Sirsy - Coming Into Frame

 

Sirsy – Coming IntoFrame
2013, Funzalo Records

Sirsy is one of the hardest working bands in rock androll.  The Albany, NY based duo hastoured relentlessly since their inception in 2000.  Along the way, Sirsy has opened for such actsas Grace Potter and the Nocturnals, Maroon 5, Blues Traveler, Collective Soul,Cheap Trick and Lifehouse.  Fully independentuntil their signing with Funzalo Records in 2010, Sirsy has the distinction ofbeing the only Indie band to crack Soundscan’s Top Ten.  Last month Sirsy released their first albumcompleted while under label influence and 10^th overall.  The title, Coming Into Frame, suggests a band coming into their own.  The truth is not quite as clear as theimplication.

The fact that is that one of the qualities that has madeSirsy so appealing to fans over the past 13 years is their raw rock and rollsound.  Coming Into Frame takes that edgy appeal and puts a fine polish onit, under the watchful hand of producers Paul Kolderie (Hole, Belly, The MightyMighty Bosstones) and Sean Slade.  Thatfine polish curdles the sound a bit, however, as the pure personality of frontwoman Melanie Krahmer gets waxed over for the first time in the band’scareer.  The soulful sneer of the openingtrack, “Cannonball” is whitewashed in this setting.  Likewise the bluesy touch of “Lionheart”,which ends up much less vital than it should be.

Sirsy gives in to label sensibilities on tunes such as “BraveAnd Kind” and “Lot Of Love”, which don’t have the raw edge of their earlierrecordings.  Melanie Krahmer still hasstar power with a voice that shows shades of Chrissie Hynde and Joan Osborne,and guitar/bass man Rich Liburdi helps to keep the ship steady.  There are some fine moments here, such as thecatchy pop/rock of “Red Letter Days” and the memorable “Killer”, but Coming Into Frame just doesn’t seem tohave the same spark and fire as earlier Sirsy recordings.

Rating: 3 Stars(Out of 5)

Learn more at www.sirsy.com. 

Aaron Comess - Beautiful Mistake

Aaron Comess - Beautiful Mistake

2011, Aaron Comess

Aaron Comess is a multi-instrumentalist, composer and producer who has collaborated with the likes of Joan Osborne, David Foster, Phil Ramone, Isaac Hayes, Chris Whitley, Marc Cohn and Natasha Bedingfield (among others).  You might remember Comess as a founding member of The Spin Doctors (drums).  However you may have crossed musical paths with Aaron Comess, there can be no doubt that his talents have aided and abetted some pretty big names in the music business.  On June 14, 2011, Comess releases his second solo instrumental album, Beautiful Mistake. 

Comess surrounds himself with first class musicians on Big Mistake, allowing the ensemble to stand out as a whole, and in individually, while he quietly drives the action with variegated rhythms.  Opening with "Truth", Comess starts listeners off in mellow, thoughtful tones.  Guitar is the lead voice here, imparting a sort of stodgy melodicism that is more fluid and lyric than it first appears.  "Beautiful Mistake" is a deceptive and archaic waltz that occasional breaks into a swing beat.  Bass and percussion create a rhythmic bed that is entrancing, while Comess' guitarist has his way with your ears in a guitar sound that's part Prince and part Eric Johnson.  Comess and ensemble build all of this into a rollicking jam that sweeps you up in its pure joy.  "Past Present & Future" builds on a polyrhythmic feel with quirky guitar sounds, sounding like a compositional study in rhythmic aberrations.  It's entertaining and offbeat, and could be taken as run through with a wicked sense of humor. 

Comess drops into mellow rumination for "Kumpelicious", delving into some vaguely Hendrix-style riffs in a mellow side-trip of sound.  "Castkills Last Waltz" is jaunty and fun, with something a swing sensibility built loosely into the arrangement.  What will really catch your ear here is the phrasing on the guitar, which transcends technical competence to that thing they call "touch" or "feel".  As a counter, Comess pulls a complete left turn into the bowels of garage rock for "Dirt", an angular and distorted bit of fun that serves as a perfect counter to the pure essence it follows.

