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December music reviews

Burt Bacharach: Live at the Sydney Opera House

with the Sydney Symphony Orchestra
Verve

For about 50 years Burt Bacharach has been writing great pop songs. Since we all know it’s about the music first, let me say on a scale of five stars, the 32 wonderfully memorable pleasing tunes selected here by producers Bacharach and his keyboardist Rob Schrock are an honest ten stars.

No argument, Bacharach is one the most significant song composers of any generation. With his clever melodies enhanced by emotive lyrics of associate Hal David there is the whole sausage of happy, sad, light, poignant, wistful, and on and on. The music truly reaches many people on many profound levels and therein lies its greatness. Shame about this disc though.

First problem here is that this disc often just skims too quickly, once over lightly, and wham! Into the next, and next, in three rapidly paced medleys of his tunes there is a typically soft intro, then a bombastic rendering of the main theme, and it’s on to the next, soft–blam, and just as you begin to revel in the excellence of that – bang it’s a Hollywood blockbuster next! This music, and with a respected full symphony orchestra too, deserves better than fast food style quickie presentation.

Second problem is that the “live” recorded sound of this show resembles the Auckland Vector Arena Bacharach performance several months ago. This was where “The Auckland Strings” (about 40 musicians) were also added for texture and timbre to the core group sound. Unfortunately, all the electronic glaze of the amplification, equalization, and compression, rock PA speakers etc. made it difficult to tell when keyboardist Rob Schrock was playing his synthesizer with string voicing, or when the real strings were playing! You had to be there to observe, and then cringe, as I did. Only when 80 year old solo Burt on piano, gravelly growled through a soft, tender, questioning Alfie did I know I’d got my moneys’ worth.

Same on this disc too, intrinsically great pop music, dreadful “sports stadium” sound, and a sincere wish it could’ve been a double album with a better performance aesthetic and acoustic presentation. John Paul

Patricia Barber: The Cole Porter Mix

Blue Note

The pianist-vocalist queen of her own (self generated) jazz niche of “Modern Cool” performs ten Cole Porter, and three of her own similarly erudite-style songs. Understated, tightly arranged, and mildly intense grooves are felt in all of these tunes with her excellent regular accompaniment of Neal Alger, guitar, Michael Arnopol, bass, Eric Montzka, drums and “controlled” hot guest tenor saxophonist, Chris Potter.

Old favourites I Get A Kick Out Of You, You’re The Top, Get Out Of Town, I Concentrate On You and What Is This Thing Called Love?, are in her typical pocket with vocals that are warm, yet feel slightly ironic, as in “political truths”. Up-tempo cooking with an excellent Potter sax solo is on Just One Of Those Things, and tension is built on a quick paced In the Still Of The Night. Her three original tunes also fit in pretty well in lyrical and melodic sense with this collection.

Barber isn’t afraid to sit in extended minor key grooves, or minimalist arrangements that extend an interpretive sense that some may find uncomfortable. Often accused of being blasé, too emotionally detached or “Modern Cool”, this set can grow on you, or send you running for the more charming and traditional Diana Krall, or Dianne Reeves, which is fine either way. For me, she extends the art form in a distinctively classy, always intelligent original manner. Plus her (self produced) recordings by my old mate Jim Anderson are great sounding ‘up close and clear’ studio productions. John Paul

Walter Becker: Circus Money

Sonic 360

Most (boomers and acolytes) could likely limber up to a new Walter Becker release with at least some measure of guarded reverence – such is/was the enduring legacy of his central control role in Steely Dan’s grad-savvy songbook. So, as the opening track expands magnanimously into that characteristic adroit haughty-but-nice ambience, with sage-ish vocal inflections and pristine production values, we seem to be in familiar urbane territory. But more of the same and then more of the same soon wears thin, and whilst familiarity doesn’t quite breed contempt in this instance, it certainly establishes a sense that Becker is anchored in a vein of veneer rather than gravity. Meticulous and svelte-sounding, yes, but its core rarely yields the anticipated wit or bite. Paul Green

Chiwoniso: Rebel Woman

Cumbancha

Fans of African and world music will no doubt find this album accessible enough. The Afro-soul diva’s occasionally penetrating voice is influenced by both the traditional Zimbabwean and Western music. Featuring in all the songs is the ancient mbira instrument which is an inherent element in most South East African music. The album opens infectiously enough with Vanorapa, followed by the brisk hip-swinging Hi-Life jazzy dance beat of Gomo – and all seems well.

