Month: November 2007

Levin is a keyboard specialist who for the past few decades has played with the best in the business, including Paul Simon, Miles Davis, John Scofield, Robbie Robertson, David Sanborn, and plenty of others. On this set he concentrates on Hammond organ and lines up two of his favorite guitarists to simulate an old organ trio. Joe Beck is one of the real giants of fusion, and has made fine records. He’s an incredible player, as his five cuts here attest. His comping and be-bop attitude help Levin translate Steely Dan’s “Deacon Blues” into a hard swinger. “Uptown” is highlighted by minor-key soloing with octaves bouncing off the wall. If you want an idea of how good he is, harmonically, check out “Mean to Me,” where he mixes incredible chord soloing with single lines in a way most guitarists would only dream about. And Levin turns his original “Might Have Been” into a vehicle for Beck to show off a bluesy side that remains melodic.

The other guitarist is Mike Demicco, whose wonderfully imaginative playing helps turn the Beach Boys’ classic “Sail On Sailor” into a natural adaptation. Demicco’s original “Eclipse” is a hard bopper that finds him playing around the changes about as well as anyone. It’s the perfect demonstration of chops. He also shows his ballad skills on Erik Satie’s “First Gymnopedie.”

Overall, this is a hard-driving set that features Levin, his brother, Tony, on bass, the two guitarists, and drummer Danny Gottlieb in a relaxed session that lets everyone show their skills.

This article originally appeared in VG’s Apr. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

This Long Island quartet had already undergone several personnel changes since its formation in 2000 before a car wreck killed drummer John “Beatz” Holohan and severely injured bassist Nick Ghanbarian. Guitarist Jack O’Shea and lead singer Anthony Raneri (the only original member left at that point) pressed on as a duo, resulting in last year’s Acoustic EP.

With Ghanbarian back in action and Christopher J. Guglielmo ensconced on drums, the band teamed with Kenny Gioia and Shep Goodman – producers of its self-titled sophomore release, as well as albums by Lee Ann Womack, Mandy Moore, and Hall & Oates – for this, the group’s third full-fledged studio effort.

The 12-track result has all the goods to take Bayside from press darling “alt” rockers to the majors – smart, concise lyrics, memorable melodies, and, most of all, energy to spare. Nirvana and the Smiths are obvious influences, but the band’s identity is as strong as the material; for starters, Ranieri succeeds by not trying to ape other singers or affect a theatrical voice – the one he’s got is more than strong enough.

Likewise, O’Shea is equally adept on blazing lead, hooky fills, or rhythmic textures. Sonically, Gioia and Goodman make the most of the tight, perfectly matched rhythm section of Ghanbarian and Guglielmo, who simply kick ass. Despite the adversities, Bayside has clearly come out on top.

This article originally appeared in VG’s Jan. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

When he was 25, Bobby Broom was picked by jazz legend Kenny Burrell to be part of his Jazz Guitar Band, whose stint at New York’s Village Vanguard resulted in two albums. By then, Broom had moved from his native New York to Chicago and already logged sessions with Dizzy Gillespie, Stanley Turrentine, and Sonny Rollins.

He later held down a five-year stint with Dr. John, and reunited with Rollins for last year’s stellar Sonny Please, but Song And Dance is only his sixth solo album in the 26 years since his debut, Clean Sweep.

Choosing a trio format, with bassist Dennis Carroll and drummer Kobie Watkins, Broom kicks off the proceedings with a swinging take on the Beatles’ “Can’t Buy Me Love,” in the great tradition of jazzers reinterpreting pop standards. The tone from his Hofner Jazzica arch-top is warm, but still has plenty of definition, as illustrated on another pop cover, “Where Is The Love?”

Burrell’s influence is evident, but Broom’s biggest hero is probably George Benson, whose swinging phrasing and fanciful side can be felt on an uptempo jam on the Little Rascals’ theme, “Good Old Days,” of all things.

Broom’s originals blend into the program nicely, particularly the easy swing of “Coming Home.” But even on material that’s been done every which way – whether an evergreen like Charlie Chaplin’s “Smile” or Leon Russell’s (and the Carpenters’) ’70s hit “Superstar” – Broom’s arrangements are fresh and inventive. And Jim Webb’s “Wichita Lineman” provides an especially abundant palette for Broom’s explorations.

Hopefully, Broom can tear himself away from session work to continue on this path with a follow-up soon.

