Gabe Hizer’s musical career has come full circle. A graduate of the prestigious Berklee College of Music, Hizer took a detour, earning a law degree and practicing law for 25 years. Then two years ago, he packed his cats, a trunk load of instruments, and some recording equipment and headed for Mexico. There he wrote and recorded, eventually heading for Nashville where he pulled in musicians and engaged Neilson Hubbard to produce a debut CD, Persistence of Memory.

Like a lot that is coming out of Nashville lately, the album is not country, not even uptown commercial country/pop. There is a definite Americana feel about the 12 songs on the disc, but it leans more toward rock and pop. Hizer, who plays acoustic and resonator guitar on the album, wrote all of the songs, except for “I Will Be There for You,” which he co-wrote with David Walker.

The instrumentation on the album is first rate, which is a complement to Hizer’s own skill and to some great musicians coming out of Nashville. Hizer has added expected layers of drums, electric guitar, piano and organ, bass, and even Kenny Hutson’s pedal steel and T.J. Klay’s harmonica on a tune or two. But it is the inclusion of strings that sets his work apart from standard Nashville fare. And it is not fiddles, but violin, viola, and cello. There is even a touch of vibes and glockenspiel. Not every song has these embellishments, but they are used on certain tracks to good effect.

Hizer’s vocals are strong for the most part, often with an echo of Jim Croce. However, there are some rough spots in delivery. There is a slight strain on the falsetto on “Time to Say Goodbye,” but it works with the emotional tone of the piece.  Unfortunately, the vocal work on “Falling Down” is an odd mix, including some rough falsetto that drops to a bass note in an odd place. That is really a shame since the song has something to say.

There are only two country-type tunes on the album. “I Will Be There for You” is a lovely sentimental tune that Clint Black would be lucky to record. “The Ballad of Joey and the Bottle of Booze,” though having a country feel, is more reminiscent of Loudon Wainwright than Kenny Chesney.

The latter part of the CD has some flat-out winners. The showpiece of this album is the gospel/roadhouse tune, “Searching Outside of My Soul.” T.J. Klay’s harmonica is more country blues than Chicago or Delta blues. But here everything works well, especially Hizer’s vocals that are straightforward and midrange.

Equally, “Let Me Fall on You,” a warm tune about a strong relationship, is near perfect. Hizer’s delivery is spot on, and Margaret Coleman offers tight background vocals that underline the relationship Hizer is writing about. The song echoes G. B. Leighton’s “Wings Working Overtime,” though I think Leighton’s is the stronger of the two—but then he’s been in this business for about as long as Hizer was a lawyer. That experience shows.

Then there’s “Some Things Never Change,” a truly polished gem. This tender song of an aging loved one is moving but not maudlin. It is a tune that could have come from a Broadway show, not one that was bigger than life or pretentious, but one with heart such as Big River. In fact, this song tends to generate the feel of Roger Miller’s “Worlds Apart” from that musical.

The writing is equally strong, capturing the loneliness of independence, hurtful partings, lost love, and old memories. Gabe Hizer’s Persistence of Memory is a strong debut for an artist who has something to say and can say it well. Time will smooth out the rough spots, making this artist certainly one to watch.

Review by Janie Franz

Janie Franz, Reviews Gabe Hizer, Persistence of Memory

College freshman Ryan Buck has taken a bold step in releasing his first album of original songs, with a title that is a mouthful. Called Ubiquitous, the album at once tries to present itself as being bigger than it is. The term ubiquitous means “being everywhere at all times.” Here the implication is that the songs either could fit any circumstance because they have universal themes or that they have no genre and could fit into any musical style.  The latter may be Buck’s intention, though, for the most part, the songs fit into college singer/songwriter Americana.

On the album, Buck plays acoustic guitar, keys, drums, and a fuzz-busted electric guitar solo on “Come Back to Me,” which Buck co-wrote with Bryan Wertz.  He is supported by Joe Wilkinson on bass and Joy Zimmerman on violin.

The eleven songs on the album are naked for the most part, guitar and vocals with little embellishment. What is included supports the songs well. “Let’s Go Far Away” is made all the stronger by background vocals from Eli Chamberlain, Alex Holsinger, and Joy Zimmerman of the group On the Record.

There are some interesting touches. “On the Horizon” has a Donovan drone. “Running,” with its talky Broadway musical vocals and piano work, captures the feel of a leisurely run. And “Happy Song” is, well, happy.

Though the album reflects Buck’s growing facility with words, melodies, and instruments, it also reveals his lack of  experience. A lot of the melody lines are similar with little variation between songs, and some of the writing is often naïve.

