Antonia Bennett – Natural EP

Antonia Bennett – Natural EP
2010, MesaBlueMoonRecordings

Antonia Bennett practically grew up on stage.  The native of Beverly Hills is the daughter of singing legend Tony Bennett and actress Sharon Grant.  Bennett grew up performing with her famous dad, including stints on stage with Count Basie and his orchestra.  Bennett also grew up with advice and praise from such family friends as Frank Sinatra, Ella Fitzgerald, Dean Martin, Gene Kelly, Rosemary Clooney and Les Paul.   Bennett has studied at The Berklee College Of Music and the Lee Strasberg Theatre Institute, and has performed all over the world.  This fall Bennett released her debut EP, Natural.

Natural opens with “Soon”, a slow reflective number from the Gershwins that shows off Bennett’s sweet voice in fine form.  It’s a light but solid start.  The piano work on this number is exquisite and actually outshines Bennett.  Irving Berlin’s “Puttin’ On The Ritz” is also done in a slow, mellow arrangement that is not the best presentation for the song.  It does, however, allow Bennett to show off her gorgeous vocal tone.  Still this version of the song drags, and Bennett doesn’t bring a presence to carry it.  “The Thrill Is Gone” is in much the same ilk, pretty but bland.  “I Wish I Were In Love Again” is a Rodgers & Hart number (Babes In Arms) popularized by Judy Garland, and finds Bennett picking up the pace a bit in a solid performance.  “I Fall To Pieces” shows some improvement, but you’re left with the impression that Bennett’s heart isn’t really in the jazz material.  Natural closes with “Love Is A Battlefield”, a jazzified take on the Pat Benatar hit.  Bennett comes alive here on the vocal even as the arrangement essentially neuters the energy and edge of the original. 

The thing is that Natural simply isn’t.  There’s an air of pretense to the EP that just doesn’t fly, as if Antonia Bennett is starting with an EP of staid material because that’s what she grew up with.  There’s a higher level of commitment to the one rock tune on the disc even if it is watered down in a non-threatening arrangement.  Bennett has a beautiful voice, but her heart just doesn’t seem to be in it here.  Bennett has already moved on, and is currently working on an album of original pop tunes to be released sometime in 2011.  One might suspect that project will show a lot more life while continuing to feature a voice that truly is worth listening to.

Rating: 2.5 Stars (Out of 5)

Learn more about Antonia Bennett at www.antoniabennett.com or www.myspace.com/antoniabennett.  Natural is available as a download from Amazon.com and iTunes.

Susie Deane - Time's A Dancer

Susie Deane - Time's A Dancer

2010, Humarock Music

Poughkeepsie, NY-based singer/musician Susie Deane is a diverse talent, performing actively in the diverse genres of traditional jazz, contradance and Celtic.  Deane has a voice that’s warm and expressive.  It’s not the voice of a diva; Deane is a utilitarian singer but she has the ability to sell a song in the Sinatra style.  Susie Deane’s latest effort, Time’s A Dancer, is drawn straight out of the American Songbook and run through the wine press of the Las Vegas stage.  Guest appearances include Peter Davis, Dave Davies, Vinnie Martucci, Harry Aceto and Sam Zucchini.

A collection of standards can’t go wrong starting with Johnny Mercer, and Deane starts out right with “Ac-Cent-Tchu-Ate The Positive” in a reverent reading consistent with the original.  The musicianship here is first class and Deane sells the song like her life depends on it.  “’Deed I Do” is pure Vegas style with Deane employing a talk/sing style that’s informed and entertaining.  Deane’s best vocals on the album come on “Black Coffee”, a song first made famous by the great Ella Fitzgerald.  There are few who can stand up to Fitzgerald, but Deane’s reading is effective.  “Lazy Afternoon” is vocally solid, but Deane doesn’t show the presence that she has up to this point in the album.  Deane’s rendition is honest and forthright but just doesn’t have the same magical sense to it.   And that’s really the summation for the rest of the album.  What started out with great energy and verve becomes a musically strong but vocally average experience.  Deane offers up signs of life on “Up A Lazy River” and “There’s A Fella Waiting in Poughkeepsie”, but it isn’t until the final track, a medley of “Kimberly”, “Star Of Munster” and “The Mountain Road” that Susie Deane fully revives.

Time’s A Dancer shows both the potential of Susie Deane and the limits realized by that potential.  Musically the album is much more than solid.  The players Deane has surrounded herself with would be worth paying to see any night of the week.  When Susie Deane is on her game there’s no doubt she fits well in that company.  Time’s A Dancer finds Deane occasionally at her best, but generally at a comfortable level that doesn’t call for much of a stretch from either the artist or the listener.  It’s a solid effort.

Rating: 3 Stars (Out of 5)

Learn more about Susie Deane at http://www.susiedeane.com/, where you can order Time's A Dancer on CD.

Isabel Rose - Swingin' From The Hip

Isabel Rose - Swingin' From The Hip
2010, The Jubilee Recording Company

Isabel Rose is a lady who makes things happen, both onstage and off. Screenwriter, novelist, movie star, off-Broadway star... none of these callings has proven too much for Isabel Rose. It should be no surprise that her debut album, Swingin' From The Hip looks poised to prove another facet of this versatile and prolific performer. Born on Manhattan's Upper East Side, Isabel Rose has steeped in New York's culture almost from her birth, and her love of both jazz, Broadway and pop music shines through on Swingin' From The Hip.

Rose opens with the bossa nova swing of "Aquarius", adapted from the rock musical hair. Rose has a fine voice, a bit reserved but full of warm tone and a bit of Vegas swagger here (that sophisticated Rat Pack swing). Rose swings up Irving Berlin's "Lovely Day" (Call Me Madam) in fine fashion, keeping the Broadway feel of the original while updating it for hep cats everywhere. Rose goes big band for Rodgers & Hammerstein's "I Enjoy Being A Girl" (Flower Drum Song). The arrangement fits Isabel Rose nicely. "Temptation" is well done, and leads into the slinky nightclub arrangement of Pat Benetar's "Hit Me With Your Best Shot", injecting burlesque undertones into a generally torch-styled interpretation.

One of the highlights of the album is Rose's version of "Haven't We Met", where her voice takes on a slightly darker aspect that's nothing short of breath-taking. The clarity of vocal tone and warmth of Isabel Rose's voice is a real treat. Rose plays it straight on the Harry Noble-penned "Hold Me, Thrill Me, Kiss Me", which originally spent 18 weeks on the Billboard pop charts for singer Karen Noble in 1952. Rose seems to have a special connection with this one, and makes it her own without substantially changing the song. Rose gives listeners a lighter moment with her cover of "I Only Wanna Be With You", the first single Dusty Springfield ever released. Perhaps Rose's only misstep on the entire album comes on the George Ira Gershwin tune "Boy Wanted". Perhaps it's just the chemistry of the song, but Rose never really sounds like she connects with this one (and its tough trying to stand in the shoes of Ella Fitzgerald, even for a performer of Isabel Rose's talent).

