Living Frugally

If you're like my wife and I, you've been affected by everything from unemployment (and underemployment) to rising gasoline prices. Even though government labor reports trumpet an improving economy, the reality for us is the recession never really ended. For many I speak with here in the Northeast, this seems to be the norm. As such, we've witnessed and experienced God's hand of provision and also learned some creative ways to save money.

Here are a few simple things we've done, and that you might try in order to tighten up the budget. Some of them may be no-brainers, but it doesn't hurt to overstate the obvious:

• Shop at discount grocers (in our area, we have Aldi and Price Rite). According to consumer advocate Clark Howard, by shopping at Aldi you can actually save 40% on your grocery bill! For example, I've discovered a super-cheap and pretty healthy lunch; a bean and cheese burrito (.29 each) and a salad ($1.00 for a 4-serving package). I drizzle the burrito with a bit of sriracha sauce to spice up the flavor and top the salad with a few slices of tomato or some grated mozzarella along with dressing. Not a bad lunch for what amounts to about 50 cents!
• Clip and use coupons for items you really need. Try websites such as www.couponsuzy.com.
• If you're not mechanically inclined and have a friend who does car repairs, offer to pay him to do a repair rather than going to a shop. He/she may appreciate the few extra bucks and you'll more than likely enjoy significant savings. Another option, if you're able, is to help with with the repair. Maybe, like me, you'll learn something in the process and the job will take less time!
• Try setting your home thermostat at a lower level, such as 60° F. You may need to throw on a sweater during the day or an extra blanket at night, but you'll see some nice savings on your fuel bill.
• If you have cable TV, consider a lower-priced package or eliminate it altogether. Netflix offers a service with many options for movies and shows at only $8 per month. At relatively low cost, you can pick up an internal or external antenna which will allow you to pull in local channels. (Keep in mind, an external antenna may need to be mounted on the roof of your home.)
• If you have a mobile phone plan, take a closer look and see if you can pare it down to something less costly.
• Eat out less, and when you do, eat cheaply, but healthy.
• Make coffee at home and take it on the road in a travel mug. It's surprising how much those stops for coffee really add up.
• I know it sounds like a cliche', but shop around for a better deal on car insurance; you may be surprised at how much you can save. Consider eliminating collision coverage if your vehicle is an older model.
• Looking for clothes? Try your local consignment shop, Salvation Army store or Goodwill. If you're a real bargain hunter, you can walk out with a big bag of quality clothing for a small price.

Some thoughts as Father's Day approaches

"Come to Me, all who are weary and heavy-laden, and I will give you rest." (Matthew 11:28 NASB)

I've had this album (Soulfire from Christafari) in my collection for about 15 years, yet the message of this song recently blessed me in a fresh way, even as I seemingly chose it at random for my Thursday evening radio show.  The questions asked are deep ones and really challenge me to reflect on my past and get in touch with experiences, longings and yearnings. Tragically, for many of us men it seems only natural to suppress our feelings and and hide our insecurities and fears.

Can we remember a time when we could go to our fathers in our brokenness and frailties, unafraid of being wounded in those tender places? Was there a time when we had confidence that we could find assurance and affirmation in the arms of our fathers?  Was there a time we knew we could count on dad to bring comfort and strength and could go to him without hesitation? Maybe for some of us, sadly, the answer is "no."  As John Eldredge puts it in "Wild at Heart", perhaps we've been wounded by our fathers, as well-intentioned as they may have been.  Thankfully, we have the opportunity to learn from our past and allow Almighty God, the God Who is love, to work in us and through us so that we can do better by our own children.  If you're like me and you're not there yet (experiencing fatherhood), you're in the preparation and training mode for what we believe in faith is to come.

No father is perfect and no father, no matter how wonderful, could ever take the place of our heavenly Father, our Abba Father, who invites us to come to Him with our bumps and bruises with confidence, knowing that He loves us and desires to bring peace, healing and assurance to the depth of our souls.  Maybe it's time to begin to let the guard down.

Give a listen to the song "Come Children" and meditate on the lyrics.  See if you're not blessed like I am.

