Month: November 2010

When Gram Parsons, Mike Nesmith, and Gene Clark were making their best music, major country radio stations ignored them. It wasn’t much of a jump from Hank Williams Jr. and Charlie Daniels to the Allman Brothers, Lynyrd Skynyrd, the Flying Burrito Brothers, Poco, and other country-compatible bands. But they got the big brush off, too. Now, the influence of such artists on modern country music long confirmed, frustrated radio listeners sit, itching, through “American Idol” winners and country-lite bands for the slightest echo of anyone who hasn’t squeezed everything but a hint of real country from their game.

Veteran songwriter Jim Lauderdale and the music of Honey Songs could never be described that way. Of course, his band – guitarist James Burton, Al Perkins on pedal and lap steel, Garry Tallent on bass, Ron Tutt (drums), Steve Sheehan (acoustic guitar) and Glen D. Hardin on piano, collectively nicknamed The Dream Players – didn’t hurt on that count. With them, Lauderdale has delivered an irresistibly pleasing album of unique but genuinely country songs that would perk the ears of a deaf mule.

Lauderdale has written a long train of hits for others. But after 16 albums of true-blue country and bluegrass, it may be that like Rodney Crowell, Steve Earle, or Roseanne Cash, he’ll likely still have to depend on college and public radio, the internet, and live shows to get his own work heard. Fine. Long after Rascal Flatt’s CDs have gone to landfill, those who picked up this disc that sounds like the dream collaboration between Arthur Alexander and George Jones will be clicking back to hear “Borrow Some Summertime” and “Holly’s Got A Chain” and the rest of Honey Songs many times over.

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This article originally appeared in VG’s Jul. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited. 

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Denny Jiosa is a player of immense chops and fire, and while jazz dominates this album, Jiosa is also at home with R&B and pop, and cuts like “Forward Motion” give him the chance to show off his inventive soloing and strong use of melody.

Almost every cut here sticks. Jiosa is a master of the light funk that dominates smooth jazz, but on “I Am Roxanne,” his fiery playing overrides any mixed emotions about the genre. His soloing mixes single lines with octaves, and there’s even fuzzed-out rock. Effortlessly, both from a compositional and playing standpoint, he then glides right back into octaves to wrap it up. He shows off a lovely ballad touch on several tunes, including “Wounded Warriors,” with its great melody and fine playing. Same goes for his chordal work on the lovely “The Glass Half Full.” The CD has a bonus cut that pays homage to Wes Montgomery, from whom Jiosa takes a lot of cues; “East of Montgomery” is an old-school jazz piece and the connection is obvious. Like the latter-day Wes, he plays with fire, grace, and blazing technique.

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This article originally appeared in VG’s Aug. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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As with his last record, keyboard whiz Levin concentrates on the organ and invites outstanding guitarists to join him. Among those taking part here are John Cariddi, Mike DeMicco, Jesse Gress, and the late Joe Beck, one of the unsung heroes of jazz guitar of the past 30 years.

Beck’s airy solo on “Where Flamingos Fly” highlights the bluesy ballad, and his quirky blues solo on “The Face in the Mirror” is the perfect complement to Levin’s composition and playing. And while all players here shine, DeMicco is a true highlight. His rock vibe on “Patience” shows great tone and wonderful chops. He betters himself on “When I Was Young,” a fine jazz-blues that features chordal and octave work throughout, then a single-line solo that showcases his soul and chops. Gress, known for his guitar instructional work, gets in slinky, funky playing in a couple of tunes – most notably Jaco Pastorius’ “Teen Town,” where his single-note and funk rhythms are the major propulsive force. Cariddi acquits himself wonderfully also, especially on the Cole Porter chestnut, “Love For Sale,” which swings heavily behind his fine comping and great solo.

Levin has played keyboards for many acts, typically on synthesizer. But his organ playing is a pure delight. And his songs are always interesting.

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This article originally appeared in VG’s Nov. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Tapestry is one of those albums that pushes everyone’s nostalgia button. Released in 1971, it became such a monster hit (six million copies sold, four Grammys, and six years on the Billboard Pop charts) that its songs are deeply planted within the musical psyche of a generation.

This Legacy Edition contains two CDs, one of which captures live solo-piano recordings from the ’70s, while the other is a remastered version of the original studio album, which we’ll focus on here. While Carole King’s songs, lyrics, and singing deservedly got the spotlight on that seminal disc, there was also a tight band that backed her on most every track. The guitar core of this lineup featured Danny Kortchmar on electric (listed under his nickname “Danny Kootch”) and his then-boss James Taylor on acoustic. Manning the bass was King’s husband at the time, a fabulous four-stringer named Charles Larkey, previously of a cult ’60s band called the Myddle Class.

While the instrumental side of Tapestry is dominated by King’s deft piano work, there’s actually plenty of fine guitar and bass work going on, too. Kortchmar’s über-tasty electric licks can be heard in the middle of “I Feel the Earth Move,” trading solos with the keyboard. James Taylor’s oft-underrated fingerstyle work is highlighted on the hit ballad “So Far Away,” but it’s Charles Larkey’s show; his bass work is a study in understated, melodic accompaniment, nearly the stuff legends are made of. Sadly, few people even remember his name. As a bonus, at the end of the song listeners are treated to a rare Taylor guitar solo, where he trades acoustic licks with flutist Curtis Amy. Finally, for great rhythm playing, listen to Kortchmar’s slippery chord licks on “It’s Too Late,” “Smackwater Jack,” and “Where You Lead.” Like his work on Taylor’s Sweet Baby James or Jackson Browne’s Running on Empty, this is absolutely prime Danny Kortchmar.