Rose rebounds nicely on Lerner & Lowe's "On The Street Where You Live" (My Fair Lady), an amazing swing version of the Broadway classic. Rose is inspired here, as will you be. Johnny Mercer's "Ac-cent-tchu-ate The Positive" gets the royal treatment from Rose. Vocally the song is well performed, although the tempo, and therefore Rose, do sound a bit rushed at times. Rose closes with Cy Coleman's "The Best Is Yet To Come" in a stripped down arrangement that shows off Rose's voice and also features some tremendous guitar work.

Isabel Rose is now officially a quintuple threat. Swingin' From The Hip should establish Rose as a vocal force to be reckoned with, and you can't help but have respect for the highly professional and accomplished band she has behind her on the album. Rose recalls the days when great performers would tackle almost any style and make it their own. It's not just a matter of having a voice or a band; there's a cult of personality that surrounds great performers. Sinatra. Babs. Bette. Torme. Bennett. Newton. It wouldn't be entirely surprising if twenty years down the road people were adding Rose to that list.

Rating: 4.5 Stars (Out of 5)

Learn more about Isabel Rose at http://www.isabelrose.com/. Swingin' From The Hip drops in the digital world on September 14, 2010, with a CD release planned for October 19, 2010.  You can pre-order the digital release from Amazon.com.

Review: Jon Troast - Living Room

Jon Troast - Living Room
2010, Jon Troast Music

Lake Geneva, Wisconsin singer/songwriter Jon Troast writes engaging music while challenging the conventions of the music industry. For the first six months of 2010, Troast is touring the United States for free, relying only on sales of CDs and downloads for support. It's about the music for Troast, but he's also trying to make the point that buying music supports artists. In 2009, Troast engaged in a 100 concerts in 100 days tour, playing 100 house concerts in as many days. Inspirations from that tour resulted in Troast's fourth album, Living Room, released in January of 2010.

Great songwriting, a great voice and charisma are all qualities that Jon Troast displays amply on Living Room, but there's a fourth quality here that's often overlooked. Troast has put together an album that flows like these songs were always meant to be played together. This style of cohesive writing is quickly disappearing in the age of digital singles. Living Room opens with One Little Corner, a wonderfully catchy tune about finding a happy place. Troast has a John Mayer pre-Interview sound and appeal and the song is built around a melody and flow that are unstoppable. If you've ever wondered what house concert tours are like from the artist's perspective then you'll want to listen to Living Room Tour. Virulently catchy, Living Room Tour blends Folk, Rock, Americana and even hints of Zydeco in a wonderful listening experience. Troast's personality comes through here in waves, as he shows an ability to sell a song that's on a par with Sinatra.

Troast rings up more magic on the Orchestra Folk/Pop number When Beauty Speaks. We've all had moments in our lives where a person, place or moment strikes us with such force we lose our ability to speak. Whether it's attraction, awe or importance, the ability for emotion to short-circuit thought is one of the most maddening, and identifiable aspects of being human. Troast captures it perfectly in song. Just Enough hits on the essential components of love and how they can sustain a couple through rough times. Both the songwriting and performance are top notch. Troast offers up a Bluesy ode to the center of family life on They Call Her Mama. It's an un-romanticized tribute to Mom's who give their all every day for their family; a great song to dedicate to Mom for Mother's Day or on any day. Another Mile is a love song written from the road; rock with a blues undertow. It's a bit amazing the quality of the songs Troast boasts on Living Room; and his ability to comport them in nonpareil.

Perhaps the best of the best is Favorites; a song about the simple joy of being with the one you love, no matter where that is. A gorgeous melody wrapped in a simple, sweet arrangement and heartfelt, poetic limits creates a true Wow moment for the listener. What Will You Hold Onto is heartfelt and poignant with striking instrumentation. Stark and challenging but in a gentle fashion, What Will You Hold Onto will tug at your subconscious for days after you've heard it. Troast closes with Somewhere Down The Road, a parting song for anyone who lives on or makes their living on the road. Somewhere Down The Road is archetypal in them, and you could hear it being selected as either an opening or closing track for a motion picture. The lyrics might also inspire its selection for a farewell song at funerals.

Jon Troast comes across as easy-going in his music, but that presentation has an electric quality to it that lights up the stage; even the listeners in his presence. Living Room is brilliant, an absolute gem of an album that you will still be gaining enjoyment from years down the road. It's the sort of album that turns an unknown singer/songwriter into a household name with the right breaks. Whether those breaks come or not, you do yourself a disservice to not be acquainted with the music of Jon Troast. Living Room is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Jon Troast at http://www.jontroast.com/ or www.myspace.com/troast.
You can purchase physical copies of Living Room from Jon Troast's webstore. Digital copies are available from Amazon.com.

Review: John Swanson - We Can't Party Like We Used To

John Swanson - We Can't Party Like We Used To
2009, Acoustic SwaneeLand

Aurora, Colorado's John Swanson takes the sounds of Dixieland, Swing and Las Vegas and swirls them around into a hip New-Jack swing with Blues ancestry while referencing folks such as Al Capone and Charles Buchowski on his sophomore album, We Can't Party Like We Used To. Swanson's music is original jazz with an old school feel but a modern edge, channeling the hip, tough-guy feel of Sinatra and the abrupt musicality of a John Pizzarelli.

Swanson opens with I Guess There Are Worse Places To Be, hip bit of Swing done in minimalist arrangement. Swanson has a rough, anachronistic vocal side sound would seem to speak of the city streets and shady deals. New Route 66 seems a bit forced lyrically, but when Swanson speaks with his guitar anyone within reach out to be listening. Nice As A Day Can Be has a quiet, classic feel. Swanson does pretty well in general with the vocal line by keeping it simple, but when he tries flourishes or getting out of his strict talk/singing style vocal flaws become readily apparent. It borders on distracting in Nice As A Day Can Be, but the song itself is enjoyable enough to overlook it.

The Cougar That Got Away is a slinky dose of Jazz that plays on the currently Pop-centricity of the cougar concept. The song comes across as a bit gimmicky, but then Swanson returns to the chorus, voiced by two mischievous saxophones and all is forgotten. We Can't Party Like We Used To might be re-titled The Generation X Blues; it laments responsibility's way of sneaking up on you when you aren't looking. It's a well-written song featuring some serious guitar work and tasty horn arrangements and is one of the better compositions on the album. That's My Story (And I'm Sticking To It) yields an almost atonal melody line as sung by Swanson; the entire song seems a bit out of phase, with tenuous relationships between instruments with regard to melody and harmony. Swanson closes with We're Even Now, returning to the Swing that he started out with.

