The Teletubbies' Work Here Is Done

He almost loses the string section during the nose pick, but the finish more than makes up for it.

Bela Fleck and the Flecktones - Jingle All the Way

There are pretty much only two camps when it comes to Bela Fleck and the Flecktones: Those who are fans and those who have never heard them. And selling a newcomer on them isn’t exactly easy, either. Jazz Banjo? Electric drums? Soprano sax? You mean like Kenny G? Yeah, well, just listen. Put aside any prejudices you have towards any of the above and resist the urge to be immediately critical and just listen. Bela Fleck (banjo), Jeff Coffin (woodwinds), Victor Wooten (bass) and Roy “Future Man” Wooten (percussion) have found an amazing way to take an unlikely combination of instruments and turn them into some of the most interesting, unique and awe-inspiring music available today. It doesn’t hurt that each one has, for all intents and purposes, mastered his particular craft, either.

With nine studio and two live albums under their belt, these virtuosos turned their attention to perhaps the most oversaturated market in music—a Christmas album. Have no fear though, Jingle All the Way isn’t your dad’s Christmas album. Well, actually, in my case it is, but you get my point. Let’s just say Anne Murray, Bing Crosby and Johnny Mathis may have paved the way, but the Flecktones have broken new ground and haven't exactly made it easy for those wishing to follow.

To start with, I’ve never heard a "Jingle Bells" use a tension and release technique, but somehow the quartet (with the help of Tuvan throat singers Alash Ensemble) has managed to do so. Without conjuring up any more innuendos than necessary, it's impressive how the anxious and driving chorus builds to a threshold before letting go into the the cathartic and calming verse, both eventually melding together in a suprising harmony.

The five-four time of "Silent Night" adds a unique touch to the traditional three-four, with Coffin taking the lead on soprano sax but leaving room for solos from Bela and Victor. And the half-time "Sleigh Ride" feels a bit more like a Clark Griswold slicked-up saucer ride than a horse-drawn ride with Charles Dickens.

As if playing as a group doesn’t demonstrate their expertise enough, many Flecktones albums also include complete solo numbers, usually by Bela or Victor, giving them a chance to really shine, and Wooten’s soft-hearted solo of "The Christmas Song" is yet another demonstration of his mastery of the bass. Effortless and tasteful, Wooten is able to add texture and dynamics to this classic on an instrument that is rarely featured alone, especially not on a holiday song.

Now, let’s just take a quick breath and collect ourselves because it is very hard to even write this next line…………Okay, here goes. The true highlight of Jingle All the Way is, without a doubt, "Twelve Days of Christmas." There. I said it. But before you close out your browser and dismiss any musical taste I have as poor, let’s think about this. In a way, it kind of makes sense. It would take musical geniuses to turn in an even tolerable rendition of Twelve Days of Christmas, and amazingly the Flecktones have gone even beyond that. When most song writers pen a tune it’s almost always in the standard four-four time. Maybe they’ll get a little creative and throw it in three-four or even five-four, but that’s about it. And maybe after a couple of rounds of verses and choruses, they’ll throw in a key change just to spice things up. Well, how about one song played in twelve different signatures and twelve different keys? Yes, you read that right. I’ll give you a minute to digest it. These bastards decided to not only play each day in a different key but also a different signature, each corresponding to its day, ie two-four for the second day, three-four for the third, five-four for the fifth and so on, all the way through all twelve days. AND that’s both up and back. So the ever so fun “twelve drummers, eleven pipers piping, ten lords a leaping…”? Yup, changing keys and time signatures all the way back down to one. You know what? Here, just watch.

Okay, so now that that’s done, what’s next? How about a little classical in the shape of Bach’s "Christmas Oratorio" (BVW 248 #41), bringing in Bela’s buddy in all things classical, Edgar Meyer on the double bass. Versions of Vince Guaraldi’s "Christmas Time is Here" and "Linus and Lucy" are spot on and not without some Flecktones flair.

The "Jingle Bells Reprise," again with the Tuvan singing, is the only unnecessary track on the album. It’s nothing against the Tuvan talent, but there isn’t enough variety in it to feature at now three different points in the album (the second being a brief appearance in Twelve Days). But short and to the point, it at least doesn’t overstay its welcome entirely.

I’m not sure if the inclusion of "The Hanukkah Waltz" is done to offer universality or just because it’s a great fit for the Flecktones, but either way it works. As does the second classical track, "Danse of the Sugar Plum Fairies."