However, there are two pieces on the album that are outstanding and show the remarkable potential of this Buck. “October Morning,” a tune written in reaction to the brutal slaying of Matthew Shepard, has intelligent, sensitive lyrics, and his vocals are enhanced by his guitar and piano work and by Joy Zimmerman’s lyrical violin. It is a moving, well-produced track. Equally strong is the solo piano tune “Open Mind.” It is a moody jazz piece with interesting textures that are pure genius. Those two tracks alone are worth buying the album and putting on a permanent loop in an iPod.

Though Ubiquitous may not send listeners into a mad quiver of ecstasy, it does showcase Ryan Buck’s potential. At this point in an artist’s career, it is understandable to want to record everything he or she has written.  Once Ryan Buck has developed a more extensive repertoire, he will cull gems like “October Morning” and “Open Mind” from the lot and produce a truly remarkable CD.  It will be interesting to see what the future holds for this young artist.

Review by Janie Franz

Janie Franz, Reviews Ryan Buck, Ubiquitous

I was having one of those days where I saw clouds amid sunshine and drug my feet about listening to yet another emerging artist who didn’t understand his craft or have anything to say. I put in Jes Raymond’s debut album, Even the Trees, in my player, and was healed. She offered me just the medicine I needed for my spirit. An extremely talented songwriter and singer, Raymond brought me a musical cure uprooted from deep in the mountains of North Carolina where she studied music, tempered and transmuted across this wide country, until she decanted it out in the Pacific Northwest. In 11 songs of love, hope, dreams, and promises, Raymond crafts disarmingly simple images that hold a clarity that is ripe with meaning.

I must offer a disclaimer here first. This is not just a happy, trippy album. Yes, some tracks are bouncy and a couple even make me hoot and holler, but others are thoughtful and poignant, and one even made me cry. Music that heals the spirit can make you dance or laugh, but when it does its best work, it also moves your heart.

For this album, Raymond is supported by an array of backup musicians that she uses sparingly, only adding the bare minimum of embellishment that will underline her lyrics and her guitar. Some are quite sparse and some enjoy the talents of a full band. Unfortunately, the liner notes do not lay out who plays on what tracks. However, some instruments are only played by one musician and are clearly identifiable on the tracks in which they appear.

Sean Bendickson adds drums and electric bass, while Alan King plays upright bass. Charlie Beck and Ben Sidelinger play banjo on a couple of tunes, with Sidelinger also contributing dobro on a couple of others. Yusuf Kilgore plays guitar, Morgan Alstot is on drums, and Jeff Rygwelski adds harmonica. Additional backup vocals are deftly rendered by Kate Graves and Sarah Sample.

Jakob Breitback, from The Blackberry Bushes Stringband, a side project that Raymond also plays with, adds a nice fiddle throughout several tracks but is especially sweet on “Even the Trees.” That son is beautifully rendered with a lovely backup harmony by Eli West. The vocal blend is excellent.

Tom Russell ’s klezmer clarinet is an unexpected touch, when it first appears on “Eliza Crossed the Ice.” But he does a nice interplay with Sidelinger’s dobro and a banjo on the cut “On the Road.”

One of my favorites is “Red White and Blue, “a bluegrass tune with guitar, bass, guitar, dobro, and female backup vocals. Raymond juxtaposes this conservative musical form with inclusive progressive liberalism. She writes: “Red, white, and blue/this is our country, too.” You go, girl!

But it is the last track, where some bluegrass performers often place their gospel song, that has the earmarks of becoming a folk classic. “Stand Where He Stands,” enhanced by guitars and fiddle and Raymond’s plaintive voice, presents a tender, honest tribute to her father, who could be a hard man and who didn’t understand her. Yet, her rendering of him and his circumstances shows her own deep understanding of him and the dreams he left behind. The beginning and end of the song tell of a shared interest, watching red birds in the snow that binds them now, though estranged and apart. This one song is worth more than the price of the album. And for that alone, I am grateful I have Even the Trees in my hands.

You can be sure; I will keep Even the Trees next to my player when I need a boost to my spirit. I would highly recommend this album to lovers of well-crafted tunes. Raymond has earned her right to follow in the footsteps of songwriting legends like Tom Paxton, Gordon Lightfoot, and Joni Mitchell. I look for a lot more from Jes Raymond.

Reviewed By Janie Franz

Janie Franz, Reviews Even The Trees, Jes Raymond

Listening to Todd McNeal’s debut album, All My Good Intentions, you wouldn’t know that he was a classically composer who wrote operas. The album is very definitely mainstream with pop and jazz influences and is radio-friendly. Sometimes moody, sometimes upbeat, the CD is uncannily beautiful.