We Can't Party Like We Used To may almost be prophetic. It's a decent album, but there's an awkwardness herein that suggests a discomfort with the Jazz style that drives much of the album. John Swanson is a capable writer, and as a guitarist and saxophonist he is accomplished, but as a singer he can be a difficult listen if he doesn't stay within his fairly narrow range. We Can't Party Like We Used To has some good qualities, and I wanted badly to like it more than I did, but in the end it was too uneven to truly connect with. There's some good material here, but you'll have to weed your way through the chaff to get there.

Rating: 2.5 Stars (Out of 5)

You can learn more about John Swanson at http://www.johnswansonmusic.com/. You can purchase We Can’t Party Like We Used To as either a CD or Download from CDBaby.com.

Review: Michele Thomas - I'll Take Romance

Michele Thomas - I'll Take Romance
2009, Michele Thomas

Chicago's Michele Thomas is a Jazz vocalist with a sweet voice and a predilection for the Jazz/Funk/Soul sound of the 1970's. Her debut album, I'll Take Romance focuses on standards, but you'll hear that 1970's sound slipping in and out from time to time. Thomas has a sweet voice within her comfort zone, but does struggle at times with pitch and tone when she stretches herself. There's not too much stretching on I'll Take Romance, however.

Thomas opens with the title track, and a velvety-smooth Jazz vocal that has some foibles but stands fairly well on its own. Thomas' band is top-notch, building arrangements around her voice that are pitch perfect. Black Nile brings Thomas into her upper register a bit. Thomas' doesn't have the knockout power of a Billie Holliday and isn't quite comfortable at the lower edge of her range, but in her comfort zone she's a fine vocalist. Thomas shines on Where Were You When I Needed You, a cover of Stevie Wonder's Superwoman (using the subtitle rather than the title). Thomas doesn't try to do too much with Wonder's creation, just lets the song be itself. The result is the best vocal performance on the disc.

Thomas gets to show off her scat skills on Charlie Parker's Marmaduke. Scat is a deceptive art; it sounds easy until you try to do it. The key is let go and let it happen - if you think it over too much it doesn't work. Thomas is brilliant here; mixing her voice with runs and solos on guitar, sax, trumpet and drums. Thomas takes on the Guy Wood/Robert Mellin penned My One And Only Love to great effect. This song perhaps doesn't get the respect it deserves these days, but in its time its been covered by the likes of Louis Armstrong, Doris Day & Andre Previn, John Coltrane & Johnny Hartman, Frank Sinatra, Ella Fitzgerald and Sting. Thomas is on the money once again in a reserved performance that's thoroughly in character with the song. Astrud Gilberto's Gentle Rain is up next, and Thomas gives it her all but starts to run up against her own limits on a challenging vocal line. Thomas' sound is still excellent, but this particular tune takes tremendous breath control and Thomas struggles a bit in a couple of the longer, slower passages. Thomas closes out wit Duke Ellington's Come Sunday in a heartfelt but vocally mixed performance. The synth-driven arrangement doesn't really suit the song all that well, and to strip it down this much you really need to be able to take control of the song, which Thomas never really does.

I'll Take Romance is a good start. Michele Thomas can certainly sing; it's her ambition that gets her into trouble. One some of the more challenging tracks on I'll Take Romance Thomas exposes her flaws, but in a day and age full of pitch-correcting software and endless over-dubbing it's refreshing to hear someone willing to stretch themselves and know what you do hear is real. Michele Thomas doesn't have the power to belt out songs, and sticks to surfing the more lyric side of jazz, generally to highly enjoyable effect.

Rating: 3 Stars (Out of 5)

You can learn more about Michele Thomas at http://www.michelethomas.net/. You can purchase Messenger as either a CD or Download from CDBaby.com.

Review: Chip Taylor - Yonkers, NY

Chip Taylor - Yonkers, NY
2009, Train Wreck Records

Chip Taylor is the legendary songwriter responsible for such hits as Wild Thing (The Troggs), Angel Of The Morning (Juice Newton), Try (Just A Little Bit Harder) (Janis Joplin) and I Can't Let Go (The Hollies). His songs have been recorded by the likes of Johnny Cash, Aretha Franklin, Willie Nelson, Frank Sinatra and Jimi Hendrix. The younger brother of vulcanologist Barry Voight and actor John Voight, Taylor has a wealth of childhood stories to tell. He's saved the best of them for his latest album, Yonkers, NY. Yonkers, NY is released as a two-disc set. The first disc is done "Worlds + Music" style, with spoken words stories injected between (and sometimes in the middle of) songs. The second disc is edited to supply just the songs.

Taylor grew up in Yonkers, and tells about his formative years as Jamie (his nickname as a child). The arrangements are lush Americana, and Taylor takes us back in time when trains, horses, girls and family were the most important things in the world. Yonkers, NY opens with Barry Go On (Put Yourself On The Mountain), a missive on being told to become what you want to be as a child. It's a wonderful tune full of both the excitement and angst of being a young child in a big world. Charcoal Sky recounts learning all about trains from his father and a friend who was a conductor on the Hudson River line. Taylor reminisces about laying nickels on the train tracks to get train-pressed souvenirs with his brothers in a sweet and loving tribute to times gone by. Hey Jonny (Did You Feel That Movie) has a shuffling rockabilly feel that is guaranteed to get your feet moving and incorporates Bill Haley's Rock Around The Clock. Without Horses is a love song, of sorts, written perhaps from Taylor's father's perspective, about one man's love for betting on the ponies. Written in a gentle waltz, Without Horses has a real melancholy feel.

Taylor gets a gentle mix of R&B and Honky-Tonk on No Dice, an entertaining vamp that allows his band to show off their chops between verses. On Bastard Brothers, Taylor tells about his brothers complaints leading to Taylor's violin turning into a Ukulele one Christmas morning. The story that goes with it is funny and touching, and the song turns into a sort of back-handed thank you. Piece Of The Sky is a song about finding your dreams, whatever they might be. Here it's a win at the race track, but the universal nature of the song is appealing. Saw Mill River Road is about the local Country Music bar of Taylor's younger days. You can hear the Johnny Cash influence in this one, particularly in the "flashback" portion of the song. Yonkers Girls is a reminiscence of about the wiles and ways of the women of Taylor's youth grouped by their hometowns. Taylor closes out with Yonkers, NY, a musical portrait of his hometown that's both highly descriptive and deeply personal. Taylor describes a working class town with trials and tribulations like most similar sized towns in the US in the 1960's.