And please welcome back Alash Ensemble! The only unfortunate thing about "What Child is This" is that it’s the 12th track. The now fourth appearance by Alash fits quite well with the orient-flavor the Flecktones put on the Greensleeves redo, but at this point it’s coming off as a tired gimmick, which any fan of the Flecktones knows they aren’t opposed to. But the redeeming factor is that the tune is actually quite well done, so I guess I’ll cut them some slack.

"O Come All Ye Faithful" is absolutely amazing, not necessarily for the fact that it’s very well played, but more for the fact that no member of the Flecktones plays on it. How completely unselfish to stand aside and allow two outstanding (and outsider) musicians take the stage, with Meyer returning on double bass and Andy Statman on mandolin.

The "Medley" is a really fun way of incorporating a number of traditional holiday tunes without the need to make a double disk album. Using "We Wish You a Merry Christmas" as the central theme, "Medley" also dabbles in "It’s Beginning to Look a Lot Like Christmas," "Rudolph," "My Favorite Things," "God Rest Ye Merry Gentlemen," "Little Drummer Boy," and "We Three Kings."

"Have Yourself a Merry Little Christmas" takes on a fun, bouncy feel almost reminding of "Baby It’s Cold Outside." And adding a touch of the modern, Bela plays both banjo and piano on his solo rendition of Joni Mitchell’s "River."

Thank you, good night! But while you leave, Bela will serenade you a bit more with his own Christmas medley as a solo bonus track.

Alright, so let’s just cut to the chase here. The only reason not to own this album is because you don’t like Christmas songs. Past that, I can’t think of any good reason. Don’t like the banjo? Don’t worry, you’ll have a new appreciation for it after this. Already have plenty of Christmas albums? Well, I can guarantee you that nothing on your shelf provides even close to the variety of this. So, as long as you're not that aforementioned scrooge, do yourself a favor and get this album. Not only that, get it for your friends and family. And when they open it and you are met with the looks of "jazz banjo?" "electric drums?" and "soprano sax like Kenny G?", push play, sit back and tell them to just listen.

Listen to my review from a very festive Saturday Night Special (WCGO - 1590 am Chicago)

Rating
Overall: 4.5/5
Originality: 5/5 (the fact that there aren't any original songs on it aside)
Production: 4/5
Listenability: 5/5

Available at the Flecktones online store, Amazon.com and iTunes.

Josh Ritter - So Runs The World Away

"Hey Josh, this is my girlfriend." "Oh hi, we were just talking about you. It's nice to meet you."

This is the Josh Ritter that not only I, but really any one of his fans have come to know. Not a celebrity. Not a rock star. Just a guy and his guitar sitting around with a few (thousand) friends, singing a few tunes. And hey, sing along if you'd like.

You can hear this in any one of his eight albums, each with its own unique musical flavor, but consistently making the listener feel at home. It's his ninth effort that offers something new. A different Josh. An introspective Josh. A Josh that might just have to close the door and keep this one to himself.

So Runs the World Away brings with it a melancholic tone that we're not used to from the usually perky Ritter. While love seems to be the main theme of the album (no new topic for him), the under- and sometimes over-tones of obsession, death and departure throughout are definitely a newer focus. There is also a noticeable juxtaposition between the lyrics and the melody of many of the tunes, leaving the listener confused about when these stories are taking place. The music says he is telling folktales, but the lyrics suggest that he is in fact speaking of himself in present time. The lilting waltz of "The Curse," the Irish-toned "Folk Bloodbath" or sea-fared "Another New World," are all examples.

By his own admission, Ritter was at a darker point in his life while penning the album. Not necessarily the same darkness reflected in the lyrics, but a period where insecurity seemed to be taking over. He can rest assured, though, whatever doubt he may have been feeling in his own head is reserved for him alone. While So Runs the World Away brings with it that abovementioned newness, it does not lack any confidence, nor does it come off as trying too hard. It comes off as a man with a new story to tell, maybe one that's been in his head all along, but he's just now finding the ways to explain it. You can hear it in the honest admission of "See How Man Was Made" or the drifting of "Southern Pacific."

But it isn't all gloom and doom. There is hope in "Lark" and delight in the fixation of "Orbital." So, you don't have to worry about Josh. He's doing fine. He just has a little something different on his mind, and you should hear him out.

