REVIEW: Shawna Lenore & Darrell Kastin "Mar Português"

Besides the obvious, the father-daughter duo of Darrell Kastin and Shawna Lenore have a great deal in common.  Kastin, a Los Angeles native, is an author of novels, short stories and poetry, as well a musician and composer.  The Undiscovered Island, a novel written by Kastin, was published in 2009 while he also released a CD, Lullabies for Sinners, in 2007.  Lenore shares her father’s literary and musical talents and passions.  A graduate of Smith College and a singer, poet and writer, she is in the process of furthering her literary skills and credentials at the Vermont College of Fine Arts.

Recorded in one week, Mar Português is a collection of poem-songs sung in Portuguese and represents a convergence of these gifts and passions as the love of music and poetry are joined in a unique collaboration.  A point worthy of mentioning is that Elisabeth, Kastin’s wife and Lenore’s mother, is Portuguese, thus inspiring a love and appreciation for Portuguese literature, music and culture.  In the spring of 2010, Kastin and Lenore traveled to Lisbon to work on the project with Pedro Barroso, a legendary songwriter, musician, singer and producer, along with his group of consummate musicians.  The result is so natural, fluid and complete that one would think Barroso is Kastin and Lenore’s long lost brother and uncle, thus making Mar Português truly a family affair.  Characterized by stark beauty and a balance of old world flavor and timeless relevance, most of the songs on this project clock in at around three minutes.

For those unfamiliar with the language, all of the Portuguese poems (either written by Fernando Pessoa or Florbela Espanca) used on Mar Português were thoughtfully translated into English and printed in the accompanying booklet.

“Mar Português” (Portuguese Sea),” the pensive title track, allows Lenore’s voice to glow, showcasing its heartfelt and expressive resplendence.  With spartan accompaniment, including piano, guitar and cello, the song serves as a fitting introduction, easing the listener in.  The haunting beauty of Miguel Carreira’s accordion, along with guitar and percussion, make for a soothing rhythmic mixture on “Voz Que Se Cala” (Voice That Remains Quiet).”  As she caresses each note, Lenore brings Espanca’s poem to life, projecting an emotional connection with its love of nature and the deeper meaning found in its nuances.

“Conto de Fadas” (Fairy Tale)” with lyrics translated as, “My gestures are like the waves of Sorrento / I bear the letters of a flower in my name / It was from my blue eyes that a painter / Took the light and painted the wind,” is yet another example of the evocative and intriguing poetry brought to life with Lenore’s gorgeous voice and sparse yet fervent musical accompaniment.  “Dom Sebastião” and “O Nosso Livro” (“Our Book”) feature Barroso’s wonderfully rich baritone which contrasts beautifully with Lenore’s voice, the latter of the songs being a lovely duet.

Mar Português also features three hidden bonus tracks, the final one serving as Kastin’s (English) spoken message of his vision for the project, gratitude for all who participated and encouragement for listeners to explore Portuguese literature and culture.  This, along with having all of the poems/lyrics translated, offers a hearty welcome for the uninitiated.  For what it’s worth, fans of bands such as Plumb and Evanescence’s Amy Lee may indeed notice a connection with Lenore’s vocal talents and the mournful winsomeness reflected here.  Whether Plumb or Lee are directly influenced by Portuguese music, such as that contained on Mar Português, is something interesting to consider.  What is certain is the father-daughter duo of Darrell Kastin and Shawna Lenore, along with Pedro Barroso, have created a beautiful recording, full of austere yet refined melody, texture and lyrical depth.

To purchase, click here:  Mar Portugus/Portuguese Sea

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

REVIEW: Omar Domkus "Shades of a Shadow"

Bassist Omar Domkus is a journeyman of sorts, having played in the band Cygnet in the 80′s and then co-founding, performing and recording three albums with punk rockers Scaterd-Few in the 90′s.  Other stops along the way with Scaterd-Few have included backing legendary Bad Brains vocalist HR on a tour in support of his 1990 release, Charge.  A couple of years later, Domkus would play bass on HR’s single “Rock of Enoch.”  For several years, the Phoenix-based musician took a break from performing to spend more time with his wife and their three children.  During this period he gradually returned to playing and writing, but it wasn’t until 2008 that he performed again in public.  After joining with his brother Allan at a San Diego venue for an off-the-cuff exhibition of Scaterd-Few material, he felt the itch to perform once again.  Over the next couple of years, Domkus performed at open mics in the Phoenix area, refining his sound and developing his craft even as he continued to write new material with on his fretless bass.

