Saturday, November 19, 2016

Anne Hills & Jay Ansill – Fragile Gifts



ANNE HILLS & JAY ANSILL
Fragile Gifts
Hand & Heart Music

Anne Hills has been one of my favorite singers (and songwriters) for many years. In addition to her many superb solo recordings, she often collaborates with other artists. In fact, Anne has done so many projects with other artists that I once referred to her as “the queen of collaborations.”

Fragile Gifts is not exactly what I expected when I heard that Anne was making an album with Jay Ansill, who I’ve known for many years as a Celtic harp player. About 20 years ago, Jay released A Lost World, an album of his musical settings of poems by Robert Graves which featured a variety of singers on the different songs – including Anne on several. So what I expected was something along the lines of that earlier album; especially since several of the tracks on Fragile Gifts are settings of works by Graves and other poets. But Jay’s harp is heard only two of the tracks; instead, Jay’s work was in creating and recording classical arrangements – ranging from string quartet to full chamber orchestra – to accompany Anne’s vocals on a selection of material that included songs by Anne, songs co-written by Anne and Jay, and poetry settings by Jay. There is also an instrumental suite composed by Jay based on Spanish traditional music, and a lovely version of “The Scarecrow” by Lal and Mike Waterson.

The album opens with a new version of Anne’s sublime song, “Follow That Road,” a song in which she describes the best routes to take in each of the four seasons when coming to her house for a visit. I so love the guitar-based arrangement of the song on Anne’s 1995 album Angle of the Light, and that I’ve heard her do in live performances, that it took a few plays for me to warm up to this more formalized arrangement with the orchestra – but it is a lovely rendition.

“Lover’s Knot,” co-written by Anne and Jay, is also a reprise from Angle of the Light. While Jay accompanied Anne on Celtic harp on that fine first version, this rendition seems stronger, perhaps more confident with its chamber orchestra arrangement.

Among my favorite songs on Fragile Gifts is “Allie,” Jay’s setting of a Graves poem, and one of the songs on which he plays his Celtic harp. It’s a beautiful, lyrical song that pays tribute to the birds, beasts and fish of the animal kingdom – and to the children who are the future of humankind. Another is “Sonnet: Fragile Gift,” co-written by Anne and Jay, a meditation on feelings of loss following the death of a loved one.

The album ends with “Under the Olives,” a Graves poem beautifully set to music by Jay, which, in just seven lines, brilliantly captures the memory of someone looking back at the precise moment of falling in love.

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--Mike Regenstreif

Sunday, November 6, 2016

David Bromberg Band – The Blues, the Whole Blues and Nothing but the Blues



DAVID BROMBERG BAND
The Blues, the Whole Blues and Nothing but the Blues
Red House Records

Most of David Bromberg’s albums, dating back to David Bromberg, his first solo LP released in 1971, have been wonderfully eclectic, drawing on a wide variety of styles and traditions, but, almost always with strong strains of the blues. This time around, as testified to in the album title, it’s an all-blues affair, just The Blues, the whole Blues and Nothing but the Blues.

But, even though this album is nothing but the blues, it is still remarkably eclectic thanks to the different approaches David takes on different tracks. Some are full band tracks, some are solo or almost solo. Some are electric, some are acoustic. Some are arranged Chicago style, others have an infectious jump or New Orleans or front porch feels.

The classic Chicago blues band sound developed as an electrified version of the Delta blues and that’s how David sets the tone for the album by opening with a grinding electric band version of Robert Johnson’s “Walking Blues.”

My favorite tracks on the album, though, are the acoustic tunes. Little Hat Jones’ “Kentucky Blues,” with it’s almost jug band style arrangement (there’s no jug) is a lot of fun. So is the New Orleans horn arrangement on Bessie Smith’s “You’ve Been a Good Ole Wagon,” while David’s solo guitar on Ray Charles’ “A Fool for You” is as expressive as a full band. My very favorite track, however, is the compelling version of the traditional “Delia” with David on vocal and acoustic guitar and producer Larry Campbell on acoustic slide guitar. David’s first recording of “Delia” was also my favorite track on his 1971 debut album but this version seems to come from even deeper in the well.