Listen to my review from The Saturday Night Special (WCGO - 1590 am Chicago)

Rating
Overall: 4/5
Originality: 4/5
Production: 4/5
Listenability: 5/5

Available on iTunes, JoshRitter.com and Amazon.com.

Heady jam brah!

I'm pretty sure this is what my parents heard when I played my first bootleg for them.

Just please don't call me a monster

You little bitch. Fine. You win. I give up. But damn it if I didn’t try. I tried hating you. I tried to just lump you in with the rest of those jackasses. You know, those other talentless hacks that shake their shit on stage and call it music. I tried to just dismiss you as lame pop crap. I tried so damn hard. But try as I may, you won. I still can’t figure it out though. What the hell is it about you that actually makes me like you? Is it that you’re just better than those aforementioned hacks, or are you actually good? Maybe it’s because you have actual musical training beyond how to use auto-tune. Or possibly it’s because you’re originally a singer-songwriter. Or is that a deterrent, that I should hate you for selling out and turning pop? Or do I respect you for it? I can’t figure it out, but holy hell if you haven’t figured out a way to get your stupid little songs stuck in my head. So, I concede. You win. Goddamnit.

Rufus Wainwright - All Days Are Nights: Songs for Lulu

Rufus Wainwright is many things to many people. A great composer, a unique and superb vocalist, a flamboyant and eccentric stage performer, all would be accurate ways to describe the Canadian-raised New Yorker. And with his newest album, for those that didn’t already consider him so, you can now add extraordinary pianist to the list, for it is with All Days Are Nights: Songs for Lulu that we finally get an uninterrupted performance from Wainwright and his piano. Foregoing the rock band, strings, back-up vocalists, horns or even acoustic guitar of his previous albums, Songs for Lulu gives Wainwright the opportunity to stretch his classical chops all by his lonesome. Just a man and his piano, baring his soul and really giving a taste of what is going on inside his twisted and torn mind…while also showing off a bit. Because really, would it be a Rufus album if it didn’t go over the top at least once or twice?

No stranger to the overly dramatic opener, "Who Are You New York?" picks up right where you remember Rufus leaving off, but even still you right away notice that something is different, but what? "Sad With What I Have" provides a little more of a hint, but it’s "Martha" that really unveils what it is. This is raw Rufus. This is a man who, while still battling some of the demons in his mind, is starting to make peace with it all. A series of messages to his sister transcripted over light and, at times, troubling piano, Martha bares the truth of the moment and the past, with Rufus attempting to reassemble a dissolved family before it’s too late. It’s made all the more poignant for the fact Kate McGarrigle, his mother, recently lost her battle with cancer.

But just as the final notes fade, so does a bit of the sentiment and you get slapped upside the head with the aforementioned flamboyant and eccentric Rufus. To call "Give Me What I Want, And Give It To Me Now!" theatrical would be fitting, setting the scene of Wainwright stomping around a stage in a monologue rant and not forgetting the essential dance break. Kind of timely actually, for the fact that he also recently wrote an entire opera, Prima Donna. But again with the back-and-forth of his album (mind), he again shows his vulnerability with the sorrowful ballad "True Love."

The trio of sonnets—43, 20 & 10 in order of appearance—midway through add a sweet loveliness (if I may use those two words together) and increasingly so as they go along. Featuring Shakespearean lyrics, you can actually hear a touch of similarity to their writing styles. In fact, if you didn’t know better (who’s saying I didn’t? stop judging me!), you might not even catch this till it’s told to you.

"The Dream" and "What Would I Ever Do with a Rose" play off of each other’s loved and lost theme and again display his virtuosity on the piano, the former stretching the entire keyboard with bouncing triads and running triplets, and the latter light and airy emphasizing the understanding he’s come to with love. And wait, is that…yup, I thought we might get a French tune, and there you are "Les Feux D'Artifice T'Appellent" in all your French-Canadian glory. I jest really, but not speaking French and all (I told you to stop judging me!) and the musical elements not being the most original for Rufus, it’s not my favorite, but it does have a certain je ne sais quo. "Zebulon" closes Songs for Lulu, and just to let you know that this is a story to be continued, it introduces a new character, one that even Rufus is surprised to have on his mind.

