Jennifer Hartswick - Ocean Floor

Getting to play regularly with one of the world's best guitarists might be enough for most musicians, but not Jennifer Hartswick. This Vermont native isn't content serving as some one else's support. A dual threat with a powerful, soulful voice and both technical and improvisational proficiency on the trumpet, Hartswick is beginning to make a name for herself outside of Trey Anastasio's world, and her latest album, Ocean Floor, is another notch on her belt of independence.

Mostly r&b meets soul, her self-produced sophomore effort (and first of entirely originals) might not blow everyone away, but it will absolutely give a glimpse into the talent that is there for the taking. Joined by Nicholas Cassarino (guitar), Dezron Douglas (bass), John Davidian (keys) and Cory Healy (drums), Hartswick leads each of the eight tracks with confidence but also looseness, never becoming too rigid or structured, giving plenty of time to the band to showcase their skills.

Starting with a trio of fairly standard r&b tunes, the one thing that immediately stands out is Hartswick's voice. You hear it two and a half minutes into "Liar." There is no doubt this girl can sing. It's the title track though that gives Hartswick the chance to display some originality, as well as the softer side of her voice. It is also her first appearance on trumpet, immediately adding a new flavor to the standard set-up. A dip into freeform jazz, "Ocean Floor" is easily a highlight.

"On and On" is an around-the-horn standard, giving each of the artists a chance on the solo floor. But, again, it's the down-tempo "Possibility" that, like "Ocean Floor," seems to stand out. Highlighting Hartswick's vocals and trumpet, Davidians work on the Rhodes adds a soft and subtle touch, complimenting the tune nicely. The snap-funk of "Walk Away" serves as the juicy meat of a ballad sandwich, and is the most attention-grabbing of the up-tempo tunes with some blaring sax and back-up vocals.

A sharp departure from the hard r&b of the other tunes with the acoustic guitar and piano, "Let Go" is absolutely one of the best tracks. Closer to what you'd expect a female Dave Matthews to sound like, it's not a bad way to end the album. It may even give her a launching point for her next work.

Ocean Floor is largely a fine album, and definitely leaves us wanting more. It is absolutely clear that Hartswick has tremendous talent. You can hear it in her work with Anastasio, and it's obvious on Ocean Floor. Perhaps as she becomes more comfortable in the spotlight she will expand her reach, going beyond the traditional and creating a sound that is truly her own. We can only hope because she surely has a gift to give.

Rating
Overall: 3/5
Originality: 2/5
Production: 2/5
Listenability: 3.5/5

Late to the Party: Muse

Building my musical foundation on the likes of Pink Floyd, Led Zepplin, The Beatles, and Radiohead it’s amazing that a band like Muse could slip entirely under my radar until recently. Filled with all of the depth and fortitude, drama and excitement, creativity and precision of these others, the English trio brings with them a sound that, while bearing similarities, also brings an incredible amount of originality.

Looking to pinhole Muse into one specific category would prove to be a nearly impossible task. They certainly don’t span every genre, but they do touch enough that labeling them with one would be a disservice. Undoubtedly a rock base, they weave their way in and out of alternative (watch: “Knights of Cydonia“), drama (watch: “Time Is Running Out“) and space rock, metal (watch: “Stockholm Syndrome“), electronica, and classical, and amazingly enough there isn’t one moment in any of these when it seems like they’re not in the right place.

School friends Matthew Bellamy (lead vocals, guitars, piano, keyboards, keytar), Dominic Howard (drums, percussion, synthesisers, sampling, harmtar) and Christopher Wolstenholme (bass, backing vocals, keyboards, guitars, harmonica) are able to produce a sound much fuller than their numbers would suggest. Yes, they unabashedly take advantage of multi-tracking in the studio, but even live (often joined by multi-instrumentalist Morgan Nicholls), they are able to fill the venue with an intense and energetic aura that is truly amazing.

Looking for the closest similarities, Radiohead and Queen instantly come to mind. Bellamy exudes some of the same vocal characteristics as Thom Yorke, and the band’s frequent use of multi-part harmonies along with emotional composition and emphatic climaxes will definitely take you back to the days of A Night at the Opera. But that’s not all. Bellamy’s vocals could easily just be compared to those of Rufus Wainwright, and, as a band, there are definitely tones of Keane, Coldplay, The Killers, a even a tad of Weezer, among many others.

Since 1999, the band has put out five studio albums, all of which are exemplary. The most recent, however, Black Holes and Revelations, easily takes the cake. From the opening track (watch: “Take a Bow“) they are right in your face and don’t ease up for even a second. It’s not surprising that it’s this same album that earned them a Mercury Prize nomination as well as ranking of third in the NME Albums of the Year list for 2006. They are hoping to release their sixth album in the fall of 2012.

Most of the people I’ve talked to either have never heard of Muse or know a song or two from the radio but have never really explored them with any purpose. The packed stadiums clearly indicate I have not spoken with the masses, but to those who fall into the categories above, do yourself a favor and give them a(nother) chance. There is far too much good in what they do to be ignored.

Take a look, it's in a book...

The Goat Rodeo Sessions

Some bands, some albums, some songs are beyond technical critique. The talent and proficiency is so refined that, unless the critic is equally as well-versed, there will inevitably be a gap between the product and the comprehension. When Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile get together, such a product is born.

Many musicians have brought their instruments into the spotlight with innovative and exemplary playing. It is arguable, though, that none have done so with as much prestige as Yo-Yo Ma. In fact, while it’s easy to bring up other guitarists than Hendrix, other bassists than Flea, and other drummers than Buddy Rich, it may prove more difficult to think of even a name of another cellist, much less one as on the forefront as Ma. Having played for numerous presidents and world leaders and with the top musicians from virtually every genre of music, Ma has become a symbol of greatness.