COME CHILDREN
Was there a time that you could cry, and never try your tears to hide?
Was there a place where you could go, where secrets live and feelings show?
For as we grow and childhood fades we build our walls we complicate while somewhere deep inside cries that lonely child

Chorus: Well come God's children say God wants you to come, come let us rest in our Fathers arms. Well come God's children say God wants you to come because God's love, I say it will never end (is eternal). Did you ever fall asleep in your Fathers arms "come, come, come, come children, so calm a heart so full and free from harm? " ". Come now once again we return again to that quiet place " ". Set free just to live again in His sweet embrace " ".

So many on their quests for peace a shelter where their hearts can rest still held by chains built up from pain, could never trust enough to love again so let Jah love come enter in and in time you will begin to find and to love as the child deep with in your soul.

Chorus.

REVIEW: Stone Stanley "Stone Stanley"

For most, having the opportunity to one day collaborate with an established musician whom you admire and appreciate is nothing but a dream never pursued.  After all, how likely is it that any interaction between two such people would even go beyond exchanging pleasantries at best?  Yet, for Garden Grove, CA native and singer/songwriter Jason “JT” Trombley, such a dream became reality, when through a series of events, he met and made a connection with Juan Nelson, former bassist for Ben Harper & The Innocent Criminals.  Eventually, the relationship between the two musicians resulted in collaboration that would lead to a band, named Stone Stanley, and their self-titled debut.

For the record, there actually is a person named Stone Stanley, though he is not in the band.  According to Trombley, the man whose moniker they directly obtained permission to use was “a record producer during the 40′s, 50′s and 60′s” who, as “rumor” has it, went into exile in the high desert of San Bernardino County in reaction to “the corporate takeover of the American music scene in the early 70′s.”  Why such a rumor wouldn’t either be refuted or substantiated since Trombley and Stanley have/had a personal connection is unclear.  Stanley, whose own music is described by Trombley as “folky, but soulful with a hint of reggae” is actually pretty close to that of his understudy and band who bear his name.

Stone Stanley’s sound is indeed not dramatically different from that of Ben Harper.  (Does Ben know Mr. Stanley also?)  Really, this should be no surprise considering the obvious influence, what with Trombley being a fan of Harper and now a band mate and co-producer with Nelson, a 17-year member of Ben Harper & The Innocent Criminals (BHIC).  As such, the songs on Stone Stanley are comprised of elements of folk, reggae, rock, blues and soul, all rooted in a natural acoustic vibe.  From a lyrical standpoint, Trombley gives equal weight to personal relationships, observation and social concerns.  With a singing style somewhere between that of Ray Lamontagne, Bob Carlisle and a bit like up and coming reggae artist Dominic Balli, Trombley’s bluesy vocals are more intimate, breathy and slightly raspy than they are wailing.  Rounding out the musical lineup on Stone Stanley are drummer and percussionist Rock Deadrick (Ben Harper/Tracy Chapman/Ziggy Marley), Dave Kalish on guitar and Jelani Jones on keyboards and organ.  The danger here, of course, is that Trombley and company run the risk of sounding like a shadow of BHIC, especially if the songs on Stone Stanley don’t hold up well.  Fortunately, for the most part they do.

With the rhythm section of Deadrick and Nelson locking things down, “Anywhere I Go” is organic funk with a message.  Jones’ inspired playing on organ adds warmth and soul, while some retro flute adds an appropriate touch.  The acquired taste here is Trombley’s voice, particularly on the chorus, where he sings “I am free deep in my soul / I am free anywhere I go.” Rather than belting it out, it’s almost as if he’s whispering loudly.  Lyrically, he speaks of homelessness, providing an engaging narrative.  As he sings about “people losing homes and moving into their cars” and such, Trombley’s character is emotionally conflicted as he weighs the stress of the harsh street life versus the contentedness in being free of the worldly concerns that consume those who are deemed better off.