So here we are. The end of Rufus Wainwright’s first entirely solo album. How’d ya like it? I’m not really sure myself. Having an affinity for the piano, to not only have it be a (the) primary focus and to hear just how good Rufus is with it is a giant bonus. But on the other hand, having a full band behind him to give a respite from lyrics that can weigh heavily after a while might not be such a bad thing either. So, this isn’t my favorite Rufus album, but I tell you what, I would gladly put this on before others. It does do well start to finish—that “listenability” thing—and it is definitely something new, which is encouraging when some have wondered what else he has in the tank. If you are a Rufus lover, you probably already own this out of devotion, but if you’re new to him, this wouldn’t be my recommendation for an introductory album. For that, I will always have to go with Poses, but there’s no problem with Songs for Lulu as a second or third.

Rating
Overall: 4/5
Originality: 5/5
Production: 4/5
Listenability: 4/5

Hey cool it man!

Seemed like an appropriate day to share one of the greatest vocal performances from one of the greatest musicals of all time. One of the only musicals, in this guy's mind, where if you strip the lyrics out, the music could completely stand on it's own.


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Late to the Party: The Raconteurs

All too often the facial expressions and responses you get from admitting you’ve never heard of a band can be downright embarrassing. It’s almost always followed with “How they hell haven’t you heard of them? Yes you have. There’s no way you haven’t heard them!” Well, let me take my medicine on this one. Yes, I’d heard of The Raconteurs, but no, I hadn’t ever heard any of their stuff. But I’m damn glad I can say I’ve rectified that now. Hopefully you’re not in the same camp as I was, but if you are, you gotta hear this.

Let me start by saying, no Virginia, good, original rock isn’t dead, and the Raconteurs have proved this. Formed in 2005 by Jack White (White Stripes and The Dead Weather), Brendan Benson, Jack Lawrence (also of The Dead Weather, as well as The Greenhornes and Blanche) and Patrick Keeler (Greenhornes), the Raconteurs don’t fall into the typical “super group” category for the fact that the members have worked together before and come from similar musical genres. But who cares? It takes nothing away from the product they put out, especially their second album, “Consolers of the Lonely.”

Admittedly not the biggest White Stripes fan, I was skeptical upon first listen, but any cynicism was quickly dismissed while inspiration took over. “Consolers” is inspiring for someone who’s grown tired of add-distortion-and-call-it-metal rock or ruin-your-buzz-depressing drama rock because it goes back to what makes (made) bands like Metallica, Primus, Tool, Led Zeppelin and even the Beastie Boys great. There’s more than just three chords. Strip away the guitar effects and the licks are just as good. The vocals are in tune and harmonies aren’t forgotten. There’s up-tempo and down-tempo. And there’s instrumental variety with piano, organ, fiddle and horns. Not to mention the influences. Hints of Zepplin, Black Sabbath, The Who, AC/DC and even some 311 and Queen can be heard at various points. But this isn’t to take away from the originality. The Raconteurs aren’t trying to sound like anyone, but rather put together a product that showcases both their individuality and group dynamic, and that product is good.

Thanks Eric!

Buy it on Itunes or at amazon.com.

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You Best Look Out for Mr. Oysterhead

What's Oysterhead? It's trayless stew and an antler axe.



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Vampire Weekend - Contra

What are friends for if not to every once in a while throw you an album that, as a music lover, you really need to hear. And nine times out of 10, the first thing you'll ask your buddy is, "What's it like?" Yeah, well good luck with this one. "It's like a cross between the African rhythms of Graceland, the ska beats of the Bosstones, 80's pop of the Cars, some Jimmy Cliff reggae and, oh yeah, there's quite a bit of classical in there too." Huh?! Well, that would actually be a pretty accurate description of the sophomore effort from Vampire Weekend, Contra. Released in January, Contra really is a cornucopia of musical styles all coming together in what ends up being a very seamless and subtle way.

Ezra Koenig (lead vocals, guitar), Rostam Batmanglij (keyboards, guitar, backing vocals), Chris Baio (bass guitar, backing vocals) and Chris Tomson (drums, percussion) first debuted their eclectic style in 2008 with their self-titled, self-produced album. After seeing some pretty wide acclaim (reaching 17 and 15 on the US and UK Billboard's 200 respectively and gaining them accolades as “The Year’s Best New Band” by Spin magazine in 2008), the foursome joined XL Recordings, which was already known for its work with the likes of the White Stripes and Radiohead. Expanding not only on their freshman success, but also on their wide variety of musical influences, VW spent the next two years reaching out and drawing back in to develop the 10-track Contra. And surprisingly enough, critics have not been turned off by the diverse style. In fact, the album debuted at number 1 on Billboard's 200.