Todd McNeal, a British national who trained at the University of York and the Royal Northern College of Music, earned the respect of his classical peers with his early work. His “Inspector Otto and the Long-Haired Bicycle Maniac” (1992) won the English National Opera competition New Visions New Voices, following his opera smash “Virtual Reality,” written for the National Youth Music Theatre and performed at the London International Opera Festival two years before. From his intriguing titles, non-opera buff as well as opera fans can see that McNeal has been re-visioning opera for the twenty-first century.

As McNeal broadened his musical awareness, he began to write for musical theater, score film soundtracks, and write stand-alone tunes for a wider audience. He collaborated with British writer and actor Jane Scott on the musical, Grace and Favour, a dark, but witty, contemporary fairytale that was produced for the stage last year. His instrumental work has been heard in a number of British and Australian independent films. But it is his pop tunes that may bring him not only more recognition but a longer shelf life for his work.

Pulling together ten songs (plus a bonus track) into All My Good Intentions, McNeal has dipped his toe into music industry waters and may be poised to become an Aussie Billy Joel. Unlike Joel, however, McNeal doesn’t sing. He wisely chose British singer Emma Lewendon to be the voice of his lyrics. On the album, she does the lead vocals as well as the backing ones. Lewendon breathes life into these lyrics, adding heart and spirit. Another singer or type of singer would certainly produce different effects, ones perhaps McNeal didn’t intend. But his choice here is spot-on.

This album is a carefully produced package that highlights Lewendon’s sultry vocals and McNeal’s thoughtful piano and keyboard work. McNeal’s choices are minimalist, sparingly using Australian jazz talent Lawrie Thompson on drums and David Ellis on acoustic and electric bass. Two guest musicians also appear, again for their singular touches. Graham Jess’ flute on “Black Dog” adds mood to the piece.  He returns on “Star” and joins Peter Kartu on trumpet. These touches make the album sparkle. 

All songs on the album are written by Todd McNeal, except for two collaborations. Tom Green provided the lyrics on “Twice Its Weight in Gold” and Aidan Matthews does the honors on “Star.”

Though each and every track is pure magic, I was very impressed with three cuts. “Ride the Waves” has a Dave Brubeck and Astrid Giberto quality but with McNeal’s definite hand, and “Bird with the Burning Wings” offers jazz-laced bass and drum/cymbal additions to the ever-present piano, creating a piece that richly conjures myth, symbol, and a prophetic sense. The last track, before the bonus reprise of “All My Good Intentions,” is McNeal’s  “Let It Go, Brother.” Almost a hymn or a pivotal song from a drama, it stands as a prod to shake off our pessimism and anger. Very nice.

All My Good Intentions is a well-crafted debut album from a songwriter that the musical world will soon be raving about as long as Todd McNeal keeps writing and producing work of this caliber.

Reviewed By Janie Frantz

Janie Franz, Reviews All My Good Intentions, Todd McNeal

Lisa Hugo’s third album, It’s Time, brings this Australian native’s lively voice to a wider international audience.  Lisa began her musical career at age eight, playing piano in her first solo performance that was heard by 400 people. That’s a remarkable feat for even a seasoned artist trying to bring their music to listeners.

Though she could have turned to classical piano, Lisa discovered that she had a voice that audiences perhaps enjoyed more than her playing and so was trained at the Australian College of Entertainers, where her three octave range was cultivated. This launched her into television, theater, and film, and made her a draw at high-end hotels in her country. In 1994, she headlined her own show on cruise ships and then recorded her first CD of her own songs called, Don’t Let Go, a year later.

During the latter half of the 1990s, Lisa played 5-star hotels in the grand cities of Europe and Istanbul Turkey. When she settled in Hamburg, Germany, she recorded her second album, Natural, and played regularly in her solo act as well as with a band she formed called the Urban Pop Ensemble.  In 2004, Lisa moved to Belgium where she taught voice and gigged with a new band called Lushlive. Janos Bruneel (bass), Pieter Vandergooten (drums), and Dirk van der Linde (guitar and Hammond organ) offered the instrumental support she wanted that complemented Lisa’s piano work and her voice. They provide the restrained backdrop for Lisa’s new album, It’s Time, which was recorded in Belgium. Today, Lisa is based in Dubai, UAE, where she is writing new music and coaching young voices, as well as gigging in the region and back in Europe.

It’s Time is an 11-song album, composed of Lisa’s songs and three covers. Her rendering of the Stevie Wonder tune, “Blame It on the Sun,” is delicious. Her voice against her piano touches and Dirk’s contemplative acoustic guitar is exquisite. She also turns the rocking Joe Cocker’s hit, “The Letter,” into a torch song. The band’s backup is tight and hits more of a jazz note. It’s tasty. But it is the Eva Cassidy tune “Time Is a Healer” that shows Lisa’s range in style. Here she takes on the soul singer style and does it with a grace that even Aretha Franklin would smile at.