So what else can you say? This is perfect pop from the golden age of the ’70s singer/songwriter. Add to that some great “sideman” guitar playing from Kortchmar, Taylor and Larkey, and you’ve got an indispensable album for your collection. If you still haven’t updated that old slab o’ vinyl to CD, well… it’s high time.

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This article originally appeared in VG’s Jul. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Garrett is, of course, best known as a guitarist (his tasteful solo on Maria Muldaur’s “Midnight At The Oasis” should have topped Rolling Stone’s recent “100 Greatest Guitar Songs”). Percy Mayfield (a big influence on Ray Charles and Mose Allison, among many others) was dubbed “The Poet Laureate of the Blues,” having penned classics like “Hit The Road, Jack” and “Please Send Me Someone To Love.” But it was Mayfield’s singing that exerted as big an influence on Garrett as his songwriting.

After bluesman Johnny Nicholas introduced him to Mayfield’s classic albums My Jug And I and Bought Blues in 1973, Garrett states, “Suddenly, I had a direction.” Garrett’s lazy baritone coupled with his wry sense of humor (his Canadian-based band is called the Eh! Team) make this tribute as logical as it was long-coming.

Mayfield had a promising career until a car wreck disfigured his movie-star good looks, and he ceased performing live. His were not your typical “my baby left me” R&B songs; he explored the dark side – in the case of “River’s Invitation” even addressing murder and suicide. But, as Garrett points out, “They maintained a high level of dignity and beauty – never maudlin or weak in any sense.”

Likewise, Garrett is not your typical guitarist, blues or otherwise. Over the years, his melodic sense and multi-string, Hawaiian-like bends have graced records by everyone from Stevie Wonder to Anne Murray, and he’s been cited as an influence by such aces as Richard Thompson, Pete Anderson, and Mark Knopfler.

Never one for excess, Garrett focuses on the songs here, but his compact solos leave his indelible stamp on “Pretty Eyed Baby,” “Never Say Naw,” and “Fading Love.”

It’s easy to see why fellow musicians are calling this Amos’ masterpiece.

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This article originally appeared in VG’s Sept. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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From mandolin playing mom, Sandy, and bass player pop, Jere, to 14-year-old Molly, the six-person Cherryholmes family band picks and sings like they were born to it. Was it the air or water in their native Arizona? Is it something Jere hides in that long white beard? Just what is the secret? Practice and devotion most likely, since every Cherryholmes plays, sings, and writes as though their hearts are completely in it. Even some of their names – Cia Cherryholmes, Sandy Cherryholmes – have a whimsical poesy.

The showstoppers on Black And White come from banjoist Cia and guitarist Skip, who only gets one lead vocal but makes it count, sounding like a bluegrass Rick Nelson while singing Robert Gateley’s lovely minor waltz, “Heat of The Morning.” Molly and B.J. add beautiful twin fiddle work, shining with more of the same on two of the disc’s three instrumentals and bringing sting to Cia’s uptempo but melancholy “I Don’t Know.” It can’t be easy to stand out among such a strong bunch, but Cia – writer, player and singer – manages, her high clear voice poignant and moving on the original “You Don’t Know What Love Is.” And her rendition of Sonya Isaacs’ title song is heart-stopping. Jere says bluegrass doesn’t need to change to survive, just to have new life breathed into it. Well, here’s a healthy dose.

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This article originally appeared in VG’s Nov. ’08 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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The forced, intrusive background vocals on the “definitive” versions of “Funny How Time Slips Away” or “Crazy” (from The Essential Willie Nelson) are argument enough in favor of this project.

The songs on Naked Willie were recorded between 1966 and 1970, and though Nelson was a successful, respected songwriter by that time, his own records had yet to take off in terms of sales. So his recording sessions were in the hands of some expert, but often very doctrinaire, producers. Only in the mid ’70s, with albums like Red Headed Stranger, did Nelson began to evolve into the lovable hophead cowboy pixie whose music has become part of the American pop fabric.
 
So the idea to strip down some of his pre-“outlaw” material and expose the work of session musicians like Jerry Reed and Chet Atkins was a great one. Unfortunately, because Reed, Atkins, et al were part of the support team, there are no examples of great hitherto obscure licks.

There are times when the “treatment” given these tracks could go even further. For instance, no one would miss the clunky drums on “Sunday Morning Coming Down.” And while the mariachi horns on “Following Me Around” sound fairly organic, the strings and background vocals on “The Party’s Over”… not so much.  That song, by the way, is not the Jules Styne/Betty Comden/Adolph Green classic, and it’s also not one of Willie’s finest.

That’s the hitch in the plan – there aren’t enough of Nelson’s better and/or more familiar tunes here. So if there’s a Volume Two in the works, let’s hope they make them first priority.

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

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The final four Replacements LPs are back in deluxe style, thanks to Rhino. Accompanying the label’s re-release of the band’s first four albums and EPs earlier this year, the band has finally been done right.

Not surprisingly, there’s many more extra tracks available from this time period, running from 1985’s Tim through the band’s swan song on 1990’s All Shook Down. Outtakes, alternates, demos, and simply forgotten tracks are plentiful here; the last album is almost doubled in length with 11 additional tracks alone.

Best of the best are found on Pleased To Meet Me. Here are alt versions of “Alex Chilton” and “Can’t Hardly Wait” that Mats fans will swoon over. In addition, there are studio outtakes of the band romping through “Route 66” and “Tossin’ n’ Turnin’” that are worth the price of admission alone.

All four CDs are packaged with great liner booklets featuring extensive notes, photos, gig posters, and even band artwork. Notes by erstwhile manager Peter Jesperson seal the deal.

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

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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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