Among my favorite electric tracks are a version of “900 Miles,” the traditional folk song that David styles after Howlin’ Wolf; “Eyesight to the Blind,” an arrangement of a Sonny Boy Williamson song that jumps and swings with some terrific playing by fiddler Nate Grower and Bill Payne on organ; and a jumping, gospel-inspired version of “Yield Not to Temptation” with more great organ playing by Payne, a terrific horn arrangement, and a call-and-response chorus with David and back-up singers Nancy Josephson, Kathleen Weber and Teresa Williams.

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--Mike Regenstreif

Tuesday, November 1, 2016

Jim Kweskin & Geoff Muldaur – Penny’s Farm



JIM KWESKIN & GEOFF MULDAUR
Penny’s Farm
Kingswood Records

When I started collecting records obsessively in the 1960s, the LPs by Jim Kweskin & the Jug Band were – and remain – among my favorites. Drawing on folk songs, blues, jazz and early pop and novelty songs, the LPs were filled with fun, deceptively sophisticated, and an entrée into the older traditions and source artists they were drawing on. Well over 50 years after the Kweskin Jug Band got together and 40-something years since they broke up, Jim Kweskin and band stalwart Geoff Muldaur have reunited for the sublime Penny’s Farm, an eclectic collection of folk-rooted and folk-branched songs played by a couple of masters whose interpretive skills have aged like fine whiskey. Jim and Geoff each take the lead vocal on about half the tracks.

The album opens with Jim’s version of the traditional “Diamond Joe,” a song Alan Lomax collected from Big Charlie Butler at the Parchman Farm prison in Mississippi in 1939, and that has become familiar through countless interpretations by artists ranging from Cisco Houston to Ramblin’ Jack Elliott and Bob Dylan. Jim begins singing a cappella and is then joined by Suzy Thompson’s powerful fiddling, Jim and Geoff’s guitars, Cindy Cashdollar’s Weissenborn guitar and Geoff’s harmonies.

Jim continues to shine whenever he takes the lead vocal. Among his highlights are “Down on Penny’s Farm,” one of several songs on the CD drawn from Harry Smith’s seminal Anthology of American Folk Music, on which Jim plays banjo and Geoff is heard on pennywhistle; the infectious African song “Guabi, Guabi,” which he first recorded on a solo LP, Relax Your Mind, in 1965; a haunting version of “The Cuckoo,” also drawn from the Harry Smith Anthology and also a reprise from Relax Your Mind; and a couple of Mississippi John Hurt songs, “Louis Collins (Angels Laid Him Away) – which Philadelphia Jerry Ricks once told me was John Hurt’s very favorite of his own songs – and “Frankie,” a variant of “Frankie and Johnny (or Albert).”

Geoff’s first lead vocal is on “The Boll Weevil,” another folk song collected by Lomax that has become a folk music standard in countless versions. This version is among the best I’ve heard. Geoff is playing six-string banjo and is ably supported by Jim on harmony vocals and guitar, Suzy on fiddle, Cindy on Dobro and Kevin Smith on bass.

Geoff, too, shines, whenever he’s at the lead vocalist’s mic. His highlights include Henry Thomas’ “Fishing Blues,” also drawn from the Harry Smith Anthology; “Just a Little While to Stay Here,” a New Orleans funeral song Geoff recorded earlier on his wonderful album, The Secret Handshake; a couple of Beale Street Sheiks numbers, “Sweet to Mama” and “Downtown Blues” (Geoff first recorded “Downtown Blues” in 1967 on the Kweskin Jug Band LP See Reverse Side for Title); and a fun version of Mississippi John Hurt’s “C-h-i-c-k-e-n.”

My very favorite of Geoff’s tracks, though is his version of Bobby Charles’ beautiful “Tennessee Blues,” a song he recorded more than 40 years ago on Geoff Muldaur is Having a Wonderful Time. Van Dyke Parks joins the ensemble on accordion on this version of the song.

And while Geoff may have been having a wonderful time on that long-ago solo LP, I’ve been having a wonderful time listening to Jim and Geoff both having a wonderful time on Penny’s Farm.

I’ll also mention that the CD package includes an appreciation of Jim and Geoff and the Jim Kweskin Jug Band by John Sebastian and informative song notes by Mary Katherine Aldin.

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--Mike Regenstreif