Hearing only those songs, some critics might just write off Lisa Hugo as a great technician of other people’s music. Though she adds her own touches to these tunes, it is certainly her own songs that show Lisa’s true talent.  She writes of relationships and inner discovery that anyone, man or woman, could understand. Her initial track, “With You I Can Be Me,” sets a tone of freedom in a relationship—and perhaps an attitude about life—that pervades the entire album. And it isn’t just about her. Lisa’s song, “Lovin’ You,” is about clearly about the object of her love having freedom and the intensity of her love.   She continues that unconditional love in “Oh, My Baby” and “I’m Gonna Miss You.” These songs could be about a lover or a child. That’s clearly the case in “Butterfly,” which echoes an intense parental love while underlining the need for freedom to grow and become. “Find Myself,” like the initial track, echoes the power of a relationship to foster growth and change.

Lisa puts another spin on this quest for freedom and personal growth in “Please Try to Understand.” It’s a poignant plea for understanding between two people when one grows faster than the other. It is a tender song with just bass and cymbals in back of Lisa’s lovely voice.

The album closes with “Strong at Heart,” an encouraging story about perseverance.

It’s Time presents upbeat tunes and thoughtful songs that uphold love and foster personal growth and discovery. It is most definitely an album for the twenty-first century that speaks to lovers and parents and women, in particular, though the songs will find appeal across gender, geography, and musical genre. Lisa’s voice delivers every nuance and the members of her band make sure what she has to say is underlined but not overshadowed by the power of their own talent.

Reviewed By Janie Franz

CD Review Writers, Janie Franz It's Time, Lisa Hugo

Rob Paparozzi’s title and cover art for his new album, Etruscan Soul, may lead a few listeners astray, especially those unfamiliar with his work, as I was when I first slipped the CD out of its jewel case and into my player. What came out of my speakers was old-school blues, thumping rock, and some great soul—and all done expertly, right up there with the legends Paparozzi was covering. I decided then that I needed to do a little digging as I listened to track after track of some of the finest blues harmonica work and rock/soul singing I’ve heard in a long time.

Paparozzi has been plying his harmonica chops and voice for the past four decades. He’s played with a whole host of musical greats across a wide range of genres. He’s done rock work with Cyndi Lauper and Bruce Springsteen and taken on the pop arena with Culture Club,Whitney Houston, and Roberta Flack.  Then, he’s moved into blues with  B.B. King and Dr. John, and then got into Irish music with  James Galway and added his licks to singer/songwriters Carole King and Randy Newman. Paparozzi has ventured into jazz realms and even into country areas where he appeared with Dolly Parton and George Jones on late night talk shows.

He’s been touring with the Original Blues Brothers Band and been singing with Blood Sweat and Tears since 2005.  When he’s back home in the Jersey/New York area, he gigs with his own band, The Hudson River Rats, some of whom support him on Etruscan Soul. Those very talented musicians  playing here are Ed Alstrom (Hammond organ), John Korba (piano),  Bernard “Pretty” Purdie (drums), George Naha (electric guitar), Chris Eminizer (tenor sax), and Bailey Gee (bass).

Paparozzi’s musical talents have also graced Broadway in SRO shows such as Big River and The Will Rogers Follies. He’s also done work with two films, Flirting With Disaster and Ride, and even some TV programs, including the Bill Cosby Show, CBS Early Show, Conan O’Brien, and David Letterman’s Late Show.  I suddenly realized that I probably heard him playing on commercials for Scotch 3M BLUE tape, KFC, Pizza Hut, Maxwell House, Wendy’s, Lincoln Mercury, Stouffers, Dodge, Ford, Coke, Pepsi, Dominos, and Tylenol.

As I read the liner notes and discovered more about Paparozzi and this album, it came as no surprise then that fellow Hudson River Rats band mate John Korba decided to produce Etruscan Soul. Korba, used to tour with Hall & Oates and currently is gigging with John Waite and Phoebe Snow, as well as playing in his own band. Korba, like Paparozzi, has been around the block and has played with or recorded with many A-list artists, including Todd Rundgren, Carly Simon, and Chuck Berry. Korba also has been the Associate Conductor of several Broadway shows, such as Rent, Civil War, and the  Rocky Horror Show. In addition, he has a solo CD out called No Turning Back that was released in 1993.