“Crazy” is a stark bare-bones reggae track, made so by Nelson’s primal bass line, Deadrick’s drums and Trombley’s dub-inspired vocal reverberations.  With lines such as, “And I think it’s crazy / What she’s done to me lately / Well, I think it’s madness / Too much sadness / Insanity, criminal mentality / Well, I think it’s crazy she’d do it to me”, the chorus has a strong melodic hook.  Trombley’s vocals here are at their grittiest, adding credibility to the pain and emotional trauma expressed in the lyrics.  The Jack Johnson-flavored “Superstar” is pleasing folk pop, enhanced by Jones’ understated organ and electric piano.  With the down-tempo “Down 2 Hang”, Trombley laments a love interest who said “she only wants to be friends.” As he sings, “And now she’s calling me once again / Said she’s always down to hang / But she’s the only one / To ever mean a damn to me / But she had her chance way back then / I told that girl again, again and again,” the sentiments are heartfelt and convincing. “Down 2 Hang” effectively balances acoustic instrumentation, including haunting flute lines, with a strong melody.

“So Lonely Again” is tuneful, folk-infused reggae with Trombley sounding somewhat like a hushed Bob Carlisle.  After a beautiful acoustic guitar intro, reminiscent of the Plain White T’s, the band settles into a warm groove.  Just when it seems like he’s going to reach an emotional high point upon finding true love, the bottom drops out; “Nowadays it seems she’s only loyal and as true as her options / There’s so much fun under the sun you know she really wants to go and get some / But I’m so lonely, so lonely again.” “So Lonely Again” is a catchy, well-written tune that showcases Trombley’s writing skills and the chemistry of his supporting musicians.  “Rainbows and Waterfalls” is a surprising bittersweet instrumental folk piece featuring acoustic guitar, including some subtle slide work.

Some biting social commentary is in order on the Skynyrd-meets-Dylan “Oilman Sam”, with the song’s namesake a thinly veiled reference to the US government.  Rather than settling for a scathing indictment, Trombley instead chooses to offer a moral to the story and word of encouragement, warning “Don’t let money rob your soul.” Implicating the government in a war for “black gold” and “the Twin Towers falling down,” it is evident that Trombley is not afraid of a bit of controversy.  Musically, “Oilman Sam” possesses a rhythm that brings to mind Dylan’s “Subterranean Homesick Blues.”

The organ-drenched reggae of “Now I Know” charts familiar melodic territory and doesn’t quite stand out.  At least in part, it almost sounds like a musical reworking “Down 2 Hang.”  Topically, though Trombley finds himself lonely, he discovers “there’s more to life than just pleasing me” and “I wish that I could go back and replace all my hate with love.” Such a redemptive message is refreshing, even if the song isn’t spectacular.  At over six and a half minutes, the brooding Southern rock of “Space is the Place” has a Lynyrd Skynyrd feel with its slide guitar, and even some distorted riffs.

With “All My Friends”, Stone Stanley delivers another reggae-infused track.  Trombley’s breathy vocals seem overwrought and deliberate as he reflects on the tragedy of losing friends, dropping names in the process such as Kurt Cobain, Brian Jones and Janis Joplin.  Rather bland, and neither engaging nor off-putting, “All My Friends” sounds like the kind of track that well could have ended up on the cutting room floor.  Stone Stanley closes by adding a bit of fun and spice with a straightforward cover of legendary bluesman Robert Johnson’s “They’re Red Hot.”

Though Stone Stanley isn’t flawless, Jason “JT” Trombley, with support from bassist and co-producer Juan Nelson and a solid group of musicians, has released a well-crafted record.  At its best, this full-length debut offers sturdy melodies, inspired interplay, soulful singing and thoughtful lyrics- and their certainly are enough of those strong moments to make Stone Stanley enjoyable and meaningful listening.