"Limbo" sounds like a blend of Steve Howe and Greg Kihn; funky and full of a bubbling energy.  The exceptional guitar work here is punctuated by rhythms and sounds that begin by distracting and slowly enmesh themselves into the creation that is the song.  Comess tries his hand at gothic-style film scoring on "Unleash The Beast", a messy-but-fun composition that gets points for style and pure chutzpah.  "Lullabye" serves as a spoiler, a sweet, flowing melody as a moment of piece in the maelstrom of creation imparted on Beautiful Mistake.  The moment of peace is over quickly, however, as Comess and band launches into the muscular-yet-atmospheric "High Five".  What starts out as a straight forward composition builds in intensity and style, adding funk and volume until it's ready to blow out the top. 

"Stinky" is an edgy new-age pop instrumental.  Mild-mannered, but rough enough around the edges to not quite fit into the traditional new age category.  Comess answers back with "Bubble Blues", which is bathed in distortion and reverb.  It doesn't really add a lot to the album, but is an interesting diversion that leads into the spritely sweet closing track, "I Love You".  Everything flows at the end, as Comess has save his purest melodic moment for last.

Beautiful Mistake is a pleasant surprise.  So many pop/rock instrumental albums out there rely on cyclical arrangements and blind creation, often resulting in repetitive or derivative creations that seem anathema to the creative process.  Comess has structured Beautiful Mistake with an ear for musical diversity and progression, forcing himself continually over new ground rather than recapturing the same harmonic and melodic fields again and again.  Not every moment here will work for every listener, but Comess keeps things original and new throughout the album.  Consequently, those will listen complacently will miss a lot.

Rating: 3.5 Stars (Out of 5)

Learn more about Aaron Comess at www.aaroncomess.com or www.myspace.com/aaroncomess.  Beautiful Mistake drops on CD on June 14, 2011.  The album is already available digitally from Amazon.com or iTunes.

Morgen La Civita - Old Souls

Morgen La Civita - Old Souls

2010, Morgen La Civita

Old Souls opens with "On And On", a dark and mysterious rocker with elements of Middle Eastern music and bluegrass pick work.  This catchy tune is sort of a "witchy woman" for the 21st century, and is a great bit of songwriting with a catchy mien.  "What Love Can Do" has a funky groove and features La Civita in great voice.  It may not turn out to be a fan favorite, but survives nicely on La Civita's salesmanship as a performer.  "Who Is This Woman" is an interesting exploration of how we often lose sight of who we are as we grow.  La Civita crafts a lush and lovely melody while reminding us that often the child we remember is not the adult we become.  "Divine Grace" is a prayer and message in song; dark and hopeful and featuring an intriguing intellectual approach. 

With a solid start, La Civita struggles a bit the rest of the way.  Things get slow until she breaks out with the funky and vibrant "Whole Lotta Trouble".  This is a great bit of danceable songwriting and worth checking out.  "Grandmother's Song" makes the jump from From The Basement and is as charming as it was the first time around.  "925" falls flat, but La Civita recovers to close with a live version of "Pretty Marie" (also from From The Basement. 

Morgen La Civita has a voice that's full of context and character.  You might not describe it as pretty so much as full of a regal beauty.  Like royalty, there's a distance between La Civita and the listener, but her performances are informed and heartfelt in spite of that slight separation.  When La Civita is on her game the songwriting is above average, and she can occasionally save a song on the strength of her egalitarian grace, but a handful of songs on Old Souls seems uninspired.  This is one of those occasions when a highly above average EP gets turned in an average or slightly above full-length album.

Rating: 3 Stars (Out of 5)

Learn more about Morgen La Civita at www.morgenlacivita.com or www.facebook.com/morgen.lacivita.  Old Souls is available digitally from Amazon.com, iTunes and CDBaby.

Singer/songwriter and voiceover artist Morgen La Civita returned on Halloween this year with her second album, Old Souls.  The effort finds La Civita expanding on the sound she debuted on her first EP ­­­From The Basement, showing growth as both a songwriter and lyricist. 