Another Hudson River Rats band mate, guitarist George Naha, has gigged or recorded just about with everybody it seems. He’s done work with Bill Doggett, Livingston Taylor, Duck Dunn, Mick Fleetwood, Roy Orbison, Melissa Manchester, Bernadette Peters, Willie Dixon, Wilson Pickett, Junior Walker, and Sam & Dave.  He has some serious connections that appreciate his killer chops.

As Korba and Paparozzi began putting this album together, they brought in some killer backup singers, a horn section, and a ton of guest artists to fill in on drums, guitars, and bass. But one special guest’s appearance alone is worth buying this album (though, I guarantee blues and rock artists will not be disappointed with Etruscan Soul). Phoebe Snow adds her pipes to Delbert McClinton’s lyrics on  “Monkey Around,” producing quite a tasty repartee with Paparozzi.

Though Paparozzi says he’s written a few songs throughout his career, he consciously chose to his own arrangements of some his favorite songs. Etruscan Soul then is a buffet of fine tunes done up with Paparozzi’s blues tough. His renderings of Allen Toussaint’s “I’m Gone” and Quincy Jones’ “In the Heat of the Night” are stellar, ripe with all of the passion and soul these songs intended. Ed Alstrom’s organ is intense on “In the Heat of the Night.” Very tasty, indeed.

I did find Paparozzi’s tinkering with Stephen Stills’ “Love the One Your With” interesting. The work moves all around the original melody, but it still comes out as a very fine rock/jazz tune.

Then there are his vocals on the Elton John-Bernie Taupin favorite, “Border Song,” which offers a fresh look at this material that adds an emotional depth to the song. And the backup work Vanessa Thomas and Antonique Smith do here is outstanding!  The harmonica additions, though thoughtful and musically correct, are an addition that I felt, as someone who grew up on this Elton John-Bernie Taupin gem, to be intrusive.

To give Paparozzi credit, though, he is experimenting with trying to merge some of the pop sounds of the harmonica (that for me solidify into the kitsch of the Harmonicats who were more novelty act than  serious musicians to me) with rock, blues, and soul. Sometimes it works—and, well, sometimes it doesn’t. Paparozzi tips his hat overtly to the Harmonicats’ 1947 best seller,  “Peg of My Heart,” when he slips in a short track, done up much like these players, as an intro to the Steely Dan blockbuster “Peg.” It works because it’s a separate track, yet the track comes very unexpectedly unless you read the liner notes.

Yet, Paparozzi returns to another pop harmonica rendering in “Body and Soul” It works but I did prefer the next track, Keb Mo’s “Keep It Simple,” which he delivers with style and wit.

Moreover, Paparozzi’s harp work on the Cream tune “Strange Brew” produces a bluesy grunt that makes this tune shine. Normally, it’s the guitar whine (coming from Eric Clapton) that highlights this song, but Paparozzi’s harmonica with his addition of throat and cheek sounds turns it into a very unique and very tasty rendering.

Then Paparozzi goes naked on Randy Newman’s “I Think It’s Going to Rain Today.” It is pure Newman, recorded simply with just Paparozzi’s vocals and piano. Sweet!

For me, though, I thoroughly enjoyed Paparozzi’s blues harp and his gutsy singing that permeate the album. His versions of Sting’s “She’s Too Good for Me,” the R&B tune “Let Them Talk,” and blues tune “Love and Peace” allow Paparozzi’s voice to shine through and the harp is just there for that underline that is needed.

All told, Etruscan Soul may have come from Paparozzi’s own northern Italian roots but is solidly ground in American blues and rock and roll. Very highly recommended.

Reviewed by Janie Franz

Janie Franz, Reviews Estruscan Soul, Rob Paparozzi

Want to Want To is a totally one-man project, being written, performed, produced, engineered, and recorded by Adrian Heath in his home studio. Heath has handled the project with precision. The album is well-balanced, allowing the instrumentation to underscore the feel and meaning of his lyrics and his voice, which carries the work well.

Review

English-born, newly transplanted Australian singer/songwriter Adrian Heath has launched a fine solo album, Want to Want To. The nine-song album is totally self-produced. All songs are written, engineered, and produced by Heath in his home studio. He also plays all of the instruments, except drums and percussion for which Jon Howell does most of the duties. There are a guest musicians and backup singers. Through it all is Heath’s pure rock/pop vocals and his lyrics. It is an ambitious undertaking, but Heath has handled the project with precision. This is no overproduced or under-produced CD. It is well-balanced, allowing the instrumentation just to underscore the feel and meaning of his lyrics and his voice, which carries the work well.