Chip Taylor has an easy, likable style as both a songwriter and story-teller. His voice isn't what you'd call pretty, but it's full of character, life and experience and is a very enjoyable voice to listen to. Yonkers, NY works so well because Taylor lived each song and each moment. Part confessional and part musical novella, Yonkers, NY uses intelligence, remembrance and humor to bring the people and places of his childhood alive. This might just be Taylor's masterpiece. Yonkers, NY is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Chip Taylor at www.trainwreckrecords.com/chip.html or www.myspace.com/chiptaylorsolo. You can order a copy of Yonkers, NY from Trainwreck Records on either CD or LP, or you can download the album from Amazon.com.

Review: Michael Buble - Crazy Love

Michael Bublé - Crazy Love
2009, 143/Reprise Records

Michael Bublé is back with his latest, an album entitled Crazy Love. The multiple Grammy-winning Bublé turns introspective and autobiographical on Crazy Love, which features 11 standards/covers and two original tracks. Bublé has sold over 22 million albums around the world, and his 2005 release, It's Time, holds the records for the longest run on the Billboard Traditional Jazz Charts at two years (with 80 weeks at #1). Guests on Crazy Love include the acapella group Naturally 7, and Sharon Jones and The Dap Kings. Production responsibilities were shared between David Foster, Bob Rock and Humberto Gatica.

Bublé opens with a darkly modern take of Cry Me A River. With a martial air, Bublé illuminates the song in bright new fashion while holding on to it's classic nature. All Of Me is done in more classic style with a touch of Vegas flair. Bublé does a good job with Georgia On My Mind, but I have been forever spoiled by the late, great Ray Charles on this song. Bublé's version is good but just doesn't stand up to the original. Bublé does much better with his cover of Van Morrison's Crazy Love. This is a classic song that mixes elements of Folk, Rock and Soul, and Bublé and his ensemble work magic here. Bublé opens up to a Broadway meets The Partridge Family style tune with the ebullient Haven't Met You Yet. This is a hopeless romantic's tune with a bouncy chorus you won't be able to get out of your head. Bublé is inspired here, and the arrangement as a whole plays to all of his strengths in a golden Pop moment.

Bublé visits the 1950's for his rendition of All I Do Is Dream Of You. The collective spirit of Louis Prima and Bobby Darin shines down on this particular number in one of the brightest moments on Crazy Love. Bublé creates a moment of musical déjà vu with Hold On, a song so instantly familiar I was certain it was a cover. This is an incredible tune that could be a pop classic, sounding like something that might have been written by Elton John or Billy Joel. Bublé goes Honky-Tonk with a live jazz/rock cover of The Eagles' Heartache Tonight. This is a fun version that's a bit livelier even than the original and certain to inspire some dancing. You're Nobody Till Somebody Loves You is done in classic Sinatra style and paves the way for Baby (You've Got What It Takes), featuring Sharon Jones and The Dap Kings. This is the highlight of the album, as singing with Sharon Jones seems to bring out a more soulful side of Bublé.

Bublé's cover of Billy Vera & The Beaters' At This Moment is another bit of magic. Bublé sticks pretty close to the original here, and while his voice may be prettier he doesn't hope to match the sound and heart of Billy Vera. Nevertheless, Bublé's performance is dynamic in it's own fashion and serves the song very well. Accapela group Naturally 7 lends their vocal talents on Hoagie Carmichael's Stardust. The result is a rendition that sounds like a young Bobby Darin singing with The Mills Brothers. The vocal arrangement here, in particular of Naturally 7, helps to build a classic sound for one of the greatest compositions of the twentieth century. Bublé closes out with the Latin-styled Whatever It Takes, a song of love and devotion that's a bit cliché but sweet.

Michael Bublé does it again. Crazy Love is the sort of transitional album that will allow Bublé to keep his traditional fans while beginning to build more present among folks with slightly more modern tastes in music. Crazy Love is certain to continue Bublé's string of Gold and Platinum albums while earning him serious Grammy consideration. Crazy Love is the work of a consummate professional at the top of his game.

Rating: 4 Stats (Out of 5)

You can learn more about Michael Bublé at http://www.michaelbuble.com/ or www.myspace.com/michaelbuble. You can purchase Crazy Love as either a CD or download via Amazon.com.

Review: God's Guns – Invasion 89

God's Guns – Invasion 89
God’s Guns

Ted Nott (vocals/bass) and Daniel Villarreal Carrillo (drums) travel under the name God's Guns, mixing elements of Rock, Jazz, Funk and Classical music into a dynamic and wide-ranging musical melting pot on their debut album, Invasion '89. The Chicago duo claim influences as diverse as Fela Kuti, Janes Addiction, Nine Inch Nails, The Mars Volta and Miles Davis. Wrap it all up in a grunge-flavored sensibility and you have a sound that's not quite like anything else currently out there.

God's Guns open with Ruby Ridge, a piece of Funk-driven rock with minimalist instrumentation (bass, drums & vocals). It's organic dance rock if you can imagine Pearl Jam playing with P-Funk's bassist sitting in. God's Guns shows a progressive leaning toward the end of the song that bears out later on. Invasion 89 features highly complex rhythms drawn from Jazz and Afrobeat styles, but musically it's all over the map.) God's Guns get expansive on Gutters Eye Blue, a melodramatic piece built around an almost derelict depression. Drum and bass fill the core here, with the vocal and violin dueling in a form of raw, forlorn grace.

God's Guns discuss the fall of New Orleans on Skeletons Of Louisiana Streets. The song is done beat poet style with sparse musical accompaniment, and focus on the moral and social degradation of the city rather than on a specific event such as Hurricane Katrina. Fires In The Fall finds the band in an introspective ode to a friend who has passed on. Driven by acoustic guitar and a dramatic vocal line reminiscent of some of Eddie Vedder's better stuff. Same Sinatra, More Insane features a searingly dramatic vocal line, but the song itself gets a bit messy. Petroleum gets messy but in true Progressive Rock circular style and ends up sounding more Psychedelic than anything. Puppet Show is a deep mess, running all over the map. It sounds as if God's Guns is more concerned with construction than progression here.

God's Guns turn out a solid if uneven effort in Invasion 89. The drums and bass setup with occasional violin or guitar is interesting, but wears as the album progresses. It seems as if may have worn on God's Guns as well, as the second half of the album is nowhere near the quality of the first half (with the exception of Fires in The Fall). When God's Guns are on their game they are an engaging band with a unique sound. These guys are definitely worth checking out, although individual songs may be hit or miss.

Rating: 3 Stars (Out of 5)

You can learn more about God’s Guns at www.myspace.com/godsguns or http://www.godsguns.com/. You can purchase a copy of Invasion 89 through CDBaby.