The pace slows with the sweet and relaxing Nguva Ye Kufara with its background of swirling mellow mbira and Kurima, a melancholic piece evoking images of African sunsets. Next up, Listen to the Breeze, offers a timely English language break from the Shona lyrics. The rest of the album continues in this middle-of-the-road any-time-any-occasion-style. Sounding fine but lacking originality. Patricia Evans

Everest: Ghost Notes

Vapor Records

Bringing to mind the likes of Neil Young (whose label this is released on), Ryan Adams and Wilco, Everest live somewhere in a musical category that combines indie rock and alt-country.

Even though it’s their debut, Ghost Notes is a cohesive and impactful album. The band members have been around a bit though before Everest playing in the likes of Sebadoh and Folk Implosion so they’re seasoned players and it shows in the quality of the songwriting and playing. There’s some tight and emotive guitar playing, neat harmony work and plenty of ‘space’ throughout the album.

While Reloader is the closest they get to guitar driven rock with a memorable chorus, tracks like opener Rebels in the Roses and I See It In Your Eyes (slower and more emotionally charged) are more representative of the material on the album

The album was recorded to analogue tape at New Monkey Studios in California and has a classic, warm and engaging feel to it. If you like that sound, it would be worth chasing down on vinyl if you can get hold of a copy.

The songs grow on you with each listen – slowly revealing new elements. I’m sure this will be an album that I’ll return to a lot over coming years. Douglas Lang

Buddy Guy: Skin Deep

Silvertone

Another classic demonstration of a true master delivering a set that leaves the imitators way behind.

Blues guitarist Buddy Guy is now into his 72 year, and has the energy of much younger craftsmen, the polish of a very fine gem and the taste that can elude so many, coupled with a winningly convincing vibrancy.

Given his age you would expect a laid back approach. You would be wrong. While the blues can be stretched out this only leaves more room for Guy’s paint stripping guitar solos. All the tracks are penned by Guy himself, with some standing out more than others, but as a whole this a set that finds a worthy legend just simply having a lot of fun. His guitar is caught in brutally honest sound with no attempt to clean or cotton wool its impact. The vocals remain more than capable while the guests (including one Eric Clapton) are indeed guests, that is, welcome friends that don’t steal the show. Allan McFarlane

Jupiter One: Jupiter One

Cordless Records

New York band Jupiter One brings to mind bands like Bloc Party, Franz Ferdinand and perhaps the Cars and Talking Heads at times – kind of dance based pop-rock with keyboards.

The first half of their debut album is great. After a short instrumental introduction we get off to a really promising start with the upbeat and catchy Countdown. This is followed by the jangly guitar driven Unglued. There’s plenty of interest for the next few tracks as well - Mystery Man and Turn Up The Radio would be perfect single material (apart from the ‘f’ word in Mystery Man’s chorus!).

So things start well but around about half way through the tracks get a bit samey and don’t have the same bounce and interest as the openers. It kind of feels like they decided to put as much material on the album as they could (including a couple of bonus tracks) and as a result it feels about 10- 15 minutes too long. It’s a bit like one of those films you go to see, which you enjoy but it drags on a bit. A bit of judicious filleting would have made for a stronger overall result. A good example is Wrong Line which goes off on some 70s pomp rock keyboard extravaganza (think Rick Wakeman) at one point – what’s that about?

Having said that the album is a bit too long there are a lot of good tracks here so it’s definitely not a dud. I’m not sure how long lasting it’ll be though. It’s kind of an instant hit and as a result I suspect I may tire of it quite quickly. Douglas Lang

Mareko: White Sunday 2 – The Book of Mark

Dawn Raid

From New Zealand’s premier hip hop label Dawn Raid comes our man Marakeo. The album kicks off with Keep it Moving featuring Baby Down which is a rhyme about carrying on in life after the death of a friend. Catchy liitle number.

Next Sunday is a food for thought tune in which Mareko looks at life in New Zealand without hip hop. A rhyming tribute no doubt to some of the pioneers of hip hop such as DLT, Che Fu & P Money.

Favourite tunes for the ipod are the soulful Gotta Go and Against All Odds featuring Cydel.

If you like your hip hop, you’ll enjoy this one! Ants Fong

Maria Muldaur: Yes We Can!