The initial track, “Old Guitar,” sets the mood for the rest of the album. The bouncy but laid-back feel of this love song is enhanced by Kyrie Miskin’s trombone, which adds more whimsy. This is characteristic of Heath’s willingness to craft instrumentation on a track that enhances a song, rather than gets in the songwriter’s way. That isn’t necessarily a quality most songwriters  have who produce their own work. Too often the lyrics are muddied by every bell and whistle in their musical toy box. 

That kind of editing is most notable in the thoughtful “Sail On” that follows. It has crisp acoustic guitar fingerwork, well-placed drum beats used sparingly, a droning harmonica, and Heath’s own voice overdubbed as backup.

Heath works his magic again on “Live Life,” a song that encourages living in the moment, making the most of our time here. It is a pensive tune that is brightened by the backup vocals of Heath’s 9-year-old daughter, India, and eventually turns into an anthem of hope. It’s placement, as is “Old Guitar” as the first cut, is well thought out. Track 3 is usually the place most producers put their title cut (here Heath moves it to the fourth slot.) and this serves this song well, revealing that Heath is less about ego and more about what he is trying to achieve with this album.

The title cut, “Want to Want to (David Helfgott’s Smile)” boasts a theremin in the background. (That’s an instrument I haven’t heard since my son’s band Zen Mothers recorded and toured with one—or I watched an on sci-fi B movie.) It isn’t overwhelming, just a touch of this otherworldly sound, that doesn’t detract from Heath’s instrumentation and his lyrical allusion’s to pianist David Helfgott and the challenges of truth in this upbeat tune.

“Whirlpool,” which may be the most atmospheric of the lot, is a jazz-based track with Pete Timmerman’s brush and stick work on drums, Dave Blennerhassett’s moody bass, and Richard Jansson’s touch of flute that complement Heath’s guitars, his dual vocals, and his trumpet.

“Sun Don’t Shine,” though similarly thoughtful, boasts some lovely guitar fingerwork that, once again, just supports the lyrics and makes the track sparkle.

Then Heath turns to the mystically in “Marian,” a song about an encounter with a South Asian seer in Thailand. His treatment of overdubbed vocals and other vocal enhancements have created a sound drama on this track that allows the listener to grasp who says what—plus it adds another texture to the piece. This song is an echo back to Heath’s years of traveling the world, even playing at the Dali Lama’s Summer Palace in Lhasa, Tibet.

But “Half Light” is more of a standard singer/songwriter arrangement, but with Health’s special touch. Jon Howell’s drums lay the foundation for this song as Heath layers tastes of Martin Hailey’s electric guitar and Kyrie Miskin’s trombone with his own harmonica work and vocals. He also adds the lovely voice of Gemma Deacon, blending well with his own.

Want to Want To concludes with “Like a Storm” that is a naked cut with just Heath’s voice and guitar, allowing his simple words to carry a deeper spiritual message. There is the hint of something like a synthesizer or a violin underneath the track in places that just adds fullness. Neither instrument is listed on the liner notes, but since Heath began on piano as a child, it wouldn’t surprise me to find he’d added synth to the mix.

Want to Want To is an exceptionally fine debut solo CD for Adrian Heath. The instrumentation and production is superb, but what makes this album so special is Heath’s lyrical voice and his songs. The lyrics are solidly written, but allow enough poetry to seep in to make them ripe with deeper meanings. I look forward to much more from Adrian Heath.

Reviewed By Janie Franz

Janie Franz, Reviews Adrian Heath, Want To Want

Formed in Rio de Janeiro in 2007, the acoustic duo Rice ‘n’ Beans offers a contemporary twist on British folk rock of a half century ago. Their self-titled debut album serves up a full plate of original tunes that deal with anti-war messages, social consciousness-raising tunes, and relationship songs. Mark Archer and Peter Napthine, both skilled guitarists, also switch vocal leads with the other singing back up. One of them also adds color to some of the tunes with a touch of harmonica.

The album’s press touts the range of material as folk, rock, blues, and pop music of the US and the UK. Frankly, I was expecting more of a blues album, especially with a title that evokes New Orleans and Delta blues.  What I heard, though, was much more folk-rock and pop with some toe-dipping into blues that should have been full out plunges into those deep waters. The musicians have technical skills to attack something of that nature—even British Mick Jagger and his fellow Stones bandmates fully embraced this genre. Rice ‘n’ Beans does pull off some very solid guitar solos and consistently offers an instrumental footing for the rest of the work, especially in “Walk Silently.”

Some of the best work on the album is rooted solidly in British folk. “Blinking of an Eye,” for example, has touches of early Donovan, as does “Not A Lot Else,” a bittersweet track, which seems to sustain that Donovan feel throughout the entire track. “Walk to the Rhythm,” interestingly, adds harmonica to add a little spice to the British folk feel.  And “Grow Into Your Love” is a nice guitar/vocal tune that is enhanced by the guitar solo work in the middle. 