Shades of a Shadow is the richly varied, yet interconnected trove of songs that make up Omar Domkus’ solo debut album.  Drawing on spiritual inspiration from a Messianic Jewish perspective and themes of social justice, and incorporating elements of jazz, folk, rock and world beat, it’s difficult to pigeonhole, yet quite listenable.  The foreboding “Alarm” sets a serious tone with what sounds like bowed bass, shofar and the occasional trickling of water.  The effect is as inviting as it is ominous, perhaps serving as the clarion call of the watchman.  “Shema,” based on Deuteronomy 6:4, sustains the spiritual theme with chants and simple yet melodic singing.  Musically, the warm, fluid tones of Domkus’ fretless bass along with sparse percussion create the right atmosphere and tapestry for this primal expression of praise.

With the contribution of Ian Baird on percussion, the instrumental “Shades of a Shadow” has a mellow Middle Eastern vibe with its snaking bass lines and gentle rhythms.  With the surprising flair of Asian pop, “Tiananmen Square” features the lovely syncopated and harmonized vocals of Trinka.  With lyrics such as, “Crying with the voice of freedom / While the people’s army marches on to enslave their own,” the message here is as relevant today from a global standpoint as it was during the 1989 protests and tragedy that inspired this song.  “Tiananmen Square” offers evidence that rather than insisting his bass be in the spotlight, Domkus is content to be a supportive sideman.

Employing a rather percussive approach to the bass, the fittingly titled “Perceptions in the Mist” features Domkus’ single note lines as well as what sound like chords.  Baird’s sensitive yet lively percussion meshes beautifully with the bassist’s fretless alchemy, highlighted by gorgeous bridge-like passages.  Domkus waxes poetic on the folk rock composition “Little Man,” with its poignant lyrics of observation and contemplation.  Lush organ, strumming guitars, bass, and hand drums provide supple backing for his tender voice.
On “Aishes Chayil” (Hebrew for “woman of valor”), Domkus utilizes texture and harmonics on the bass as he expounds upon Proverbs 31 in this song of blessing and praise for his wife Jenny.  Aside from the title phrase, the rest of the lyrics are in English, and all are sung with heartfelt simplicity.  The peaceful strength and passion of “Aishes Chayil” is augmented nicely by Baird’s austere percussion.  The instrumental, “Baroque,” featuring clarinet played by Domkus’ son Kefa, has a distinctive Hebrew feel, particularly in its introspective opening passages.  Seamlessly, the tempo shifts with African/Brazilian hand drumming, exquisite bass harmonics, and what sounds like kalimba or xylophone.

The brooding “Looking Darkly Through a Mirror” is another vocal piece, accompanied by bass and various percussion instruments.  As Domkus sings, “You judge me, question my integrity / Yet never asking, if this is true of me / So, I’m hoping that you’re listening / That the shadow you saw was never me / My heart aches, that you could see me in this way,” a genuine desire for clarity and reconciliation is conveyed.  Not particularly melodic, “Looking Darkly Through a Mirror” is nonetheless effective.  A fun New Orleans-style Dixieland intro, replete with bleating trumpets courtesy of Scott Stanifer, gives way to progressive jazz in “Rejoice in the Dance.”  Domkus employs vamping chords and funky fills on the bass as Baird’s work on the drum kit is inspired.  Stanifer’s horn arrangements and solos bring a certain brightness to the piece.