Telarc

I was drawn to check this release out as Muldaur fan from way back and I spotted a few equally luminary guests on the release sheet. Sadly I have endured an inwards looking political preaching. Well intentioned I am sure but not for repeated visiting. Unless, that is, you have an unquenched need to hear Joan Fonda in chorus singing Down By The Riverside. Hmm. Allan McFarlane

Tami Neilson: Red Dirt Angel

Ode

Everybody loves a little country music, don’t they? Well, you will now after listening to the delightful Tami Neilson! The album kicks off with One Bad Day which is a great track about getting through those bad days we all have. “All of your tears you won’t drown, I’ll stick around, just in case you are lost and need to be found”.

Distributed through our own local label Ode, there is definitely a great range of country music styles, from the slower ballads Cigarette and Beautiful to the acoustic Comin’ Around.

Picks for the iPod are Sister Cash featuring Joanne Cash and the upbeat Same Old Devil. If country music is as sweet as Tami Neilson, I’m getting back on my horse back to Nashville! Lord have mercy! My country album for 2008! Ants Fong

Jim Noir: Jim Noir

my dad recordings

Rarely does one come across such universal critical acclaim for a relatively unknown artist as this new release, the second of Jim Noir. The quotes “"uniquely loveable...the surprise soundtrack of summer 2008" (4 Stars – Q)” and “An astonishing and inventive record…this is nothing less than the laptop pop Pet Sounds” (Independent on Sunday) had me optimistically request a listen.

Well the influences are obvious to all. Beatles, Beach Boys in abundance. But that is not necessarily a bad thing. Some tracks take a lot of spinning before they make sense. Not necessarily a bad thing. Repeated listening bought a resounding recommendation to work colleagues. All in all, pure pop, expertly crafted which equals pure fun. But the jury is out. Highly influenced pop is in end just that. I’ll keep it handy, as it’s a great in the car listen. And summer is promised. Allan McFarlane

Xavier Rudd: Dark Shades of Blue

Salt X Records

Like John Butler (who he no doubt gets fed up being compared to) Xavier Rudd originates from Australia, makes use of indigenous musicians and instrumentation (Yirdaki - didgeridoo; Nigerian Udu drums) as well as lots of slide guitar, and has a passion for the environment.

This is his fourth album and contains a variety of musical styles (reggae; slide-guitar driven rock; acoustic numbers) but all with a solid roots base.

There is a nice mix of uptempo material with slower more reflective pieces like Shiver (moody and atmospheric). There’s a catchy circular slide guitar riff on The World As We Know It and Edge of the Moon brings Bob Marley to mind.

There is a heavier ‘feel’ to this album than his previous work – the guitars are more electric, the bass seems more prominent, and there’s more use of studio effects. Check out opening instrumental Black Water and the title track to get an idea of what I mean.

There is also a fragility to the beginning of a track such as Uncle that lends a ‘live’ feel to the album. My sense is that some of the material was allowed to emerge in an organic fashion in the studio rather than everything being carefully written and rehearsed many times before being recorded.

Check Xavier Rudd out if you like John Butler, Dave Matthews or even Jack Johnson (who he shares some environmental views with if not quite the same musical space). You might also want to check out his earlier material which is a bit more acoustic and reggae oriented. Douglas Lang

David Sanborn: Here and Gone

Decca US

Alto saxophonist Sanborn, with several jazz heavyweights, plus special guests, do a respectful, yet earthy job, with nine traditional and newer blues tunes.

The classic WC Handy, St. Louis Blues becomes fresh and new with Russell Malone’s smooth guitar, Gil Goldstein’s Fender Rhodes rich piano, and Miles Davis protégé, trumpeter Wallace Roney cleverly giving homage to “Pops” Louis Armstrong and Miles in a brilliantly conceived superb solo, that stupidly is faded out. Arghhh!

Sanborn goes beyond his “smooth (lite?) jazz” label by some upper register stretching out on the Marcus Miller waltz penned Brother Ray, and he does it again on Basin Street Blues. His alto sax then nicely “converses” with Eric Clapton’s vocal and guitar leads on I’m Gonna Move To The Outskirts of Town.

The splendid rhythm section of Steve Gadd drums, and Christian McBride bass, solidly propels things for a horn section with jazz veterans Lew Soloff trumpet, tenor sax Lou Marini, and baritone sax man Howard Johnson all adding appropriate modern harmonies and textures.

