reprise

You can still find those who have never forgiven Neil Young for his Southern Man slamming of the trendy (redneck) rebel cause, (“Don’t forget what your good book said”), and that’s fair measure of his fearlessness and capacity to boldly go where few (and sometimes none) have gone before. And the best rock songs here are those that tear onto their intent with unrestrained conviction: to 1970s Southern Man add 77s blistering Like A Hurricane and the storming scything Hey Hey, My My (Into The Black) of 79.

To my mind, the pick of the more country-inclined songs would be Helpless, Only Love Can Break Your Heart (both 1970 – a recordings-rich year for the man), and 92s blithe Harvest Moon. But there are plenty of other very memorable ones here, of course. The chronological sequence delivers Down By The River as the collection’s opener, and it provides immediate evidence of how exceptionally adept Young is at exploring emotion with his guitar. And with his lyrics: judicious mixes of the metaphoric and the literal.

This is the first time Young has released a single disc compilation of his favoured tunes, and his insistence on “providing quality sound for the people” has led him to DVD-stereo mixes from the original master recordings – something he contends is “about as close to the rewarding listening experience of vinyl as the real thing”. And you can tell, too – in the range, depth and freshness of tone.  A rich listening experience in every respect. Paul Green

Anne-Sophie Mutter – Tchaikovsky and Korngold Violin Concertos

Anne-Sophie Mutter (violin); Vienna Philharmonic Orchestra, London Symphony Orchestra conducted by Andre Previn

Deutsche Grammophon

Having followed Mutter’s career since her first concerto recordings with Karajan twenty years ago I’m somewhat puzzled by this latest release. Mutter has decided to give such an over-the-top performance with excessive vibrato and such OTT passion that intonation is sacrificed all too often and the composers intent is masked behind unnecessary ‘interpretation”. I am left wondering why. It simply is just too overblown, bordering on tasteless. And when the DG engineers choose to close-mike the soloist then the problems are hugely exacerbated. Sadly, look almost anywhere else for the Tchaikovsky – my pick remains with Vengerov on Warner Classics, for the Korngold try Gil Shaham on Deutsche Grammophon. Allan McFarlane

Classics At The Pops

Erich Kunzel/Cincinnati Pops Orchestra

Telarc/Elite

Now if you want a really good introduction to the classical world (as opposed the Amici turnoff) you could do a lot worse than this well thought out new release from Telarc. The repertoire has been chosen with care from composers over the last two centuries to bring a varied orchestral showpiece, magnificently captured in the now reliably famous Telarc sound.

Starting with Copland's Fanfare for the Common Man, moving through Saint-Saens' Danse Bacchanale from Samson and Delilah to Respighi's sonically spectacular Pines of the Appian Way from the Pines of Rome, to a relaxed Fantasia on Greensleeves (Vaughan Williams). The Grand March from Aida (Verdi) is there, as is Elgar's Nimrod. A spot of Berlioz (Roman Carnival Overture), Weinberger (Polka and Fugue from Schwanda the Bagpiper) and proceedings end with Shostakovich's invigorating Festive Overture.

Certainly one could make individual recommendations that interpretively could 'better' those on this release, but as a whole this is one of the finest classical samplers I have ever come across. Great fun, beautifully recorded, whole-heartedly recommended. Allan McFarlane