Review by Mike Roots
Rating: 3 Stars (out of 5)

REVIEW: Alain Rozan "Histoires D'Amour"

Born in France and having made his home in the United States for the past 30 years, singer/songwriter and actor Alain Rozan is strongly influenced by the cultures of both countries.  Counting influences as varied as Bob Dylan, Tom Waits, Steve Forbert, Edith Piaf, Jacques Brel and Serge Gainsbourg, Rozan is a genuine troubadour who has performed at many New York venues over the years.  As part of a Bastille Day celebration in 1995 in New York City (where he currently lives), along with friend and accordion master Walter Kuehr, Rozan actually did a one day mini tour, going from place to place, performing 3 songs at 23 different locations! In addition to his musical talents, Rozan is also an actor who has appeared in a number of French plays, including the works of Jean-Paul Sartre and Jean Anhouil, directed by the likes of Marcel Lidj and his Studio Dramatique.  Although he sings in both his native language as well as English, the songs on his new recording Histoires D’Amour (Love Stories) are all sung in French.

Histoires D’Amour is an acoustic-based album with a decidedly European flair, enhanced by Rozan’s exquisite voice as well as accordion, acoustic bass and understated percussion.  Melodically, each of the eight songs hold up so well that they can be enjoyed whether or not one understands the language, though it might not be a bad idea for Rozan to include English translations of the lyrics in the CD booklet if he hasn’t already done so.

Histoires D’Amour (Love Story) begins with some nicely played hand drum and percussion rhythms before settling into a warm and mellow groove.  Rozan’s voice carries the melody beautifully, with the ample yet understated support of bass, percussion and accordion.  Likewise, the guitar work from Erik Della Penna is tasteful and heartfelt; a combination of rhythmic strumming and Spanish-influenced picking.  With similar musical backing, “Une Femme (A Woman)” is a yearning ballad, augmented by the addition of some gorgeous cello accompaniment.  Characterized by yearning and passion, Rozan’s vocals are fervent and raspy, perhaps evoking a bit of Oh Mercy-era Dylan.  Here and throughout Histoires D’Amour, his voice is at the forefront, allowing the story to be told with clarity while the music provides the ideal framework and embellishment.

With its brisk tempo, “Y’a Pas Qu’Les Pauvres Qui Chantent Le Blues” is yet another strong selection, set apart by Rozan’s husky vocals and a wonderfully played accordion solo.  Rather than employ a standard blues progression, the song puts a creative twist on the tradition by tweaking things in terms of structure, providing a jazzy folk flavor.  The result is equal parts exuberant and pensive, with the weightiness of Rozan’s lyrical expression lifted by inspired musical reinforcement.  The wistful “Tu M’Avais Dit (You Said)” is sparse in its arrangement, made more evident by its slow waltz-like rhythm.  Singing in hush, almost whispered tones, Rozan again shows his ability to embrace a song, providing the delivery needed to let a tale be told effectively.  The sympathetic touches of fretless bass, cello, accordion, guitar and percussion offer suitable support.

“Pas Reussi (Not Succeeded)” is tinged with melancholy, yet tempered by the brightness of a pulsing rhythm, accordion flourishes and vocal harmonies.  Rather than employ sharp accents, tempo changes and the like, the songs on Histoires D’Amour are noted for their fluidity, and “Pas Reussi” is no exception in this regard.  With its haunting ska-influenced rhythm, “Tarentella” finds Rozan exploring previously uncharted creative territory on the album.  The musical accompaniment is characteristically understated, while the rare use of accents here provides fitting depth.  On “Tarantella,” his singing ranges from light and airy to guttural, adapting a sing-speak style at times.

At just over two minutes in length, “Feministe (Feminist)” is a song sketch featuring Rozan’s sweet vocals, sometimes brought to a whisper.  Despite its short length, the melody is memorable, enhanced restrained accompaniment, highlighted by a lovely accordion solo.  In reference to one of his influences, “La Chanson De Gainsbourg” is evidently Rozan’s tribute to the late French singer/songwriter and director.  Though the song lacks the appeal of most of Histoires D’Amour, the coronet of Lawrence “Butch” Morris does add unexpected dimension to the somber piece which otherwise includes only Rozan’s voice and Della Penna’s guitar.