Not challenging, nor just easy (smooth) listening, but very well considered and perfectly executed blues excursions. John Paul

Frederica von Stade: Sings Brubeck – Across Your dreams

Telarc

Proving the old Duke Ellington truth “there’s only two kinds of music, good and bad” this disc captures premiere mezzo-soprano “Flicka” von Stade in a relaxed, fun and even funky Brubeck family music setting. Ten of the thirteen tunes are pretty ballads; eight of them penned by either (absent) pianist Dave, or his son trombonist-pianist-arranger Chris. Dan Brubeck adds drums and percussion on a few tunes, while folk music vocalist and classical banjo (really!) legend Bill Crofut help liven things up on three numbers.

Opening with the lovely melancholy The Distance Between Us it becomes obvious that “Flicka” has no patronising notions or distance about delivering a non-operatic sweet song devoid of flourishes or prima donna tricks. The same is true with the next track on the lovely Spanish traditional La Paloma Luna. Frederica puts these songs and their mood into her pitch perfect instrument and lets the lyric find its’ rhythm while gently carrying, but never forcing, the melodies along. Very pleasing vocal music.

The big fun begins when she and Croftus team up with insanely clever lyrics on a 75th birthday tribute to elder composer Brubeck in his fast “difficult” 9/8 time signature (1-2, 1-2, 1-2, 1-2-3/3x) Blue Rondo (ala Turk). There’s also a cool banjo and trombone stretch into the jagged funky phrasing of snr Brubeck’s It’s A Raggy Waltz. Again, the feeling of talented musicians simply enjoying themselves permeates the session.

Other ballads, as the title suggests, have an inclination towards the ethereal and are beautifully presented in this superb sounding disc. Recorded in 1996, but still fresh and differently delicious. John Paul

Taj Mahal: Maestro

Heads Up

Right from the first brass shout I knew I was going to be hooked on this release. This is the release Dr John wishes he could still make, an album that smacks of a wonderful eclectic world of blues, reggae, world music, acoustic, electric and includes guests like Los Lobos, Jack Johnson and Ben Harper. Apparently it's Taj's first release of new material for five years and he certainly sounds refreshed and relishing the assignment.

Fans of his quintessential 1997 release Senor Blues need not hesitate. Others should investigate with equal haste. Wonderful. Allan McFarlane

Tahu: Tahu

Ode

This locally recorded mastered and mixed CD has unsettled me. It was put together earlier this year by the Wellington based trio of Henare Walmsley and Alistair Fraser playing NZ Maori musical instruments and joined by classical guitarist and composer Michael Hogan. The work began as a celebration of the 2007 Matariki (Maori New Year). After a years gestation the result is a beautiful and haunting aural journey through ancient and modern Aotearoa. This is a fresh, touching and evocative sound ranging all the way from chants and prayers to contemporary improvisation. I particularly liked the way that subtle natural sounds were interwoven without this degenerating into just another new age licence to print musical wallpaper.

The reason that the recording unsettled me was that it challenged several prejudices and considerable ignorance on my part. The first prejudice shattered is that NZ classical compositions have to be strident or difficult to listen to. This is not ‘easy listening’ but try it on decent headphones and it is an enveloping delight. The second prejudice is that taonga puoro (Maori instruments) only have a place in their own unique setting but this is a beautifully rich album that seamlessly integrates music and sounds from many sources. The final prejudice is that local home studio products will be inherently flawed grainy and shiny while this is a clean dynamic and well-mastered recording.

My final confession is to not in any way being bilingual or even having more than the most basic knowledge of Matariki. It has always seemed crazy to me however that we do not honour our own NZ winter Xmas and this recording should have a central role in all such future celebrations for New Zealanders from all cultures. Go on give yourself a treat. John Groom

Louie Vega: House Masters

Homas01

A dozen bars in one relentless repeat mode, an incremental adjustment and further dozen looping on and on and… ah, the drudgery of formulaic fractionally-modified dance music. Louie looks the DJ guru-of-cool part on the album cover with his pork-pie-hatted profile and insouciant smile, but the sleeve notes are at odds with this show of apparent modesty.

As is the music which, at its best, would only grudgingly deserve the adjective ‘modest’. Prefer instead: grinding, gruelling, interminable, tautological, tedious, time-worn, broken-winded and (ultimately utterly) insufferable. Sorry, Louie, you may well (as your liner notes declare) once have “defined a scene and resulted into (sic) cult status” in Studio 54 or some other allegedly legendary stateside location, but there’s precious little here to suggest that this is anything more than a hyped and obsolete reputation.

In a world abundantly awash with exciting dance music, we’ve all got better options than this. Paul Green