Review: JJ Soul Band - Bright Lights

JJ Soul Band - Bright Lights
2009, Arizona University Records

JJ Soul Band formed in 1993 in Iceland over a partnership between Oxford, England singer/songwriter JJ Soul and Iceland composer/keyboardist Ingvi Thor Korkaksson. Three albums and fourteen years later, JJ Soul band is still creating their distinctive mix of Rock, Soul and R&B. Their fourth album, Bright Lights, was released in Europe in 2008 and sees a 2009 US release.

Bright Lights opens with At The Mall, brandishing a classic Motown/R&B beat and gentle pop hooks that will stick with you. The song itself is entertaining, following a mysterious yet whimsical chain of events as they happened to the narrator in the song. Let Love Find Us opens with the funk on guitar, horns and some unusual keyboard sounds. The rhythm here is palpable; you simply won't be able to resist, much less want to. JJ Soul has a sound that's part Warren Zevon and part Keith Grimwood from Trout Fishing In America. I've Been Bad Again gets down into the Blues featuring tight musicianship but a vocal line that just doesn't fully connect. There's a Sinatra-esque disconnection but Soul just doesn't have the charisma Sinatra had to pull it off. Getting Colder By The Year is an interesting sidebar, sounding a bit like Billy Joel accompanying Gordon Lightfoot. The song looks back on what's been lost to drink in direct terms. The song is a gorgeous soliloquy with a distinct sense of melancholy. Bright Lights could be written about most any big city, calling out the price of living in big cities to a great Blues/Rock arrangement.

I don't need to describe the rest of the album to you because I essentially already have. JJ Soul Band sticks to the mix of Early Rock, Blues, Jazz and Lounge and ends up creating a strongly homogeneous album that's solid all the way around but never seems to take risks. Bright Lights is a solid listen; I enjoyed the album, but it just doesn't stand out from the crowd in significant fashion.

Rating: 2.5 Stars (Out of 5)

You can learn more about JJ Soul Band at http://www.jjsoulband.com/ or www.myspace.com/jjsoulband. You can purchase a digital copy of Bright Lights at eMusic. Hard copy CDs are apparently available for sale at stores in Iceland, but no online availability could be found. If you really want a CD copy, contact the band through their MySpace page. I’m sure you can work something out.

Review: Roberta Gambarini - So In Love

Roberta Gambarini - So In Love
2009, Decca Records/Emarcy/PGD

Roberta Gambarini built her reputation the old-fashioned way. A true road-warrior, she’s toured/performed with the likes of Ron Carter, Herbie Hancock, Slide Hampton, Roy Hargrove, Jimmy Heath and Toots Thielman, just to name a few. The native of Italy, who now calls the United States home, has one GRAMMY nomination under her belt, and has been dubbed by the great pianist Hank Jones as the “best singer to emerge in over 60 years”. (Jones has accompanied Ella Fitzgerald, Billy Holliday, Sarah Vaughan, Carmen McRae, Bing Crosby, Nat “King” Cole, Billy Eckstine and Frank Sinatra, just to name a few. On August 25, 2009, Decca Records releases Gambarini’s third album, So In Love, featuring guest appearances by James Moody, Roy Hargrove, Eric Gunnison, Chuck Berghorfer and George Mraz, to name a few. The album was recorded by Al Schmitt at Capitol Studios.

Gambarini is a vocalist with shades of Keely Smith's sharp alto and Ella Fitzgerald's warm tone in her voice. She opens So In Love with the title track in a fashion so sultry she could melt the microphone. Day In And Day Out finds Gambarini's smooth sound wending its way through a difficult melody line without every breaking a sweat. Get Out Of Town is the sort of performance you don't hear much of in vocal jazz anymore. Gambarini has this slight edge to her voice, but wraps it up in silk and taffeta while mesmerizing the listener into satisfied state. The arrangement here is ingenious, with the music growing almost out of thin air but never upstanding Gambarini while wrapping around her voice like a shawl. Gambarini gives a lyric and inspired performance of Patsy Cline's Crazy. There have been so many covers of this tune over time it's almost a cliché, and it’s rare to find an artist who truly does the song justice, but Gambarini makes the grade. Gambarini's take on That Old Black Magic is good but lacks the conviction that would make the song truly fly.

Switching to the popular realm, Gambarini takes on the Beatles with Golden Slumbers/Here There & Everywhere. He vocal take is gorgeous but the arrangement leaves something to be desired as it saps Here There & Everywhere of its vitality. From This Moment On finds Gambarini trying to keep pace with the great Ella Fitzgerald. This is one of those tunes you just don't do if you can't nail it and make it your own. Gambarini's version is good but just can't stand up to the original. Gambarini goes the stock standard route with You Must Believe In Spring and This Is Always before ripping off the roof with You Ain't Nothin' But A J.A.M.F. Scat fans take notice, Gambarini's got the pipes. Her performance here is absolutely inspired.
So In Love has some ups and downs, but there is no doubt that Roberta Gambarini should be considered one of the bright stars in vocal jazz. So In Love is a strong introduction and also a great learning tool, as it displays very clearly where Gambarini's strengths are and are not. If you're a fan of vocal jazz, and particularly the great Ladies of the 1930's and 1940's, then you'll definitely want to spend some time with So In Love.

Rating: 3.5 Stars (Out of 5)

You can learn more about Roberta Gambarini at http://www.robertagambarini.com/ or www.myspace.com/robertagambarini. So In Love drops August 25, 2009. You can pre-order the album through Amazon.com. Expect digital distribution through all major outlets, including Amazon.MP3 and iTunes.

Review: Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2

Ray Charles - Modern Sounds In Country And Western Music Volume 1 & 2
2009, Concord Records

We're only publishing one review because we want you to pay special attention to this one. Regardless of what genre of music piques your interest, there occasionally comes along a recording that crosses so many boundaries, and is so original or unique that it eventually becomes recognized as a master work. These are the sort of albums that can be re-released multiple times across generations (in this case 47 years later), and still have enough commercial oomph to make significant noise on the album charts. In this case, we have an album that not only retains strong commercial punch nearly 50 years later, but was also the beginning of a revolution in music that has helped father (or grandfather) genres such as Americana while foreshadowing the marriage of Country to genres such as Blues, Rock and Pop. Aside from all of that, Ray Charles also spoke of great changes in the midst of the Civil Rights Movement of the 1960's.

On June 2, 2009, Concord Records re-released two of Ray Charles’ classic albums on one CD. Modern Sounds In Country And Western Music Volume 1 & 2. The two albums were recorded in 1962 (February and September, respectively). Volume 1 was released in April of 1962, and is considered by many critics and fans to be Charles’ greatest recorded work. Not only was the album a commercial success (#1 album, 1 #1 single, 2 Gold singles), but it also bent social barriers with the fusion of R&B and Country during the height of the Civil Rights movement. The album also helped Charles to gain wide exposure on R&B, Rock and Country stations, turning the talented performer into a superstar. Volume 2 was rushed to release in October of 1962 based on the success of the first album, featuring 2 top-10 singles and a #1 single (You Are My Sunshine).