Morgen La Civita - From The Basement

Morgen La Civita - From The Basement
2010, Morgen La Civita

New Jersey's Morgen La Civita has been all over the airwaves for years as a voice-over artist. More recently she's taken to her home recording studio and begun a solo career as a singer-songwriter. With the help of GRAMMY Award winning Engineer (and husband) Jake R. Tanner, La Civita recorded and released her debut album, From The Basement in February of 2010. LaCivita mines the depths of human experience with an eye to opening the eyes of all who will listen to the plight of the forgotten, the lost and the unheard.

From The Basement opens with "Who I Am", a piano ballad lamenting a partner's inability to accept her for whom she really is. It begins as a moment of confusion over what to do but quickly grows into strength, telling him he can come along for the ride or she'll go her own way. The song highlights LaCivita's lush and earthy voice, a gorgeous instrument that cavorts with the piano in quiet, dulcet tones. "Joni Mitchell Memory" pays tribute to one of La Civita's bigger influences, sounding like a session cut from early in Mitchell's career in the process. Vocally La Civita will remind you at times of early Joan Osborne (in her pre-"One Of Us" days), and that comparison is very apt here.

L aCivita moves for more complicated matters with "Dark Water Lullaby", a deep and lovely ballad with fathomable meaning and a stark musical beauty that won't be denied. "What's Inside" is a morality lesson in looking beyond the surface to see what's inside. La Civita infuses middle eastern sounds here to create a sound that's both lovely and haunting. La Civita gets into some of the darker aspects of life on songs such as "Hush", "Pretty Marie" and "There Are Angels", a triumvirate at the heart of the album that take some stamina as a listener. The messages are in turn provocative and inspiring, but the musical landscape remains enough unchanged as to challenge the listener to keep up. This trend continues through much of the rest of the album although to lesser degrees. From The Basement closes with "Maybe", a song of cautious hope regarding a relationship that perhaps does not appear strong. The melody here is beautiful, among the finest on the album. La Civita is in her best voice here as well.

Morgen La Civita lives so far out of the box of popular music you'll wonder where it went. From The Basement is a leap of faith, both for La Civita and for the listener. If you can immerse yourself in her tales the reward is significant. La Civita writes in a solitary style that would benefit from a bit more collaboration, but her sense of melody is strong and her ability to craft a tale is well documented here. Where From The Basement falls short at times is a lack of dynamic variation. La Civita mixes and blends styles to her own liking in adept fashion, but the tone of her stories and the lack of distinct highs and lows make it harder to sink into the songs and stay there for the full song cycle. Nevertheless, it's apparent that Morgen La Civita is on to something here. She included a bonus track, "The Difference" from her upcoming album If You Like This Sort Of Thing. While one song doesn't tell about dynamic or pacing of an album, it's clear that in the six months since the release of From The Basement La Civita already shows the beginnings of progressive development as an artist. The future should be interesting.

Rating: 2.5 Stars (Out of 5)

Learn more about Morgen La Civita at http://www.morgenlacivita.com/ or www.facebook.com/morgen.lacivita.  Sales of From The Basement benefit the National Down Syndrome Society (http://www.ndss.org/).  From The Basement is a digital-only release.  Downloads are available from Amazon, CDBaby and iTunes.

Jessica Labus - Mirrors

Jessica Labus - Mirrors
2009, Jessica Labus
Born in Florida but raised in Niagara Falls and Grand Island, New York, Jessica Labus had a hunger to perform from an early age. Musical theater and country/western music were her fortes in childhood, but as soon as Labus could drive she quit small town life for New York City. Playing the subways and taking classes in musical theater helped Labus establish her priorities, and soon she set out to become a singer/songwriter. With a bitingly honest songwriting style and flashes of biography based on her own life and people she knows, Labus writes meaningful musical dialogs punched with the efficacy of truth, but run through with an admirable pop/rock sensibility that's hard to ignore. Jessica Labus launched her debut album, Mirrors, in 2009.

Mirrors opens with "Bryan's Song", a tune about personal demons and addictions. It's a call to wake up and make a change before things fall apart, and was written about/to a family member who had a hard time listening to the counsel of loved ones. "Mirrors" is an urgent/angry rocker about an affair a friend had with a married man. It's written from an interesting perspective, capturing a wealth of conflicting emotions that arise from such poisoned undertakings. In "Time Spent", Labus engages in reverie over a relationship gone by;k not regretting a moment but allowing a wash of wistful melancholy to dance with the not-quite-dormant emotions the memory stirs. "With Or Without Me" looks back on a relationship that went wrong because Labus never took her partner seriously. With time and perspective as her guide she realizes she really loved him, but finds the most important thing to be his happiness.