Vocally, Archer and Napthine are strong singers, but they have very different vocal styles. One is very definitely British and the other sounds more American. Their blend, though, is spot on—something that is often very difficult to achieve outside of blood kin who sing together—hence all of those brothers and sisters singing groups of the 40s and 50s.

I was especially enamored by “Lie Awake” because of its moody atmosphere and the haunting vocal delivery.  Then there’s “Someone Left Behind,” which melds American folk with its British counterpart.  Archer and Napthine trade verses on this one, with both gelling into a delightful harmony on the chorus.

Though I am a child of the folk experience in America in the 60s and 70s, I thought I’d never suggest that an artist should put more production into an album. However, in this case, I think that the addition of other musicians, especially a bass player or even a hand drums player, would kick this album up a notch. The guitar work on some of the tracks is thin, especially the two initial cuts and for most of the last one, which is mostly strumming. However on other cuts, the guitar work is a very exciting collaboration between the two skilled musicians, especially on “Shuffling On (Burned Out).” 

Lyrically, the duo produces some tightly written tunes. A lot of their messages, however, seem to get lost in their smooth delivery, which tends to lull listeners into a good mood instead of perking up their ears to pay extra attention to the words. That is especially true on their last cut, “Weather the Storm,” which urges a personal commitment to save humanity and to join with others making that same commitment. Like the first two cuts, the guitar work here is basic, purely supportive for the song, and is highly reminiscent to the social consciousness and anti-war songs that came out of the Hootenanny era. Those made statements, but they could also get lost in the midst of so many others singing protest songs. Today, with the sophistication of music listeners, I’m afraid much of what Rice ‘n’ Beans is trying to convey will not be heard or understood because of the retro effect of their music.

It is my hope that they will continue to write and play live concerts, perhaps adding a couple of extra musicians to support what they do.

Reviewed By Janie Franz

Janie Franz, Reviews Rice 'N' Beans

Bill Bachmann has been rubbing elbows with some of this country’s best songwriters and holding his own. He’s opened for Dave Van Ronk and the incredible talents of Steve Goodman, both gone too soon from this earth, and shredded his share as lead guitarist with George Gerdes and His all-Male Vegetarian Orchestra, the Rod MacDonald Band, Paul Siebel (“Louise” that’s been recorded by everybody including Bonnie Raitt), Klezmer clarinetist/newgrass mandolinist Andy Statman, and David Massengill (“On the Road to Fairfax County,” recorded by the Roches and Joan Baez).

However, it is Bachmann’s wit with a lyric that has caused more of a stir than his undeniable skills at guitar. His clever song, “Vacation,” has been recorded by Shawn Colvin, Lucy Kaplanski, Christine Lavin, and others and was included in a Smithsonian Folkways Recordings CD called “Fast Folk,” along with material from folk legend Dave Van Ronk.

That song also is included in Bachmann’s debut solo CD, Big World Out There, which showcases this songwriter’s way with words. The album is a mix of some very clever and extremely funny tunes mixed with only one or two more sensitive songs. There are great vocals by Bachmann and Alyssa Bachmann who sings on five songs, including “Vacation.” And, of course, there is a large helping of Bachmann’s signature, extremely tight guitar work.

The album begins with the title track, a tune about music that’s almost a prelude to the CD or maybe an intro to one of his live shows.  Then, it moves into what could be a real downer, “Just Shoot Me I Hate My Life I Wish I’d Never Been Born Blues,” but is saved from angst by a terrific slide guitar and some pretty absurd blues images that are heavy on hyperbole, serving up blues that is bigger than life, but with a twist. 

Still on a somber note, Bachmann serves up “Bad Blood,” a waltz tune about tortured relationships, as he sings: “Bad blood never runs down the drain/It just circles around/leaving rings that can stain you with love.”

What follows this are a series of songs, moving between the upbeat and absurd to the thoughtful. Among the funny tunes is “Closet Closet,” another blues parody, but very light and stuffed full of puns about a closet. “Vacation”is one of these lighter tunes. It starts out as a spelling song where each letter of the word Vacation is highlighted, then it moved into an alphabet song. The whole thing is done up jug band fashion with a kazoo.

“This Band Was Your Band” relies heavily on the Woody Guthrie tune, “This Land Is Your Land,” to carry the lyrics that are about the Beatles. The introduction, though very nice, doesn’t have much connection with Woody’s melody so I wondered why it was even added. It could have been made into an entirely different song. 