Overall, Alain Rozan succeeds with Histoires D’Amour by rendering an artful yet accessible body of natural-sounding songs, encompassing folk, jazz and world beat elements.  This is the sort of music conducive to coffeehouses and bistros, as well as the confines of one’s living room.  Though some may be disappointed by the brief length (8 songs), Histoires D’Amour offers an impressive and rewarding listening for French and non-French-speaking music lovers alike.

Review by Mike Roots
Rating: 4 Stars (out of 5)

REVIEW: Jacqueline Gawler "Ambrosia"

Jacqueline Gawler is an artist unafraid to explore uncharted creative territories.  As a singer/songwriter with Australian female vocal quintet Coco’s Lunch, she has explored diverse genres such as pop, jazz and world beat, incorporating influences from Africa, Brazil and beyond.  Over the course of six albums, the group pushed artistic boundaries into areas occupied by world-renowned ensembles such as Sweet Honey in the Rock and Zap Mama.  In addition, Gawler spent time abroad studying and working as a West African percussionist, collaborating with some of Brazil’s top jazz musicians and singing in Portuguese.  Although her most notable achievements are with the award-winning Coco’s Lunch, she has also sung with inventive groups such as Stoneflower, Picturebox Orchestra and The Jacqueline Gawler Band.  Because she has demonstrated such a thirst for adventure and exploration, it may be surprising that it’s taken so long for Gawler to release a project of her own.  Perhaps this is because she has fared well in finding willing collaborators who share her musical vision.  But none of it is quite the same as having the unencumbered artistic license that Gawler finds with Ambrosia, her album as a solo artist.

As one might expect, Gawler has formidable vocals chops, displaying a command of rhythm, melody and breath control.  “Dirt Philosopher” is brooding pop, with a combination of clean and distorted guitar textures and swirling vocal melodies.  As she sings, “2012 can you keep up with the pace / or will you keep running this race / 2012 will you pray with me / or will you be leaving with no trace,” Gawler refuses to get caught up in the hysteria surrounding some people’s apocalyptic fears and beliefs.  Despite it’s weighty sentiments, “Dirt Philosopher” has catchy appeal, nicely accented by a synthesizer solo reminiscent of Peter Gabriel-era Genesis.

With its lurching organ-drenched rhythm, robust guitar crescendos and serene passages, “Ambrosia” is equal parts sassy and soothing.  An imaginative touch comes when the song seems to groan to a halt, only to start up again with a cool bass fill.  Unexpectedly, horn charts enter the mix, taking the song to its conclusion.  Vocally, even when taking on an assertive tone, Gawler tends to use restraint while getting her point across.  Enigmatic lyrics such as, “Ambrosia, what are you waiting for / Inside disaster, inside us all / Is an army of angels, poised ready standing tall / Ambrosia, life is too short and sweet,” leave themselves open to interpretation.

The somber accordion intro and subtle touches on “On My Skin” bestow a slight Astor Piazzolla feel. Though the track lacks a distinctive hook, there is some nice rhythmic interplay and dreamy guitar injections that make things somewhat interesting.   “When Passengers Write Poetry and Flight Attendants Sing” has a Carole King meets Rickie Lee Jones pop feel.  Thoughtful lyrics and a memorably tuneful chorus make this one of Ambrosia’s stronger selections.  “Sahara Nights” has an experimental feel, incorporating hand claps and growling piano rhythms into an eventual soca-flavored beat, though not quite conjuring images of swaying palm trees.  Gawler’s lyrics, tinged in abstractness continue to challenge; “You weren’t here for the screening of my Egyptian dream / But you were painted ‘cross the walls of hot Sahara nights.” Despite nicely showcasing Gawler’s impressive harmonizing abilities and some Prince-inspired guitar work, “Sahara Nights” intrigues but doesn’t quite captivate.

Not your typical lullaby, “Goodnight My Little Darling” combines comforting lyrics with tender kalimba melodies.  Her vocals, redolent of brilliant jazz songstress Cassandra Wilson, brim with warmth and clarity.  With gentle hand drums and Eugene Ball’s lovely trumpet lines, “Goodnight My Little Darling” exemplifies Gawler’s tasteful artistic talents and probably wouldn’t sound out of place on a Coco’s Lunch album.  The adventurous “Varkala” features syncopated rhythms and vocals, possessing elements of flamenco and Middle Eastern music.  As Gawler sings, “Take me to ocean blue clean sheet sand sky / Open up my eyes and feel the sea shift / And the water glisten on her skin / Take me in, take me in,” once again the listener is left to ponder and reflect.  Although “Varkala” is fascinating from a creative standpoint, it fails to make of an much of an impact in terms of melody.