"Anything From You" goes to the relationship well once again, this time from a more confused and hurt place; there is a moral to the story, but you'll have to listen all the way to the end to find it out. Labus pours her heart out in "Back To You"; her voice breaking with the emotion of the song in a fashion that seems natural rather than effected. It's a great tune, one of the more positive songs about love on the album. "Quarter Past Four" encompasses the misgivings that attack us in the wee hours. It's vulnerability of a personal sort that shows up in "Quarter Past Four", but it becomes a strength as Labus realizes she needs to take control of her own life even it means giving up something she adores.

"Who" takes another tack entirely. It's a biting, sarcastic kiss off song, written, by Labus' own admission, to embarrass someone who just walked out of her life. Labus' affection for country music shines through here, and you could picture "Who" becoming an anthem for those who have been wronged by men with less-than-honorable intentions. With "Meant To Be", Labus breaks down the barrier between things that are meant to be and things that are meant to last forever. It's a mature perspective that is built part out of the need of the moment and part out of our own ability to fool ourselves into believing that what we want and what we are "meant for" are one in the same. Mirrors closes with "Watching Over Me", an ode Labus' grandmother for all of the love and lessons she gave ("Now that you're slowly fading into a memory / I keep you close by believing in what I cannot see / Now I've got an angel watching over me"). It's a touching closer that will hit home with anyone who's lost a beloved parent, grandparent or parental figure.

Jessica Labus has a point blank story-telling style that is likely to intrigue you unless it hits a little close to home. Labus deals with reality as she sees it, in a no-nonsense fashion that is both refreshing and occasionally discomfiting. Every note on Mirrors is finely crafted and is full of passion and emotion; even in the quite moments Labus' voice burns with the heat of each memory and emotion. Mirrors is Labus thinking aloud in song, and you'll be glad she's welcomes you into her mind. Here there is no hedging; no pretty colors to distract or blind you; just solid, honest song-writing delivered in impassioned tones. Mirrors is a must-have album.

Rating: 4 Stars (Out of 5)

Learn more about Jessica Labus at www.myspace.com/jessicalabus. Mirrors is available in multiple formats from Amazon, CDBaby and iTunes.

Review: Jazz Punks - Jazz Punks

Jazz Punks - Jazz Punks
2009, Jazz Punks

Los Angeles-based neo-Jazz outfit Jazz Punks sound a bit like a super group. Drummer Hugh Elliott has played such luminaries as Angela Bofill, Herbie Hancock, Grover Washington, Joan Osborne, Robert Lamm and Laura Branigan. Guitarist Sal Polcino is an alumnus of Tower Of Power Rhythm Section. Bass man Mike Polcino is a longtime symphony and jazz musician who has toured with members of Fishbone and also serves as a director on Fox' The Simpsons. Pianist Danny Kastner is an award-winning composer who owns his own media company and had the pleasure of being fired by Donald Trump on The Apprentice. Saxaphone player Robby Elfman is a session player in LA when not composing music for television and film. Together, this talented bunch travels and play under the name Jazz Punks, and have released a self-titled EP.

Jazz Punks opens with Led Gillespie, an occasionally muddy but generally workable mash up of Dizzy Gillespie and Led Zeppelin. The marriage is a rocky one but entertaining. Another Hue is highly inventive and melodic jazz, featuring some sweet guitar work from Sal Polcino. Polcino carries over his sweet sound into Heavy Footprints, with some wild piano work from Danny Kastner, but it’s the rhythm section that makes this one tick. Hugh Elliott (drums) is a rock, and Mike Polcino's plaintive, nearly haunting bass line is the soul of the song. The combination of The Beatles and Miles Davis is quite unique and works very well. Four finds Jazz Punks in full swing on the sort of classic fare that's filled supper clubs for generations. Jazz Punks close with I Can See Miles, a hybrid of Miles Davis and The Who that's intriguing. Running out over eight-and-a-half minutes, Jazz Punks dissect and bisect Davis and The Who in ways both coldly logical and serene.