Almost as if to say, "Here's everything we've got. Please to enjoy," the album's first track, "Horchata," throws everything but the kitchen sink at you. A fun, up-beat tune with lyrics that somehow manage to find a place for rhyming horchata, balaclava, aranciata and masada, the first 15 seconds start simple enough, but what follows is a coordinated mess of all the styles mentioned earlier. Alternating between the calm and chaotic, "Horchata" is about as bold an opener as one could imagine from a band trying to secure their place.

Not necessarily a breather, but definitely a step back from track one, "White Sky" could have been a hidden track on Paul Simon's Graceland. Koenig's vocals and Batmanglij's guitar backed by Tomson's drum work have you waiting for Ladysmith Black Mambazo to join in. Alas, they don't. Instead Koenig keeps the torch and takes on his own version of some interesting if not humorous backing vocals between verses. Switching gears almost entirely, "Holiday" is a more straight forward tune (in VW terms) absent of both the aforementioned African and classical undertones, and rather featuring a ska rhythm on the back beat throughout, save for a brief departure during the bridge. "Holiday" takes on a bouncy melody that becomes contrasted with the slightly dark lyrics as the song progresses.

Returning to the African beats, the most notable aspect of "California English" is the use of auto-tune on the vocals. Not in the Kanye or Britney way though. In fact, since Koenig has already demonstrated his ability to hit a note, in this case the auto-tune is used for its sound effect alone. And it does add a tasty element to the fast moving lyrics that dive into the contradictions that seem so prevalent in many aspects of today’s society.

"Taxi Cab" provides what, in my humble opinion, is the most interesting track of the album for its ability to subtlety incorporate all of these numerous styles into one soft medley. The walking tempo lead by the delayed drums, staccato synth bass and low strings set the foundation for the vocals, but then underneath comes the piano all working seamlessly together with one not overpowering the other, so that even when the piano lead takes over between verses, it doesn’t jump out at you but rather gives the impression of something that was there all along. Even more to this point, at around the half-way mark, the tune almost becomes a full-fledged classical piece with the bass and vocals giving way to the piano and strings and even adding a harpsichord, which then drop off and allow the song to return to its origins.

"Run" hints on the 80's pop and punk sides of VW without diving into them head first, maintaining the inability to pigeon-hole even just one of the tracks. While the drums and bass say punk and the keys say 80's pop, Koenig prevents a full-fledged attack with his lilting melody. "Cousins" represents the first of two radio singles on the album, and introduces yet another influence with Koenig's Dick Dale-style lead guitar, but still keeps with the punk undertones of its preceding track. "Giving up the Gun," the second of the singles, follows and, as if dividing the album into three separate parts, keeps with punk base but again forbids you from pinning just a single label on it.

The dub keys of "Diplomat's Sun" send the album to a mellower tone as it nears its end. And while many times the last track of an album can be a throw-away, "I Think UR a Contra" seems like the perfect end to this auditory fiesta. Almost like credits music at the end of a great film, the ultimate track to Contra sends the listener on their way in peace, but with a message to ponder as they go.

Admittedly upon first listen, Contra almost seems like too much to handle. Who are these guys? What the heck are they trying to accomplish by cramming so much into each track? But just one listen later and you can hear that they really don't have any hidden agenda. On the contrary, it all seems quite natural. And after realizing this, it can even become a fun game to pull each song apart to see what it's made of. Since their debut effort is a little less eclectic, it's almost surprising that Contra is the one garnering more accolades, but this serves as a testament to the duality this album accomplishes. By gathering such a diverse group of styles it widens the appeal base, while at the same time giving even the most hardened music fan a brain teaser to ponder.

Rating

Overall: 4/5

Originality: 5/5

Production: 3/5

Listenability: 4/5

Available on Itunes and Amazon.

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When all are one and one is all

How do you make one of the most over-played songs interesting again? How about making it an instrumental...finger-tapping the entire thing...on two different guitars...at the same time.



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Charlie Hunter - Gentlemen, I Neglected to Inform You You Will Not Be Getting Paid

Certainly not new to the scene, but someone who could easily have flown under your radar until now is seven-string, jazz, blues, funk guitarist, Charlie Hunter. Seven strings? Yes, seven strings. What does a guitarist need extra strings for? Well, for someone like Steve Vai it was probably to have more notes available for his machine-gunning, but for someone like Hunter, what started as an idea to just incorporate more bass into his playing turned into booting the bassist out of the picture and taking on both parts himself. "Great, another gimmicky musician," you say, using loops and whatnot? Nope. Not this time. Hunter is no gimmick. It's all natural. And in fact, if no one told you he played both parts, you might not ever know...until seeing him live.