Volume 1, in particular, has been lauded by publications after publication as one of the top albums ever created. Blender magazine ranked it #16 on its list of The 100 Greatest American Albums Of All Time. Rolling Stone placed it on the list of its essential Rock Albums in 1997. Stereophile magazine lists Volume 1 on its 40 Essential Albums list, while Time magazine included Volume 1 on its 100 Greatest Albums of All Time. It’s easy to see why. Charles turned his inimitable talents on songs like Bye Bye Love, I Can’t Stop Loving You (#1 single), You Don’t Know Me (Top 10 single) and Hank Williams’ Hey Good Lookin’. With production by Sid Feller (Dean Martin, Peggy Lee, Paul Anka, etc.) and string arrangements by Marty Paich (Sinatra, Streisand, Ella Fitzgerald, Mel Tormé, Aretha Franklin, Michael Jackson, etc.), no stone was left unturned in creating perfect Ray Charles versions of each song.

In response to the tremendous success of Volume 1, Volume 2 was quickly recorded and released in October of 1962, using the same formula that had driven the success of Volume 1. The album included such hits as You Are My Sunshine (#1 single), Take These Chains From My Heart (Top 10 single), and Hank Williams’ Your Cheatin’ Heart (Top 40 single), as well as takes on Don Gibson’s Oh, Lonesome Me and the Chet Artkins/Boudleaux Bryant song Midnight.

Concord Records has done a great job handling these two releases, bringing them together for the first time outside of a box set and in an affordable form. The remaster on both is flawless, and give a great picture of the man, the artist, and the ground-breaking music he was creating at the time. The music is timeless and stands on its own as one of Charles’ greatest legacies, for both its artistic and social impacts. If you want to understand where today’s Americana styles started, with blends of country, rock and blues, look no further than Ray Charles. Without these two albums and the many that followed, the music you’d be hearing today might sound very different. Modern Sounds In Country And Western Music Volume 1 & 2 is a Wildy’s World Certified Desert Island Disc, and practically defines the concept.

Rating: 5 Stars (Out of 5)

You can learn more about Ray Charles at http://www.raycharles.com/. You can purchase Modern Sounds In Country And Western Music Volume 1 & 2 at Amazon.com or download it through iTunes.

Review: Frank Sinatra - Classic Sinatra II

Frank Sinatra – Classic Sinatra II
2009, Capitol Records

It seems that the traditional music industry survives these days by re-packaging music fans already have and throwing in one or two tidbits they don’t. The latest example is Frank Sinatra’s Classic Sinatra II, due June 2, 2009 on Capitol Records. The album is drawn from Sinatra’s concept albums recorded for Capitol between 1954 and 1961 plus a handful singles, and of course, one previously unreleased track. So for a list price of $18.98 you can get twenty songs you may already have and one you don’t. If you’re into renting your music (digital downloads), this presents no problem, you can simply download the new song. If, like me, you prefer to own your copy, you’ll have to lay down the cash for the CD if you want the new track.

All of that being said, Capitol has put together a pretty nice collection in Classic Sinatra II. The set features some big hits from that era, including Love And Marriage; High Hopes and (Love Is) The Tender Trap. Also included are standards such as Pennies From Heaven, Moonlight In Vermont, All Of Me, Love Is Here To Stay and Just One Of Those Things. Of course, if you’re a big-time Sinatra fan then you’ll buy the album just to have This Can’t Be Love, which has not been previously released. The song only clocks in at 1:40 and is over pretty much before you know it, but reflects Sinatra singing with a big band and in perfect form.

If you’re a Sinatra fanatic, you’re going to go buy this CD no matter what anyone says. If you don’t really know a lot about Sinatra and want to be introduced to his music, Classic Sinatra II is a great place to start (and I would suggest supplementing it with Classic Sinatra (1953-1960), the 2000 release also on Capitol Records. It’s a great collection, but it really depends on how much of this material you already have and whether you have to have that new song…

Rating: 4 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. Classic Sinatra II is due for release on June 2, 2009. You can purchase a copy of Classic Sinatra II at Amazon.com, or you can download it through Amazon MP3.

Review: Kat Edmonson - Take To The Sky

Kat Edmonson - Take To The Sky
2009, Convivium Records

Austin, Texas-based Jazz siren Kat Edmonson makes an exciting debut with Take To The Sky, an album of 9 reinterpretations of jazz standards and pop hits. Released digitally earlier this year, the album is available on CD for the first time on June 2, 2009. Mixed by super Engineer Al Schmitt (19 Grammy’s), Edmonson has an extremely talented band to back her up. Drummer J.J. Johnson (John Mayer, Charlie Sexton); bassist Eric Revis (Branford Marsalis Quartet) and pianist Kevin Lovejoy (Spoon, John Mayer) are joined by guests John Ellis (Charlie Hunter) and Ron Westray (Wynton Marsalis) in providing a tight and original tapestry in support of Edmonson's stunning vocals. Engineer Schmitt, who's worked with the likes of Frank Sinatra, Barbra Streisand and Sam Cooke, describes Edmonson as "the best new jazz singer I have heard in years".

Kat Edmonson is a once-in-a-generation voice. With a sound reminiscent of the great female jazz vocalists of the 1920’s and 1930’s, Edmonson is a treat for traditionalists, yet has just enough quirky pop sensibility to traverse the generations in between. Take To The Sky opens with Gershwin’s Summertime. The arrangement here is unusually dark, allowing Edmonson to be the only light you hear for the first two minutes of the song; she shines in a gritty and nuanced performance. The Cure’s Just Like Heaven gets a jazz/samba treatment here. I have to admit it took a few listens for me to really get this song, but it’s probably one of the finest covers I’ve heard. Edmonson is seraphic on Cole Porter’s Night And Day and turns in an incredible performance on Henry Mancini’s Charade.

Edmonson plays chameleon on the Cardigans’ Love Fool, sounding so much like Nina Persson that even fans of the band may be fooled. Edmonson projects a steely vulnerability on this song that is engaging. Angel Eyes (Brent/Dennis) is a popular selection that’s been covered by the likes of Sinatra, Duke Ellington, Ella Fitzgerald, Willie Nelson and Ray Charles and even Sting. Edmonson gives it all she’s got and comes up with a terrific reading of the song. My personal favorite song on the disc is Cole Porter’s Just One Of Those Things. If Porter were able, he would give Edmonson a standing ovation for a modern reading that never loses sight of the spirit of the original. Carole King’s One Fine Day becomes a slinky, taunting song much more fitting to the song’s intent than the bouncy Chiffons version. The album closes out with John Lennon’s (Just Like) Starting Over. Edmonson has recreated the song as a contemplative love song; a true jazz standard. It’s so good you’ll wonder how you ever heard it differently.