Gawler closes Ambrosia with two covers.  Soundgarden’s melancholy “Black Hole Sun” seems like a natural choice, as it fits with the mood of the album.  Chris Cornell’s thought-provoking lyrics such as, “Stuttering, cold and damp / Steal the warm wind tired friend / Times are gone for honest men / And sometimes far too long for snakes,” are right at home on Ambrosia.  Gawler’s treatment of “Black Hole Sun” retains the structure and feel of the original, though she does soften the edges a bit and adds her trademark harmony vocals.  The Beach Boys’ “God Only Knows” is mellow and brilliant with its sunny bossa nova guitar and Brazilian-influenced vocal touches.  Though she waits until the very end, Gawler delivers Ambrosia’s most joyous and affirming piece, highlighted by her warm and unassuming vocals and Brian Wilson and Tony Asher’s straightforward lyrics.

Jaqueline Gawler is an impressive talent who obviously took great enjoyment making in Ambrosia, relishing the freedom of expressiveness that such a solo project offers.  Although some tracks make a stronger impression than others, the album makes for good listening nonetheless and impresses by combining seemingly disparate elements and Gawler’s terrific instrumental and vocal prowess.

Review by Mike Roots
Rating:  3 Stars (out of 5)

REVIEW: Jim & Holly Lawrence "Caledonian Shadows"

By looking at the cover art to Jim & Holly Lawrence’s Caledonian Shadows, their third project to date, one might get the impression that the recording is the soundtrack to a Disney film or a collection of children’s songs.  Such assumptions would be understandable, but they would be incorrect.  The meaning of the father and daughter duo standing in a forest clearing, surrounded by and interacting with several illustrated characters, is explained in brief in the liner notes and in greater detail on their website, jimandholly.com.  It turns out the cartoon figures are mostly depictions of fictional characters from within the annals of Scottish folklore.  The exception is the illustration of famed 18th century Scottish poet and lyricist Robert Burns.  As such, the songs utilize these characters, and in Burns’ case, his lyrics, to tell stories, likely both allegorical as well as fictional.  Jim and Holly Lawrence describe their portrayal of Irish and Scottish folk ballads as “Celtic music with an American twist,” which is concise and quite accurate.  Having followed in her dad’s footsteps by earning a music degree from his alma mater, University of Mary Washington, and singing in a community-college chorus known as the Fredericksburg (VA) singers, Holly, with her pure and gentle soprano, proves the ideal complement to his musical accompaniment on Caledonian Shadows.  Jim, in addition to his own lead and backing vocals, provides ample backing with guitar, bass, mandolin, whistle, soprano recorders, bodhrán and bongos.  In addition, the project includes contributions from numerous musicians on a variety of instruments including fiddle, flute, triple strung harp, djembe and highland bagpipes, among others.  Despite ample instrumentation, Caledonian Shadows possesses an open and uncluttered soundscape, allowing both instruments and voices to be heard clearly.

Holly’s resonant a cappella rendition of Burns’ “Such a Parcel of Rogues” is powerful and almost anthemic in its expression.  Lyrics like “The English steel we could disdain / Secure in valour’s station / But English gold has been our bane / Such a parcel o’ rogues in a nation,” ring with power and conviction.  “The Brownies,” a Jim Lawrence composition, is delightful, featuring Katie Miller’s fiddle played with gusto.  Jim handles lead vocals here, bringing an unembellished storyteller’s quality to a song inspired by fictional sprites of Scottish folklore.  The wordless refrain is fun and infectious, no doubt making it an audience favorite at live performances.  The jubilant and rousing “The Atholl Highlanders” is one and one-third minute’s worth of guitar, fiddle and percussion merriment.

