Month: December 2010

Southern soul singer Julius Pittman, whose smooth vocal style brings to mind Al Green or Teddy Pendergrass, is a key performer, songwriter, and vocalist for the band that features Randy Moss on guitar.

In a time when it seems singers from “American Idol” finalists to Michael Bolton apparently believe a song has to be sung with abandon from the very beginning, it’s great to hear a more subtle approach like Pittman’s. There are more dynamics, clearer emphasis where needed, and plenty of room for tasty guitar fills. This, his debut album, has all in spades.

Backed by a full horn section, the band works through five original songs plus covers, including a fine rendition of Green’s “Tired of Being Alone.” Pittman isn’t well-known outside his base in the Virginia/DC area, but this could be his breakout.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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A hero of today’s Parisian jazz guitar scene, Rodolphe Raffalli is renowned for his virtuosity and glorious melodic sense. It’s a rare blend; he’s a true master who can still keep his music grounded and simple at the best of times.

For years before the current popular renaissance, Raffalli led a now-fabled Gypsy jazz band in the City of Lights. But in recent times he has released a series of CDs with a more intimate backing band, putting his arranging and playing in the spotlight. His two discs of Georges Brassens’ melodies are tours de force.

The title of this new album translates as “One Foot on the Island” – that isle being Corsica, part of Raffalli’s French-Italian-Corsican heritage. The tunes here range from swing cuts to waltzes to ballads. Combined, it’s a rich legacy, and Raffalli brings it all to life in a new way.

The Gypsy jazz romp “Corsaswing” opens the set, displaying the fiery lines of which he’s famed. On the Corsican ballads like “La Complainte Corse,” his Selmer-style acoustic guitar sings with a living voice.

Among the most fascinating pieces here – both for the guitar playing and the odd transposition – are Raffalli’s “bebop waltzes,” taking inspiration from the Parisian Romany maestro Pierre “Baro” Ferret. Raffalli plays the jewel “La vieille guitar” as if he’s jamming alongside Charlie Parker and Dizzy Gillespie, crafting a masterpiece both old and new. 

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Adrian Raso understands that, just as a guitar solo is not just a place-holder between lyric lines, an instrumental is not just a bunch of notes that sound good together.

Guitarists may have an extra dimension of appreciation for Raso’s music, but unlike a lot of speed merchants, he doesn’t waste time with acrobatics that mean nothing to anyone but other players. Bits of Jeff Beck surface in “Swept Away” and in the uptempo boogie of “Crossin’ The Line,” Mark Knopfler in the cool blues of “The Question Of

Blue?,” and in “P.J. Shuffle” he lays out choppy, steely phrases out of Stevie Ray Vaughan’s book, being particularly creative on turnarounds. But “Crossin’ The Line” also has Les Paul’s signature on it, “Swept Away” invokes Jimi Hendrix and his affection for Django Reinhardt is all over the place. But, deconstruction aside, Raso is neither a wannabe nor copycat.

Clean Up The Mess plays as if someone had asked, “Adrian, why do you play the guitar?” with each cut being an expansion on the answer.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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When one first hears an artist and album undeniably unique and idiosyncratic, they’re often reduced to describing it as a marriage of known quantities. So once again, here goes; think of Victoria Vox’s Exact Change as a cross between Edith Piaf and Lucinda Lewis, with maybe some of R. Crumb’s Cheap Suit Serenaders on top.

All of which is to say this is one fun, funky album.

Vox is the ukulele-wielding composer of these tunes that range from hokum jazz to Parisian love – and torch – songs to gritty and grimy roots rock. Combined, the album’s a jewel.

Vox’s songs are catchy and clever, backed by hook-laden melodies. With her uke supplemented on various tracks by banjo, sax, piano, accordion, and the electric guitars of Mike Tarantino and Aaron Keim, the ensemble is as stylish as the songs.

Which brings us to the packaging. The CD comes in what can only be describes as the world’s smallest washing machine; the front cover includes a plastic-encapsulated coin-op washer, complete with floating fish. It has to be seen to be believed.

With funding thanks to donations from her widespread fan base, this is indie recording at its best.

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This article originally appeared in VG’s Oct. ’09 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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It’s testament to the music of Jimi Hendrix that people still record it, and somewhat amazing that people like Steinar Gregertsen still find new ways to interpret it. This record features Gregertsen mostly on lap steel, with some guitar, and it works wonderfully.

His one-man string show starts with “I Don’t Live Today,” and it’s a good sign of things to come, starting as a country-blues played on acoustic lap before getting loud and nasty with ringing slide guitar. He does the same with the criminally ignored “Angel,” the Hendrix ballad that here gets the full treatment in an instrumental rendition that includes big, sweet-sounding lap steel that hints at the melody. His take on “Drifting” uses various guitars while creating the melody and soulful solo. About the only six-string he doesn’t handle is on “Remember,” where Tom Principato comes in with an almost chicken-pickin’ solo before Gregertsen finishes on lap steel. “Belly Button Window” becomes a stomping blues-rock tune that actually gets jazzy on the solo. Another guest, Espen Larsen, adds very nice acoustic soloing to “Pali Gap.” His soloing mixes with Marianne Rodvelt’s vocal and Gregertsen’s electric and lap steel to round out the song.