Kat Edmonson has a passion for Jazz, and the sort of vocal talent that would rise to the top of most any set of contemporaries of any era since Jazz music was born. The ironically quirky nature of her sound also practically guarantees that if Edmonson ever crosses over to the Rock and Pop worlds she’ll have success as well. The pure creativity and vision on Take To The Sky is stunning; its one thing to be able to cover songs well without sounding like a karaoke performer, but it’s something else again to be able to recreate well known songs in a way that makes them your own without losing connection to the spirit of the original. Kat Edmonson is a vital talent, and Take To The Sky is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Kat Edmonson at http://www.katedmonson.com/ or www.myspace.com/katedmonson. You can purchase a copy of Take To The Sky at Waterloo Records or as a download on iTunes.

Review: Barbra Streisand - The Concerts

Barbra Streisand – The Concerts
2009, Hip-O Records

Barbra Streisand is the top selling female artist of all time, with over 71 million albums sold in the US alone. Her 50 gold albums, 30 platinum albums and 13 multi-platinum albums rival artists like The Beatles, Elton John and Neil Diamond. Streisand started out in her high school choir with fellow future legend Neil Diamond, also rubbing elbows with Bobby Fischer. Streisand started out as a nightclub singer, working her way up through Off-Broadway productions and regular gigs at gay bars in New York City on her way to landing an appearance on Jack Parr’s The Tonight Show in 1961. Streisand made her Broadway debut in 1962 in I Can Get It For You Wholesale, and won her first two Grammy Awards in 1963 for The Barbra Streisand Album. More Broadway shows would come, as would movies and a string of highly successful recordings. Streisand has received 10 Grammy Awards, including the Grammy Legend Award (1992) and Grammy Lifetime Achievement Award (1994).

The Concerts features two full shows from this legendary performer. Included is the full set list from a show in Ft. Lauderdale, Florida from Streisand’s 2006 North American tour. This concert includes some firsts from Streisand, including My Shining Hour, A Cockeyed Optimist and Unusual Way. A guest appearance by Il Divo is just dressing for this concert experience. The set also includes a show from her 1994 tour recorded at Arrowhead Pond in Anaheim, California that includes the Yentl Medley. This tour was Streisand’s first return to the stage in a quarter century; it’s apparent from the energy Streisand brings to the stage as well as from the response from the crowd. The third disc in the set is a cornucopia of goodies for hard core Streisand fans, featuring video clips from television performances over the years and the documentary Putting It Together: The Making of the Broadway Album.

There are a lot of compilations and retreads out there that come out of the major music labels these days. No one at the majors wants to invest in developing artists anymore, but they are more than willing to slice and dice long established artists’ catalogs to create “new” releases ever other year to keep up their income levels. I tend to be very skeptical of such tactics, but this collection is very much worthwhile if you’re a Streisand fan. If you don’t know much about Streisand, come out from under that rock and check out The Concerts. Streisand is iconic in a way that artists like Sinatra, The Beatles, Ray Charles and Neil Diamond are or were. The Concerts is worthy of that reputation.

Rating: 4.5 Stars (Out of 5)

You can learn more about Barbra Streisand at http://www.barbrastreisand.com/. You can purchase The Concerts at Amazon.com or wherever DVDs are sold.

Review: Frank Sinatra - Live At The Meadowlands

Frank Sinatra – Live At The Meadowlands
2009, Concord Records

What can I say about Frank Sinatra that you haven’t heard before? The man is a legend, and still creates a buzz when a new release is on tap even eleven years after his passing. Sinatra was the recipient of no less than eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and Grammy Lifetime Achievement Award. Sinatra also won an Academy Award for Best Supporting Actor (From Here To Eternity), and was awarded the Presidential Medal Of Freedom in 1985 by Ronald Reagan and the Congressional Gold Medal in 1997. Sinatra sold over 100 million records over the course of his career, in spite of a damaged ear drum and a voice that was imperfect. Sinatra’s gift was his ability to sell a song better than anyone else in the business. On May 5, 2009, Concord Records releases the jewel in the crown for any collector of Sinatra audio recordings, Live At The Meadowlands.

On March 14, 1986, Frank Sinatra took to the stage at The Meadowlands Sports Complex in East Rutherford, New Jersey, for a show that has become legend amongst Sinatra fans. The show was a homecoming of sorts for Sinatra, and has not been previously released officially, although poor quality bootlegs have circulated among fans for years. Listening to the recording you could tell that Sinatra, even at seventy years old, knew it was a special night. There was a bounce in his step that came through in the performance (there’s nothing like playing to a hometown crowd that loves you). Sinatra covered every phase of his career, from One For My Baby and It Was A Very Good Year to New York, New York. There’s even a three minute monologue segment that gives a very human look at Sinatra that is passed over in news and tabloid coverage of the man.

Special moments in the concert include The Gal That Got Away, I’ve Got You Under My Skin, Where Or When, Someone To Watch Over Me and Mack The Knife. Ultimately, when compared with some of the great singers of the past seventy years, Sinatra’s voice isn’t as pretty as some, but the man owned everything he sang like nobody’s business. It’s one thing to hear him on studio recordings, but on this live performance you get the full effect of Sinatra’s charisma and style. There’s nobody better, then or now. Anyone out there who performs on stage, or dreams of doing so, this is your first lesson in showmanship. You’ll never find a better teacher.

Live At The Meadowlands is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. Live At The Meadowlands hits shelves on May 5, 2009. You can purchase your copy at Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5.

Review: Frank Sinatra - My Way 40th Anniversary Edition

Frank Sinatra – My Way – 40th Anniversary Edition
2009, Concord Records

Also on May 5, Concord Records releases the 40th Anniversary Edition of Frank Sinatra’s classic album, My Way. With liner notes written by U2’s Bono, My Way holds a special place in American Popular Music. The song itself became Sinatra’s theme song, and the perfect epitaph for his career. The album reflected Sinatra’s attempt to stay hip amidst a torrent of changes in taste in popular music. My Way includes covers of Hallelujah I Love Her So, Mrs. Robinson and Yesterday. Included with the album are two previously unreleased tracks, a cover of Jean DuShon’s For Once In My Life (made popular a year earlier by Stevie Wonder) and a live version of My Way recorded in October, 1987 in Dallas. Even 40 years after the fact, this album is a stunner. My Way came at a point in Sinatra’s career when popular mores had left him behind. Record sales were declining and a wave of new artists were filling the airwaves. Sinatra would temporarily retire two years later for these reasons, but for whatever else was going on; Sinatra could take on any material and make it his own.