One of the Anglo-Dutch wars fought in the 17th or 18th century provides the inspiration for “Lowlands of Holland” whose author is unknown.  Blending conventional folk/pop with traditional melody, Holly’s emotive soprano and the natural guitar and bass ensemble make for a pleasing combination.  Another Burns composition, the lullaby “Flow Gently, Sweet Afton,” finds Holly singing with an innocent almost girlish quality as harp, whistle and guitar offer sympathetic support.  The result is beautiful and comforting.

Both “The Wee Wee Man” and “The Green Man of Knowledge” find inspiration in the characters in Scottish folklore that bear their names.  The former with its wistful melody and placid accompaniment, with Holly providing lead vocals, sits nicely alongside the traditional pieces on Caledonian Shadows.  Allowing the natural textures of fiddle, acoustic guitar and bass to come through points to the tasteful production values used both here and on the project as a whole.  The Harry Chapin-esque “The Green Man of Knowledge,” a Jim and Holly duet, takes on a bit more exuberance, particularly with the use of a drum kit.  With lyrics such as, “And the Green Man of Knowledge roams his fortress alone / Trapped in the silence of his lonely halls / Regarding his kingdom from his towers tall / Wailing and cursing at unfeeling walls”, a tragic and riveting tale is told of one whose wealth and intellect fail to bring true fulfillment.

A seven-song portion of Caledonian Shadows, tells the story of Tam Lin, an old Scottish fairy tale of a young man who is held captive by faeries and the young damsel who comes to his rescue.  Since these are part of a larger theme, it is quite necessary to listen to each of them in order to get the proper and intended context.  Even so, “Redemption” is a starkly gorgeous piece thanks to Katie Miller’s fiddle and Jim’s sparse guitar and bass.  As the piece closes, the music dissolves as Holly’s voice carries the somber melody and the accompaniment emerges once again in the closing moments.

The appropriately titled “Praise to the Man/Scotland the Brave” is robust and inspirational with its valiant bagpipes and assertive bodhrán rhythms.  The combination works well and is a welcome change of pace. “Caledonia” is a tender and effecting ballad written by Scottish singer-songwriter Dougie MacLean.  As Holly sings on the chorus, “Oh but let me tell you that I love you / And I think about you all the time / Caledonia you’re calling me and I’m going home / But if I should become a stranger / You know that it would make me more than sad / Caledonia you’re everything I’ve ever had,” the message of love and appreciation for one’s homeland comes through with unabashed sincerity.  The simple support of acoustic guitars and Ethan Wagner’s expressive cello are ideal for Holly’s honest vocal delivery.

With Caledonian Shadows, Jim & Holly Lawrence have succeeded in assembling a body of songs, both traditional and original, that reflect their love for Celtic music with a balance of reverence and creative passion.  This album serves well in keeping to the motto “Celtic music with an American twist,” making for an accessible listening experience for the uninitiated and devotee alike.

Review by Mike Roots
Rating:  4 Stars (out of 5)

REVIEW: Enda Seery "The Winding Clock: Traditional Irish Music On The Whistle"

A downside of modernization is the tendency for cultural distinctions and their expression to decline, or worse, to be abandoned altogether.  An upside is that with the wealth of technology available, those who desire to preserve and celebrate traditional aspects of their respective culture have great opportunities to do so.  Enda Seery, a 26 year-old composer, recording artist, music and Irish language teacher, is such a person.  Hailing from Streamstown, County Westmeath in central Ireland, the birthplace of famed button accordionist John Joe Gannon, he is the youngest in a family steeped in musical passion and ability.  Seery has three musical siblings, each who play instruments used in traditional Irish music, and his parents are coordinators of weekly set dancing classes.  As part of Ceoltóirí an Mhuilinn, the resident group of the new Comhaltas Regional Centre at Aras an Mhuilinn, Mullingar, County Westmeath, he plays whistle and flute.
On The Winding Clock, his debut solo recording, Seery primarily plays the six-holed woodwind instrument known as the tin whistle, penny whistle, Irish whistle, or simply whistle.  In addition, he also plays keyboard on several tracks and is supported by accomplished musicians including the All-Ireland Champion bodhrán player Colin Hogg and guitarist John Byrne.