See, like any great jazz musician, Hunter knows humility. He knows how to let every instrument in the band shine including his own. So no bass line is too flashy nor guitar lick to showy. Actually, I'd say both compliment each other almost perfectly, which makes sense when you think about it. Who better to back you up than you, right? So, now that we've gotten that out of the way...

Hunter's second effort with his Spire Artist Media label, Gentlemen, I Neglected to Inform You You Will Not Be Getting Paid is another great look inside the mind of this diverse artist. Diverse not only in his previous works, which include projects covering the works of Thelonious Monk, James Brown and Bob Marley, but also diversity throughout the album itself. Combining New Orleans funk, traditional blues and sweet jazz, Gentlemen brings Hunter's full flavor to the table, also tossing in the experience of his support quartet in Eric Kalb on drums (Sharon Jones and the Dap Kings, John Scofield), Curtis Fowlkes (Jazz Passengers, Lounge Lizards, Bill Frisell) and Alan Ferber (Don Byron, Kenny Wheeler) on trombones and Eric Biondo (Antibalas, TV On The Radio) on trumpet.

Opening with "You Look Good in Orange," Hunter subtly introduces each member of the group, with the drums and bass/guitar setting the foundation and medley, and then bringing in the horns as a group and allowing them to accent this mostly guitar-led tune. Seeming like a warm-up, "Orange" is followed with "Antoine," which not only picks up the pace, but starts to throw in some of the creole funk on drums and horns, really giving the feeling of some of that Preservation Hall/Dirty Dozen march that makes you wanna get up and boogie.

"High and Dry" is the album's first mellow number. The duo of Hunter and Kalb really feel in touch on this track and, while the slower tempo and lack of horns might not grab your attention as much as the previous two tracks, there's certainly a sweetness to "High and Dry" that shouldn't be overlooked, touching on influences of Scofield and Steve Kimock. "Tout Ce Qui Brille Ne Pas Or" (All that glitters is not gold) continues on the softer side, but reintroduces the horns, showing that Hunter can both lead and follow. "Tout Ce Qui Brille" also gives Hunter a chance to stretch his blues chops during the solo section.

Similar to Hunter's live shows, just as you are getting lulled into that slow-jazz coma, the alarm goes off, and this time it's "High Pockets and a Fanny Pack." Hunter gets things started but soon takes a backseat and lets his horns lead the way. It's the solo section that includes one of the nastiest horn lines of the album. The trombone duo drops an 0h-so-tasty, swanky, burlesque-style curtain down behind Biondo's trumpet work.

"Drop a Dime" and "Ode to My Honda Odyssey" bring the tempo back down, but not necessarily the energy. Powerful horn arrangements and both traditional and atypical medleys keep the ear interested throughout. However, "Everyday You Wake Up New York Says No," while a fine tune on its own, starts to really drop the energy of the album to a dangerous low.

Never fear though, Hunter will bring you back, and he does right away with the album's title track. A Chicago-style blues arrangement of just Hunter and Kalb, Gentlemen closes out the album with a bang and really gives you an idea of what this Charlie Hunter can do (if you weren't impressed already). Holding down the fort with a solid twelve-bar bass line while giving you a taste of BB King with the top (actually bottom) strings, the shortest track on the album is also the most fun, leaving you (as all great musicians do) with a taste for more.

Overall, Gentleman is a solid effort from Hunter. Recorded live onto analog tape, you do get the feel that you're sitting in the club with the quintet, watching them feed off each other and bring a collective effort to the audience. I love the idea of two trombones and a trumpet for the horns too. Nothing against the sax, but the trombone is all-to-often overlooked. I love how it can give the sweet tones of a French horn or the blasting grit of a trumpet, and both are apparent throughout the album. While the slower tunes aren't as impressive upon first listen, when you go back and dig deeper they can really draw out some emotion that you might not have felt otherwise. I recommend this for the jazz enthusiast as well as the modernist who seeks variety.