My Way wasn’t Sinatra’s best material over the course of a 5 decade career, but it’s a clear picture of an aging legend, still at the top of his game even though the game was changing. My Way should be a part of every music collection.

Rating: 4 Stars (Out of 5)

You can learn more about Frank Sinatra at http://www.sinatra.com/. The 40th Anniversary Edition of My Way will be released May 5, 2009, and is available through Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5th.

Review: Simavi - Memories Of You

Simavi - Memories Of You
2008, Original Cast Records

New York City crooner Simavi spent several years putting together the 23 tracks on Memories Of You, released in 2008 on Original Cast Records. Back by a 50-pieces orchestra, Simavi tackles classics from the American Standard songbook as well as some lesser known gems. Arrangers for this disc include the likes of Quincy Jones, Johnny Mandel, Nelson Riddle and Billy May. The disc also includes video footage of a live performance from New York's Lincoln Center.

Simavi has a pleasant voice that is period-perfect for the material he's singing, but its not the best voice on the market. Similar to Frank Sinatra or Johnny Mercer, Simavi relies on his ability to sell a song to overcome those vocal flaws, but Simavi lacks the charisma of Sinatra or the panache of Mercer. The vocals are very straight forward renditions of the classics and near-classic Simavi's chosen for Memories Of You. The orchestration is incredible. The orchestra employed by Simavi creates an amazing musical canvas on which to work. Highlights include The Girl From Ipanema, I Get A Kick Out Of You, Love Looks So Well On You and Fly Me To The Moon.

Sinatra had an ability to electrify a song with his conviction. Johnny Mercer spent most of his time writing for others, but had a knowing warmth and a wink that made you feel like you were in on the joke. Simavi may be able to bring some of those qualities out in front of an audience, but they are absent here. The vocals are clean and technically proficient, but lack the heart and soul to make these songs soar.

Rating: 2.5 Stars (Out of 5)

You can learn more about Simavi at http://www.simavi.us/ or http://www.originalcastrecords.com/. You can purchase a copy of Memories of You at www.cdbaby.com/cd/simavi or download the album from iTunes.

Review: Fern Viola - My Faith (With Al Bachmann)

Fern Viola (with Al Bachmann) - My Faith
2008, DJ Companion Records

Hamilton, Ontario's Fern Viola has been wowing audiences with his deep Baritone voice for years. Nicknamed by none other than former Canadian Prime Minister Pierre Trudeau "Mr. O Canada", Fern Viola is back after twenty years with a new recording with old partner in crime Al Bachmann handling songwriting duties. My Faith is a collection of love songs and religious songs done in classic crooner style, ala Frank Sinatra, Tony Bennett or Perry Como.

The voice is perhaps not a strong as it was twenty years ago, but Viola's charisma hasn't lost a step. Viola sells the songs on My Faith as well as any of his idols. At 83 years old his voice has held up at least as well as that of Tony Bennett. The material on My Faith is somewhat dated in sound, recalling a period in Las Vegas lounge music that saw the Rat Pack at their peak. That being said, My Faith is extremely accessible. In an age when much music relies on effects and sounds, Viola and Bachman take it back to the basics: melody and lyrics. My Faith works by keeping it simple, allowing the inherent beauty in each of the songs to come through; relying on Fern Viola's showmanship to sell it. And he does.

There are even a few surprises on My Faith. Ave Maria Bach Gounod takes the traditional hymn and places it in a minimalist rock arrangement that works better than you might think. There's almost an Andrew-Lloyd Webber quality to the composition, and you could easily imagine Michael Crawford's Phantom Of The Opera chiming in. Panis Angelicus follows a similar track, working the minimalist route with a slight Latin feel. Viola and Bachman go full cathedral on Agnus Dei, with the pipe organ almost stealing the show.

The highlight of the album comes toward the end, when Viola takes on Schubert's Ave Maria. The arrangement here is lovely, and Viola still puts his heart into each song he takes; he soars on Ave Maria. Bachman gets to show off a bit on My Faith as well. Instrumentals such as Latin Blues, Jesu Joy Of Man's Desiring, Serenade In A and Amazing Grace are all great listens. Other highlights include Now Is The Time, the vocal version of Amazing Grace, The Wedding Song and Ave Verum.

Fern Viola is 83 and going strong. If My Faith proves anything, it’s that Viola hasn't lost his touch. Time steals from us all, but for whatever time has stolen from Viola, his heart and panache more than make up for it. Ditto Al Bachmann. The music here is certainly dated in sound, but Viola and Bachmann keep it fresh in the utter joy with which they sing and play. My Faith is a great listen that can be shared across generations. And if you happen to be in the vicinity of Southern Ontario and Viola is performing somewhere. Viola's legendary status may not have passed beyond the boundaries of Canada, but the reputation is well deserved.

Rating: 3.5 Stars (Out of 5)

You can learn more about Fern Viola at http://www.djcompanionrecords.com/. You can purchase a copy of My Faith at www.cdbaby.com/cd/fernviola.

Review: Raul Malo - Lucky One

Raul Malo - Lucky One
2009, Fantasy

One might guess Raul Malo was raised on the classic music of Elvis Presley, Tom Jones, Roy Orbison, Jim Reeves and other greats of the golden eras of Rock and Country. On his latest CD, Lucky One, Malo pays vocal and stylistic tribute to that bygone era, moving through the sounds of that time like a musical chameleon. On the first three tracks alone Malo channels Tom Jones (Lucky One), Elvis Presley (Moonlight Kiss) and Roy Orbison (Something Tells Me). Crying For You is perhaps the biggest moment here, sounding like something Sun Studios and the country side of Nashville might have gone to war over at one time. Malo has a classic sound that would have fit in easily anywhere from the late 1940's to the 1960's heydays of Las Vegas. While looking decidedly modern, Malo has captured a sound and style here that becomes stale in the hands of many artists of this generation. Few have the charisma and showmanship to bring this type of music the way Elvis or Tom Jones did, much less in the fashion of Sinatra, Dean Martin, Sammy Davis Jr. or other contemporaries of The Rat Pack.

It's a little too early to tell, but Raul Malo might just find his name mentioned in those circles one day. He has the voice and the presence to be there. If you're a fan of great vocal music in general, or of 1950's and 1960's pop vocal music in particular then you need to check out Lucky One. You won't regret it.

Rating: 4 Stars (Out of 5)

You can learn more about Raul Malo at http://www.raulmalo.com/ or www.myspace.com/raulmalo. You can purchase a copy of Lucky One at Amazon.com.