Jazz Punks take listener expectations and turn them on their collective ears. Not out to kowtow to tradition, but rather intent on marrying sometimes disparate arts and artists, Jazz Punks take risks on a big scale. When they don't work out it's almost expected; when they do the songs seems like brilliant surprises. The creation here isn't so much about making something new, but helping you hear songs you might already know intimately in new and exciting ways. This is one mark of a seasoned musician/entertainer. Jazz Punks come highly recommended, particularly if you can see them live on stage. The Jazz Punks EP is a great introduction!

Rating: 4 Stars (Out of 5)

You can learn more about Jazz Punks at http://www.jazzpunks.com/. You can purchase Jazz Punks on CD from Amazon.com, or as a download through iTunes or Rhapsody.com.

Review: Natalie Gelman - Natalie Gelman

Natalie Gelman - Natalie Gelman
2006, Natalie Gelman

You'll be excused if thinking Natalie Gelman is just another folk/rock singer-songwriter until the first time you actually hear her sing. If you still profess the same heresy thereafter you're bound to be remanded for a hearing exam. The decorated opera singer (two performances at Carnegie Hall as a soloist) has a supple voice that can handle the demands of a Rock N Roll song, the subtlety and weight of a folk song or the lyricism and endurance required to sing an aria. The New York City native is dedicated to music not only as a vocation but as a means to affect the world around here. Gelman toured from Miami up the East Coast to New York City in support of the 2006 release of her debut CD, Natalie Gelman on roller blades, raising money along the way for charity. She has been featured on the front page of the New York Times, in Billboard Magazine, on CBS' The Early Show and as a New York City finalist for season 3 of America's Got Talent.

Gelman has a big, impressive alto voice that will draw your attention the second she opens her mouth to sing. Gelman sounds like a tough girl behind the mic, but there's a great deal of heart and vulnerability that she wears on her self-titled CD, coming across as a delicious mix of Joan Osborne and Sarah McLachlan. The album opens with the runaway song Rest Of The Way. The song outlines a picture of someone fleeing a bad relationship by making the same sort of bad decisions that led them into the relationship in the first place. The song is very well written with a distinctive chorus and a nuanced presentation that shows great maturity and touch as a songwriter. Sweet July is a love song that looks backward with a lot of energy and rhythm. Always Was is a touching paean to the idea that first love never truly dies. This is a well-written and nuanced song that's full of a quiet yet passionate urgency.

Just Someone may be the ultimate dysfunctional relationship song; following a similar meaning track as Sheryl Crow's Strong Enough without the passive-aggressive tendencies implied in that tune. Never finds Gelman returning to the retrospective love song category, looking back on a past love. This is one of the prettier songs on the CD, with a great melody and a strong arrangement. For all the good that's come before, Gelman saves the best for last. Forgive Me is a stunner full of an emotional depth and honesty that rarely survives the cut in pop music. The protagonist put off a potential suitor to take time to figure out what she really wanted; by the time she figured out it was him he'd moved on. Gelman asks forgiveness in song, although whether its forgiveness of the suitor or herself she's really requesting. The song is heartfelt and driven and written in a rock arrangement that is a perfect surprise. Generally this sort of song appears in a melancholic dirge; Gelman's musical placement here is perfect.

This is one of those CDs that took me a little while to get into. It had kicked around my desk for a couple of weeks, getting a listen here or there but not really hitting home. All of a sudden on the third or fourth listen something clicked. Gelman is a tremendous songwriter, but off the beaten track enough that you have to work for the experience. Folks who listen passively may not get her, or at least not fully. Natalie Gelman is an impressive debut. There are rough edges here or there but nothing that won't refine over time. Between her distinctive style and familiar yet proprietary sound, it’s easy to prognosticate that Gelman will be making music worth listening to for many years to come. Be sure to spend some real time with Natalie Gelman. It will be worth the investment.

Rating: 4 Stars (Out of 5)

You can learn more about Natalie Gelman at http://www.nataliegelman.com/ or www.myspace.com/nataliegelman. You can purchase a copy of Natalie Gelman at www.cdbaby.com/cd/nataliegelman or download the album through iTunes.