Nearly all of the thirteen tracks on The Winding Clock are medleys of two or more compositions.  Seery composed seven of the pieces, demonstrating his own writing abilities in addition to interpreting and arranging the music of others.  Perhaps owing much to the fact that Ireland is an island nation, its unique musical heritage has stood the test of time.  With The Winding Clock, Enda Seery makes a skillful and impressive mark, injecting youthful enthusiasm into time-honored traditions.

“Roscommon Reel/April Sunshine/Castle Kelly” offers a rustic blend of Seery’s whistle melodies, Byrne’s strumming acoustic guitar and Hogg’s understated yet formidable bodhrán rhythms.  What is astounding here and throughout The Winding Clock is the display of breath control and breath, period.  Those accustomed to hearing music where those playing wind instruments apply their craft only in chosen passages will find something quite different here.  “Roscommon Reel/April Sunshine/Castle Kelly” is an enjoyable selection that gradually builds in both tempo and accompaniment, exuding a brisk confidence.

Byrne’s crisp acoustic guitar provides the rhythmic and structural support for Seery’s whistle, on “The Winding Clock/Ballybrown Jig/Ber’s Favourite.” Displayed here and throughout the album are the musicians’ abilities to seamlessly blend the various compositions that make up the medleys.  The changes in rhythm and melody as the track progresses make for a most pleasing result.  Incorporating a technique reminiscent of Native American flute, Seery flies solo with a bittersweet blend of short bursts and flowing lines on the first portion of his original “Fonn an tSrutháin/Friday’s Finest.”  As the piece progresses into its second movement, Seery adds fittingly simple piano accompaniment, with his whistle gently bobbing and rolling like gentle waves on a sea.

Dreamily thoughtful “The American Hornpipe/Eamonn McGivney’s,” with Byrne’s acoustic guitar backing, is memorable and delightful as passages both pensive and warmly optimistic are brought together.  “The Leitrim Lilter/Richard Dwyer’s/Jim Donoghue’s/I Wish I Never Saw You” steps things up with Seery’s fast-paced whistle techniques, tastefully supported by Byrnes and Hogg as they unexpectedly join in about a third of the way through.  Hogg’s bodhrán patterns, far from bombastic yet fully inspired, might make one wonder about connections between Ireland and Africa.

“Fly in the Porter/Willie Coleman’s” is a genuine family collaboration as Seery on whistle and keyboard is joined by brothers Ciarán and Padraig on button accordion and fiddle respectively, while sister Siobhán adds flute.  Conjuring up images of traditional Irish dancers, the result is cheerfully swaying and smile-inducing.  Next, with rapid pitter-patter thrums on the bodhrán setting the stage, at times with talking drum-like tones, “Carmel Mahoney Mulhaire/Congress Reel” is a Seery-Hogg combination abounding in earthiness and robust appeal.  Tinged with both beauty and sadness, “Cailín na Gruaige Báine” is a contemplative piece, followed by “The Bellharbour Reel/The Old Road to Garry/Swallow’s Tail” which radiates with joy that is obvious but not overwrought.

In contrast to other selections, Byrne’s rhythm guitar takes on a more folk-oriented approach on the lovely and reflective “Easter Sunday/The Stage Hornpipe.”  Hogg and Seery team up again on “Colonel McBain’s/Grogan’s Favourites/The Green Fields of Rossbeigh”, revealing evident synergy.  Hogg’s ability on the bodhrán to augment Seery’s shifts in melody and mood is nothing short of impressive.

Sparkling with a sense of cultural pride and impassioned interplay, The Winding Clock is irrefutably authentic.  If there is any question as to whether musicians of his generation have a respect and affinity for traditional Irish music, Enda Seery’s answer is a resounding affirmative.

Enda Seery's The Winding Clock can be purchased by clicking HERE

Review by Mike Roots
Rating: 5 Stars (out of 5)