Another absurd song is “Giant Can of Paint,” a fun, bluegrass song that must have been taken from the Sherwin-Williams paint logo of a giant can of paint pouring over the world.  In this one, the singer talks about now his grass has turned blue and that has all sorts of other connotations.

Two other novelty songs are “So Much Time, So Little To Do,” a clever look at laziness with a jug band feel, and “This Song Is Called This Song Is Called,”a bluegrass tongue-twister, rife with puns, with Bachmann on mandolin and Alyssa offering up lively backup vocals.

And then there is “Reds That Cincinnati Came to See,” that has slick guitar fingerwork and is a study on the word Red.  The tune is based on “Blues My Naughty Sweetie Gives To Me,”

Bachmann does know how to handle more serious subjects.  “A More Perfect Union” is a love song to America with harmonica and a synthesizer that sounds at times like a chorus and like a piano at other times.  “The Ballad of Townes Van Crier and Pasqualina” is a country talking blues with a lot of  song  references embedded into the lyrics, and “One Great Date” is again a clever look at a relationship.

While “It Won’t Be Long” offers an apocalyptic tune, it unfortunately isn’t as well delivered vocally as his other work on the album. But it is “Upstate Towns” that seems to be a real diversion from the other material on this album. It is a very moody, sometimes almost Spanish, theatrical piece, that is so different it is glaring in its uniqueness. 

I really appreciated Bill Bachmann’s guitar work and his skill as a songwriter in Big World Out There. I did feel, though that some of the work may have been overproduced slightly and some of the songs may have been overwritten. I’ve always felt that the best songwriters are those who can bridge the chasm between novelty and seriousness. For example, Jimmy Buffet and Brent Burns, who both have made their living playing to live crowds who come to have a good time and not to have to think, have been able to step back from that and produce a song that doesn’t need lyrical gimmicks such as “Come Monday” (Buffet) or “Build Them a House” or “No Cane, No Pain” (both by Burns).

My guess is Bachmann does his best work naked with few bells and whistles in what you would see in a live show.

Reviewed By Janie Franz

Janie Franz, Reviews Big World Out There, Bill Bachmann

Jazz and jam fans, may I introduce you to the profoundly talented SE Kim and the SE Kim Trio. This is one jazz guitarist who will be soon crowding jazz greats such as John Scofield and rock guitarists such as Keller Williams from their well-earned pedestals. A graduate of the Berklee College of Music in Boston where he studied jazz and the New York University where he earned a Masters in jazz performance, Kim is a bright new talent on the East Coast. 

Like many young guitarists, Kim was first influenced by rock and blues, which coaxed him to pick up the guitar at 15. Today, those stylings still creep into his work. But it is his deep devotion to jazz that has allowed him to expand his musical palette with restrain but with some emotional daring.

On his debut CD, Moment, Kim’s exceptional guitar work is supported by two equally talented musicians. Creative bass work is handled by Woo-Young Kim, and inventive drumming is produced by Nick Anderson. The seven tracks, all Kim’s compositions, are definitely not ego-driven guitar exercises that leave his bandmates in his shadow. There is a very definite sense of equality in the performance as if Kim built in places where the other members of the band could shine—or, in the custom of jazz, he allowed his bandmates a bit of latitude in fleshing out his work. That call can’t be made from listening to the CD, but would have to come from Kim himself.

“Night Light,” in particular, has some very tasty drum work. But even it is thoughtful and added as beautiful enhancements instead of Gene Krupa grandstanding. For that reason, Anderson is really a drummer’s drummer because he listens well.

Many tracks, including “Maybe It’s Better This Way,” also let Woo-Young Kim’s bass resonate. It is not just as another rhythm instrument to keep the band on track, but adds a distinctive voice, almost as another guitar voice, filling in areas in between what Kim does on electric guitar.

The track, “You Are Free to Go,” is more about ambient guitar with counterpointal touches of drums and cymbals. This time the bass is a drone in the background allowing this conversation to occur between Anderson and Kim. That’s quite usual because many times guitarists will “talk” back and forth with their bassists or a horn player, but not with a drummer. During part of this conversation, the bass steps back and let’s all of this take place. Frankly, I’ve never heard anything quite like this in jazz circles or in jam circles, where just about any kind of musical conversation is permitted.

Moment is definitely not a CD to showcase Kim’s guitar, just allowing the bass and drums to support his noodling. This is most assuredly a well-crafted album of complete compositions for a trio. And, it is executed by three young talents who will soon become jazz and jam masters. The next step is to get this trio on the road, playing at festivals and other venues where fans listen as closely as this trio does to each other and who will be eager to groove with their inventiveness. 

Reviewed By Janie Franz

Janie Franz, Reviews Moment, SeKim Trio