Rating
Overall: 3/5
Originality: 4/5
Production: 3/5
Listenability: 3/5

Available on Itunes and reapandsow.com. For free, live recordings, visit Charlie Hunter's page on Archive.org.
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Late to the Party: Herbie Hancock - Mwandishi

Herbie Hancock is one of those artists that falls into this writer's "I don't listen to enough of ____" lists. The versatility and raw, unabashed talent displayed in almost every piece of work Hancock composes or contributes to is one not seen in many other artists in my lifetime. From the sweet jazz of Maiden Voyage to the electo-funk of Headhunters, Hancock gives his all to whatever he is does, and that "all" is righteous.

I recently discovered Hancock's Mwandishi while doing some research on his past efforts, and man, where the hell has this been all my life?! A collection of tunes recorded in the early 70s while Hancock was with the Warner Bros. label, this album seems to encompass all that Hancock is about. Collecting tunes from three previous Warner recordings - Fat Mama, Crossings and Mwandishi - the album is a great look into the past and future of Hancock. It pays tribute to the work he had done with Miles Davis in the 60s and the work he would eventually do with The Headhunters in the mid-70s.

While purists will complain (and justifiably so) that this is not a complete Mwandishi album for the fact that it does not include the second half of the sextet's discography (recorded on Columbia), this album does not fall into the "greatest hits" category that I tend to loathe for its inability to convey the true emotion of the story an album can tell when enjoyed start to finish. However, my one complaint about this album is that because it is a collection of three different albums, it's "listenability" (a term I use for how easily an album can be enjoyed start to finish) is not great. That mixture of Miles and Headhunters mentioned earlier goes back and forth almost with each tune. So, just as your getting set on the sweet Miles horns, a Headhunters bop-funk comes on, and vice versa. Other than that, this is an exciting and motivating album. Exciting in that it's a look into Hancock's lesser known works and motivating in that it makes you want to find more just like it.

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Fire bad!

In the vast world of YouTube, sometimes you find a gem that's just too good not to share. I give you Edgar Winter and Frankenstein...


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Kat Edmonson - Take to the Sky

Every once in a while, amid the plethora of jazz artists emerges one that makes you rethink what jazz can be. Norah Jones did it. Brad Mehldau continues to do it. And now you can add Kat Edmonson to that list. A product of the great Austin, Texas music scene, Edmonson brings a fresh, vibrant flavor to the common world of modern jazz music, and her debut effort, Take to the Sky, showcases not only her tremendous vocal ability, but also her ear for bringing an original flavor to that which we've come to know as standard.

With her Ella Fitzgerald meets Blossom Dearie meets Bijork vocal stylings, Edmonson immediately divulges that this isn't your daddy's jazz album. That isn't to say that you won't find jazz traditionalists sipping their favorite cocktail while taking in all that Edmonson offers. In fact, her take on traditional numbers like "Summertime" and "Night and Day" will keep even the most strict traditionalist interested, but those very same tracks might also grab the attention of someone who didn't even know jazz was in their collection. On the other side of that coin though are her jazz takes on modern pop tunes like The Cure's "Just Like Heaven" and The Cardigan's "Lovefool." But modern or traditional, all of the tracks on Take to the Sky are done with a grace and sophistication that might seem surprising from such a young artist.

Gershwin's "Summertime" opens the album, and pianist Kevin Lovejoy's Mehldau-like piano arrangement sets a darker, deeper tone for this popular number. Edmonson doesn't stray far from the original melody, but this isn't a bad thing since it actually fits quite well with her sweet and somewhat smokey voice.

Providing almost a 50/50 balance of traditional to modern tunes throughout the album, Summertime is followed by "Just Like Heaven." While not quite unrecognizable from the original, the tune does make you wonder if you're really hearing the song you're thinking of, and then question if maybe it was written for Edmonson in the first place. It takes the feel of "Night in Tunisia" and blends in sweet vocals and mellow sax, bringing out the true love song essence of the original.

Going right back to the traditional, Edmonson really shows you what she's made of with the arrangement of the ultra-traditional "Night and Day." To say that no one could do it better than Frank would be a fair statement, but she gives ol' Blue Eyes a serious run for his money. Chris Lovejoy's samba-esq base and Kevin's "Freddie Freeloader" influenced piano set a unique foundation for Edmonson's vocals.

"Lovefool" provides almost a touch of humor while also impressing with the ability to take 90s pop and transform it into 50s jazz. Another great choice by Edmonson, she's able to take a song she probably spent a lot of time singing in the shower and make it her own. You can even hear traces of Cardigans' lead singer Nina Persson in Edmonson's style.