This article originally appeared in VG’s Jun. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Johnny Bush is a true Texas original and one of the best living examples of real honky-tonk music. Looking back on all aspects of his 50-year career, he cut much of Kashmere Gardens, appropriately, at Houston’s famed SugarHill Studios, as a companion to his autobiography, Whiskey River. SugarHill was the birthplace of hits by artists from the Big Bopper to Destiny’s Child.

Backed by singer/guitarist Jesse Dayton’s band on some cuts, Bush fronts Calvin Owens’ 15-piece Blues Orchestra on others, including the Ted Daffan classic “Born To Lose,” with the addition of a string quartet. Elsewhere, greats such as pianist Floyd Domino, fiddler Bobby Flores, and steel greats Tommy Detamore and Buddy Emmons provide the backdrop, and Bush’s old band mate in Ray Price’s Cherokee Cowboys, Willie Nelson, duets on Townes Van Zandt’s “Pancho And Lefty.”

Another honky-tonk legend, the late Floyd Tillman, joins in on “They Took The Stars Out Of Heaven,” with Johnny Gimble supplying electric mandolin, but the best track is Johnny’s duet with his brother, Rev. Gene Shinn, on the Bush-penned gospel number “I Want To Drink Of That Water.”

As the title of his book implies, Bush wrote Nelson’s hit “Whiskey River,” and here he returns the favor by cutting two of Willie’s best-known compositions, “Family Bible” and “Bloody Mary Morning.” Nelson, in turn, wrote the typically short and wry forward to the autobiography of the man he refers to as a “good friend, good drummer, good singer, good levitator.”

Needless to say, he’s those things (well, maybe not levitator) and much more. Here, Bush recounts his life and career in a manner as honest and straightforward as his music – from his dirt-poor beginnings to life on the road to the business side of music (including his view that Nashville has lost its country soul) to a debilitating condition that literally caused him to lose his voice.

Thankfully, that voice is back – on CD and in print.

This article originally appeared in VG’s Sept. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Jimmy La Fave joins other Texas singer/songwriters such as Guy Clark, Jimmie Dale Gilmore, and Townes Van Zandt in his ability to evoke the feelings and images of America hidden behind superhighways and shopping malls.

Cimarron Manifesto displays a musician in full command of his creative powers. La Fave’s deceptively simple vocal delivery and rich voice present songs with an honesty and power few can match.

And his physical abilities are matched by his songwriting skills. His song “Car Outside” evokes visions of restlessness and remorse bundled in bittersweet melody. Covers of Donovan Leitch’s “Catch the Wind,” Bob Dylan’s “Not Dark Yet,” and Joe South’s “Walk a Mile in My Shoes” join nine originals, and a simple measure of La Fave’s songwriting is that his own work measures up against the likes of Bob Dylan. La Fave’s song, “Home Once Again” strikes just as deep an emotional chord as Dylan’s composition.

Joined by John Inmon (electric guitar and lap steel), Andrew Hardin (electric guitar), Radoslav Lorkovic (Hammond and piano), Jeff May (bass), and others, La Fave plays acoustic and electric guitar, mando-guitar, baritone guitar and National resophonic guitar. He also wears the producer’s hat.

In a world chock full of artifice and illusion, it’s refreshing to discover new music that gets back to the basics. If you’re ready for music that embraces traditional values such as emotional honesty and lyrical style, give Jimmy La Fave a listen.

This article originally appeared in VG’s Aug. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Yes, PK is a bit odd – he admits it. While some folks can’t get past that, it’s hard not to get into his whacked take on traditional blues and country.

Healed is a bit different in that he uses other musicians to accompany him. You still get the slightly-off-kilter blues, great lyrics that fluctuate between funny, odd, sad, and deadly serious, and the voice from another dimension.

At this point you’re saying “what is he talking about?” Well, how many other blues songs do you know that start a verse with “I got the blues so bad I almost wet my pants”? It eventually works up to almost having to get a drink instead of wetting his pants, but you get the idea, and it’s sung in an acoustic country-blues with hellacious guitar and harp.

“At the Crossroads Mall” has Dwyer yanking our chain, with the help of some indescribably cool intertwining acoustic guitars. The charm of “Here Comes A Parade” is charming, with its country feel and anticipation. Then there are songs seemingly on the risqué side; “You Fill Up My Hole” is a hot boogie with a big acoustic sound, and “Inside Out” has a bit of a rag feel and a goofy lyric. Dwyer also pays homage to some of the blues greats on “Mt. Baker Blues.”

It’s fun when someone interjects something new into a genre. You might question the message, but in the case of Dywer, you needn’t question the messenger. His command of and obvious love for the music prove that he means what he says.

This article originally appeared in VG’s Aug. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.