Gregertsen is a fine player and interpreter. It’s nice to hear someone focus on Hendrix as songwriter, not just his guitar skills.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Willie Nelson’s strongest effort in some time, this disc was produced by T-Bone Burnett, who helped Nelson choose songs that work incredibly well in part because they’re simply great  -“Man With the Blues,” “Gotta Walk Alone,” “Freight Train Boogie,” “House of Gold,” “Pistol Packin’ Mama,” and 10 others.

But perhaps more important, Nelson is more than engaged; his vocals and guitar playing show he was into the songs, heart and soul. And further, the players are incredible; Buddy Miller contributes electric guitar, Dennis Crouch is amazing on acoustic bass, Riley Baugus handles the banjo, Russell Pahl the pedal steel, Stuart Duncan the fiddle, and Ronnie McCourey mandolin. While most are known in their own right, their ensemble playing is amazing. At times the backing and solos seem part of something that has always been (and should always be) ingrained in these songs. Burnett’s production, the arrangements, and playing give the songs that weird-but-wonderful feeling that makes it old-timey, but also modern as hell. It’s also easy to tell Nelson is comfortable with this group of musicians.

It’s hard to hear a record like this and not wish Nelson was always so involved and engaged. Here’s hoping the T-Bone productions continue for him.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Elizabeth Cook’s songwriting jumps to the forefront on this disc, whether the song is steeped in rock, carried by a funny lyric, or is a serious countrytinged ballad.

On first listen, the lyrically clever “El Camino” is highlighted by buzzsaw electric guitar from Tim Carroll. That feel is also evident on “Yes To Booty” and “Rock and Roll Man,” and any of the three could be a hit. Then there’s “Heroin Addict Sister” and “Mama’s Funeral,” a country tune with an oddly sweet lyric considering its subject matter. Carroll supplies subtle guitar work on the track – just a few bars of slide that perfectly accents the song. Those songs and others like “Girlfriend Tonight” show Cook’s writing talents.

On several tracks, Cook gets help from some famous friends; Buddy Miller plays guitar on “All the Time,” a bluesy country tune that opens the album and sets the mood. Rodney Crowell and Dwight Yoakam lend vocals, but they’re really just icing on a cake that’s already pretty sweet. With Welder, Cook establishes herself as a songwriter and singer who transcends genres.

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This article originally appeared in VG’s Oct. ’09 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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John Cowan’s latest is taken from sessions recorded four years ago by George Massenburg.

Cowan’s music combines traditional bluegrass with rock-influenced players and the songs here show Cowan’s talents as a singer and bass player, as well as the skill of players including Jeff Autry on guitar, Wayne Benson (mandolin), Shad Cobb (fiddle), and Tony Wray (five-string banjo). “My Time in the Desert/Maggie Little” is highlighted by wonderful playing and a pedal-to-the-medal bluegrass segment. The classic “Caledonia” gets a country-swing feel with everyone taking a solo. Dave Alvin’s sublime “King of California” gets a run-through that allows Benson to give us a short lesson on how mando can be used as a primary percussion instrument. The oddest song – and one of the most fun – is a cover of Paul McCartney’s “Heart of the Country.” While the arrangement doesn’t change much, the band makes it their own through Cowan’s vocal and banjo throughout by Wray.

Cowan could be one of those guys who sneaks a hit record. It’s also nice to hear Massenburg’s production skills and studio magic bringing out the best of Cowan’s band.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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The guiding force behind Johnny and the Distractions circa 1980, Jon Koonce’s new release looks back on that time and his upbringing in Portland, Oregon.

Songs from the Little Village on the River is full of the garage rock that powered a generation; “When You Dance” features Beatle-esque guitars and harmonized vocals that’ll make any old rocker smile. Its guitar lines tip their cap to “Pretty Woman” and “Day Tripper,” while “Goin’ Out West” has a great lyric and cool vocal. Many of the solos are short, to-the-point, twangy, and stick to the ribs. “Something’s Gone” is a rock ballad in the best sense, using acoustic guitar as a backboard augmented by tremeloed electric. “Shake Me” brings to mind the Sir Douglas Quintet, with its jabbing organ, subtle rhythm guitars, and loud, melodic solo. 

Throughout, Koonce captures the right feel, and closes with a nice version of the Link Wray classic, “Rumble,” which no doubt had a huge influence. It’s the perfect way to wrap this disc.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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If straight-ahead rock with hints of punk, new wave, and ’50s rock and roll is your deal, Escovedo offers it in spades. Street Songs of Love has plenty of chugging riff-driven rock and roll like “Anchor.” The song, like most of his, is full of great hooks musically and lyrically, along with rocking guitar full of bends, double-stops, and plain ol’ soul. Things rock through the first third of the record until Escovedo comes up for air with “Down in the Bowery,” a tender ballad with guest vocal from Ian Hunter.

Speaking of guests, the rocker “Faith” includes Bruce Springsteen, which is fitting because Escovedo’s music sometimes resembles a punkier version of The Boss’ music. You’d think it would be a good capper for a batch of personal rock songs. But there’s one more surprise…

Escovedo and the band wrap with the instrumental “Fort Worth Blue,” a gorgeous, haunting song with a guitar part that will roll around in your head. It’s the perfect finish, as the songs to that point are full of the impact you get from a good songwriter. Lyrically and musically, it’s a great listen and an intense experience. With Street Songs of Love, Escovedo should earn himself a spot on many “best of 2010” lists.

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This article originally appeared in VG’s Sept. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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