Month: December 2012

Dwight Twilley writes perfect power pop songs with hints of the Beatles and other ’60s rock bands. He also has a knack for writing lyrical hooks – try to sing his ’70s hit “I’m On Fire” then get it out of your head…

Here, he casts more hooks on songs like the hard-driving power-chord rocker “Get Up,” with its slinky solo from guitarist Bill Pitcock, IV, that – like many on this disc – are short and to the point. The creepy lyric of “Doctor” refuses to leave one’s consciousness thanks to its pounding backbeat, simple but effective lead guitar, and ever-present hook. “You Were Always There” is power pop heaven, with jangling guitars, great changes, and a sound that enhances the simplicity of the lyric. “Stop” is a great garage-rock chestnut with stomping guitars and a punchy double-stop-based lead.

This is darn near a perfect album, save for the title cut, which whether in homage to “Yellow Submarine” or not contains so many elements of the original it comes off as way too cloying; though it’s guitar would make Harrison proud, there’s also background jabbering and weird strings (like the original). And, yes, it does have a great hook, but even that can’t get you past the feeling a little too much thought went into it.

Still, as a whole, this record is more proof of Twilley’s pop/rock genius.

This article originally appeared in VG‘s Feb. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

There’s never been a time when Jim Hall wasn’t at the top of his game. From his days as a member of the Jimmy Giuffre 3 and Chico Hamilton Quintet, collaborations with Bill Evans, and sideman stints with Ella Fitzgerald, Hampton Hawes, Art Farmer, and Sonny Rollins in the ’50s and ’60s to 50-plus years of solo albums (including recent pairings with Pat Metheny and former student Bill Frissel), the 80-year-old has maintained a standard most jazz guitarists would be lucky to achieve once in a career.

The word “intelligent” is invariably used to describe Hall’s style, but that sounds a bit academic and sterile – which Hall’s innate swing and inventiveness definitely are not.

Hall’s one and only CTI session was recorded in April, 1975, when he was 44. As he had appeared (with special billing) on alto great Paul Desmond’s post-Brubeck RCA albums in the mid ’60s, it was only appropriate that Desmond return the favor here. Likewise, Hall and the bassist on that session, Ron Carter, had recorded a duo album a few years prior.

Adding trumpeter Chet Baker to the mix was a genius stroke on the part of producer Creed Taylor – his economical, egoless approach perfectly in line with those of Hall and Desmond. Pianist Roland Hanna is flawless, and it’s amazing to think that the Steve Gadd drumming tastefully here has also served time with Paul Simon, Stuff, and Eric Clapton.

The set’s centerpiece, Rodrigo’s “Concierto de Aranjuez,” crossed over from the classical repertoire to jazz via Miles Davis’ Sketches Of Spain as well as the Modern Jazz Quartet with guest guitarist Laurindo Almeida. According to CTI arranger Don Sebesky, the version here – 19 minutes of live, unedited interplay – was the first and only take Hall’s sextet attempted. They wisely saw no reason to re-do it.

This article originally appeared in VG‘s June ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Harmonica whiz Dermody is the honcho on this tribute to the real roots of modern blues and popular music, and he employs a host of fine guitarists to help.

Dermody is smart enough to make sure things work organically; no one crowds anyone else. The arrangements and instrumentation are sparse, and though the overall tone is low-key, it’s not without intensity. Some arrangements are very simple, as on “Twelve Gates To The City.” With Darick Campbell on lap steel and Orville Johnson on Dobro, he breathes new life into “Amazing Grace.” The matchup that works best is a teaming with John Cephas, whose voice sounds more and more like John Mayall’s.

There is plenty of good stuff here; Eric Bibb is splendid on Rev. Gary Davis’ “I’ll Be Alright,” and Frank Fotusky does a fine job with echoes of Brownie McGhee on “So Sweet.” Dermody even reaches all the way back to Stephen Foster’s “Hard Times Come Again No More,” with a saxophone ensemble for backup on one of the album’s best cuts. But the pairing with Cephas works so well that a long-term association, certainly a full album together, seems like a great idea.

This article originally appeared in VG‘s May ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.