Joined by the lesser known but equally as inventive Duncan, Meyer and Thile, The Goat Rodeo Sessions is a collaboration that makes even the most popular supergroup seem like a band of scrubs. Each member adds their touch of individuality while meshing nearly perfectly with the others. It’s this individualism and cooperation, combined with astounding composition accounting for these two variables that lead to the album title itself.

According to the urban dictionary, “A goat rodeo is about the most polite term used by aviation people and others in higher risk situations to describe a scenario that requires about 100 things to go right at once if you intend to walk away from it.” Initial analysis of this definition may lean more towards chaos than harmony, but it is the latter that’s the reality. These are four outstanding musicians, all from various backgrounds but all with unifying characteristics, penning arrangements that require each note, each phrase and each instrument to be played with such precision that even the slightest hiccup could ruin the piece. Even though Ma’s name is first on the cover, make no mistake, this is a group effort, lead by each member at various times. In fact, with Ma’s cello, Meyer’s double bass and Duncan’s fiddle, it’s Thile and his mandolin that are often the most distinguishable, adding chunk and snap to the otherwise smooth flow of the bows. Perhaps Meyer said it best himself, “We chose this group of people based more on who the individuals were and their voices than what would be an ideal instrumentation, because there is no getting around the fact that violin, bowed bass and cello and mandolin is not an ideal instrumentation.”

Each member certainly brings their own personality to the album, but The Goat Rodeo Sessions is a complete work with as much thought put into how everyone relates to each other as how they work on their own. Ma brings the classical fortitude, Meyer the high Appalachian sound, Duncan the classic Americana and Thile the modern bluegrass. The result is a seamless weave that gives the listener the amazing choice of who they want to focus on at any given time, be it one, two, three or all four at once.

From the opening track “Attaboy,” you can hear exactly what this weave is all about. In fact, watching it might help make it clearer. No one member is more important than the other, and without one, the rest cannot complete the piece. This is the way it goes for the rest of the album. And as a bonus, several tracks give them a chance to show they aren’t limited to their main instruments alone. Duncan picks up banjo for “Helping Hand,” “Less Is Moi,” and “Here and “Heaven”. Thile shows his versatility with a steel-string guitar on “Helping Hand” along with a gamba and some outstanding vocals (joined by Aoife O’Donovan from Crooked Still) on “Here and Heaven” and “No One but You.” And last but certainly not least, Meyer’s piano work on “Franz and the Eagle” is superb for someone who hasn’t already mastered the bass, much less someone who has.

The Goat Rodeo Sessions certainly isn’t going to be a universally loved album. But for anyone with an affinity for classical, bluegrass, classic country, folk or even jazz, it is absolutely worth a listen. Heck, even if you don’t tend to like those styles, it’s worth giving this a try. Life is just far too short to not take time to appreciate the best of what the world has to offer, and this is one of those contributions.

Rating
Overall: 4.5/5
Originality: 4.5/5
Production: 5/5
Listenability: 4/5

Deer Tick - Divine Providence

The little known, and relatively new group, Deer Tick, is a near poster child for independent music. Getting their start in 2004 in Providence, Rhode Island, the now-quintet (John McCauley – guitar, vocals; Ian O’Neil – guitar, vocals; Chris Ryan – bass, vocals; Rob Crowell – keys, saxophone, vocals; Dennis Ryan – drums, vocals) fits the mold almost perfectly. Their folk roots mesh well with the clear influences from a variety of genres like country, blues, rock, punk and even, dare I say, the slightest touch of pop. Their dirty, sometimes cheap tone, gives them that “we don’t give a fuck” sound. Hell, even their website gives off a “we don’t need no stinkin’ corporate money” vibe. And this can all be felt in their latest, Divine Providence.

The fourth album in their repertoire, Divine Providence is as straight forward an album as any indie fan could want. Nothing fancy, nothing revolutionary, and also nothing stale. It’s just five guys, their instruments and some no-bullshit emotion, all smashed together in a collective effort that rocks you…and them.

It’s not every day a band starts an album with a call-and-answer tune. And can you find the one moment in “The Bump” when McCauley channels his inner Johnny Cash? “Funny Word” is a sax solo and strutting lead singer away from being a Rolling Stones tune. “Let’s All Go to the Bar” really needs no comments, other than to say that pretty much every one of us has been on either the giving or receiving end of this conversation. The Johnny that’s got a bottle of wine in “Something to Brag About” might just remind you of another Johnny…that one from deep down in Louisiana, close to New Orleans. How about throwing in a hidden/bonus track as an homage to cigarettes. Why not?

There’s also the more subdued “Clownin’ Around,” “Main Street” and “Chevy Express,” the needy “Electric,” and the downright charming “Now It’s Your Turn” and “Miss K.” So, it’s not necessarily all fun and games. They have a serious side too.

Deer Tick is the band, and Divine Providence the album, you want playing in the bar. It evokes that beer- and whiskey-drinking desire–to be sitting around a table with friends, the music weaving in and out of your mind between the hearty laughs and angry diatribes that accompany such a night. And while it might not be the album you throw on with headphones hoping it takes you to your Zen place, it definitely is one you put on when you feel like just being human. Anger, humor, sarcasm and honesty, the emotions that get us through every day, they’re all there and you can feel them from start to finish.

Rating
Overall: 3.5/5
Originality: 3/5
Production: 2.5/5 (but that’s not a bad thing in this case)
Listenability: 4/5