Cole Porter's "Just One of Those Things" is this blogger's favorite track on Take to the Sky. Bouncing, with touches of driving conga and dirty sax, the tune really seems to encompass all of her (and her band's) greatest qualities.

Unique renditions of Carole King's (The Chiffons) "One Fine Day" and John Lennon's "(Just Like) Starting Over" close out the album and are unique not just because they aren't originally jazz tunes, but because they are popular tunes that aren't from Edmonson's lifetime. They just go to show that nothing is off limits, nor is her repertoire limited to just the jazz or modern age.

Overall, Take to the Sky is an admirable freshman effort from an artist who I believe will be seen more and more over the coming years. On an album with no original tracks, Edmonson is able to demonstrate an originality and uniqueness not found in many of her modern counterparts. Even more to this point, Edmonson's two independent singles, "Lucky" (featured on an episode of The United States of Tara) and "Be the Change" show that she is not going to be limited solely to jazz and can appeal to a variety of audiences. Unfortunately, for the moment, her live performances seem to be limited to the Texas area, but her great success there is a hopeful sign that she may soon spread her wings.

Rating
Overall: 3/5
Originality: 3/5
Production: 4/5
Listenability: 4/5

Available at Itunes, CD Baby and Amazon.com. Preview all tracks at www.myspace.com/katedmonson.
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The Local Tourists - Happy Birthday Kyle

The debut effort from The Local Tourists, Happy Birthday Kyle, is an exciting exploration into the numerous palettes available for a singer-songwriting duo. Penned by two graduates of Indiana University's School of Music, the album provides the listener with an assortment of musical styles, touching upon rock, pop, bluegrass, world and even an epic musical tale, ala "Bohemian Rhapsody." While each tune displays the incredible vocal and compositional talent of the duo, no track is too complicated for the average listener to wrap their mind around. Diverting from the three- or four-chord acoustic love song typical of singer-songwriters, the duo took a multifaceted approach to each song, never seeming to do something just because it was the easy or traditional thing to do.

"Tuesday Evening" kicks off the album and sets the tone for what's to come. A self-reflective tune with dark undertones, "Tuesday" explores the mindset of a guy trying to find his place in mainstream, suburban America. "Shine on Me" follows and uplifts with a bouncy tempo and major chord progressions, but still gives the listener something to ponder with its desperate lyrics.

"Kyle," "Tangled" and "Marlee ('s a Redheaded Girl)" bring the album back to its coffee house roots with a more acoustic base and smiley choruses and harmonies. "Marlee" also gives a taste of the duo's classical and rock influences with opera-referencing lyrics and Trey Anastasio-esq guitar solo.

From there the album really starts to diversify. The "Ballad of Lickey and Diamond" is a six and half minute tale of love and loss on the high seas, but is so much more musically, incorporating all 12 musical tones throughout the multi-part epic. "Amanda" and "April 14th" gives each member a chance to lay their heart on the table for past love interests. The solo acoustic guitar of "Grace" reminds of The Allman Brothers' "Little Martha" or Phish's "Inlaw Josie Wales."

"She's Mine" returns to the poppy melodies of "Marlee" and "Shine on Me," while "Katie" dives into the country/bluegrass genre. "Six for a Parlay" conveys the anger and frustration of non-reciprocated love in both its lyrics and driving, somewhat chaotic melody. The campy, snake-charming "Pharaoh" closes the album and gives the duo the chance to show off their classically trained vocals while having a little fun too.

Overall, Happy Birthday Kyle is a great album for both the trained ear and the average music fan. While the singer-songwriter base is evident in several tunes, this wasn't recorded on a four-track in a homemade studio. The backing talent includes percussionist Steve Wolf (Joss Stone, Johnny Cash, Alicia Keys), bassist Jack Daley (Lenny Kravitz, Michael Jackson, Mick Jager) and pianist Jim Ryan as well as guest musicians Tara Harvey (oboe), Scott Wakefield (banjo) and Danny Yoo (violin) and was produced in New York City at Monster Island Records by Mike Caffrey and mastered at Sterling Sound and Engine Room Audio (Avril Lavigne, Ryan Adams, George Clinton, Chaka Khan, Soulive). The time and effort is evident in every tune.

Rating
Overall: 4/5
Originality: 4/5
Production: 5/5
Listenability: 5/5

Available at Itunes, CD Baby and Amazon.com.

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