“Reflections”, another instrumental collaboration made up of bass and percussion, neither detracts nor adds much to Shades of a Shadow.  Inspired by I Kings 19:1, “Whisper” is a gorgeous prayer piece, enhanced by distinctive bass harmonics and inventive percussion.  The result is deeply meaningful and meditative.  “Beauty and Bands” and “Amy” showcase the natural woody tone of Domkus’ fretless bass and Baird’s creative percussion techniques, but don’t break any new ground.  Both selections possess the pensiveness and frugal arrangements that characterize much of the album, and are certainly listenable and somewhat interesting.  The striking and worshipful “Tehillim,” titled after the Hebrew name for The Book of Psalms, is rich in instrumentation with acoustic guitar, bass, hand drums and shimmering cymbals.  As Domkus sings “Rejoice for He is good / Taste and see that He is good”, the atmosphere created is at once soothing, refreshing and reverent.

With Shades of a Shadow, Omar Domkus splendidly and tastefully takes the fretless bass into various modes of expression and exploration.  Infused with his Messianic faith along with thoughtful social commentary, vocal pieces sit comfortably and suitably among instrumental ones, allowing the messages and music to be fully pondered and enjoyed.

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

REVIEW: Victor "Transparent"

  Victor H. Nelson, Jr., better known simply as Victor, is a fourth generation talent in a family with a rich and varied background in musical performance.  Considering that his great grandfather was a jazz pianist, his grandfather a classical pianist, and his father a doo-wop singer, it is clear there was no shortage of inspiration in his household.  With producer Raye Smith and a supporting cast of talented musicians, Victor’s Transparent represents the culmination of those years not only soaking up those creative vibes, but of developing his own vocal and songwriting gifts.


As a whole, Transparent is an R&B-steeped collection mostly concerned with romantic matters of the heart like love cherished, lost and yearned for.  Possessing a soulful tenor and a refined sense of fluidity and phrasing, Victor shows himself to be a singer’s singer.  As such, he tends not to fall into the trap of overwrought embellishment which snares many capable vocalists.  In fact, though front and center, Victor reveals himself to be adept at allowing lyrics, vocals, and instrumentation all to find their rightful place within a song.  “Can’t Believe It,” with its intimate female spoken word intro, is Victor’s Latin-flavored expression of humble gratitude for the love of his dearest.  Following a nicely placed bridge, Lenny Holmes contributes a lovely guitar solo, accented by a bit of scatting ala George Benson.  A subtle shift in tempo, fueled by jazzy salsa piano, adds a fitting touch as the track approaches its conclusion.
A duet with Jamela Bullock, “Occasionally” is a confessional song, revealing the loneliness and hurt experienced by both parties after a break up.  Over an old school urban groove, augmented by pulsing bass and retro synth sounds, Victor’s and Bullock’s voices mesh perfectly.  Though they sing of it being a “rare occasion,” it is evident the pain of one another’s absence runs deeper than they would care to admit.  “To the Next” offers counsel to a female friend recently spurned by her boyfriend, and reveals an interest greater than that of platonic friendship.  “Baby, lonely one, don’t look so sad / Don’t you know you were the best thing he ever had / It’s not your fault, and this is so true / He was a fool to leave someone like you / I know it hurts, but don’t you let it cloud your view / You never know, something better may be waiting” reflect Victor’s genuine concern for his friend.  Perhaps he is thinking about what he would like to say when he sings “maybe I could be the next one,” though he knows “it takes time for the hurts to heal.” Musically, “To the Next” is a down tempo affair characterized by darker vocal harmonies and organ shadings along with sunny breaks.

“Thought You Knew” continues with the retro urban vibes, as Victor wearily tries to assure his jealous girl that he is true and committed.  Accusations of infidelity have taken their toll, but he does his best to offer reassurance, but at the same time says “I do all I can do to try and convince you that I love you / But I can’t keep subjecting myself to all this jealous behavior / No, you just can’t keep taking me through changes.” Victor’s adroitness in harmonizing is showcased nicely here over a throbbing bass and atmospheric synth flourishes; an effective combination.  “Transparent,” the title track, is a sensitive ballad that expresses his relational commitment and his inability hide how he truly feels.  Holmes adds some pleasing guitar accompaniment, but it’s not enough to offset heavy-handed synth and backing vocals that just sound too loud in the mix.

With the sophistication of smooth jazz coupled with quiet storm passion on “Clumsey,” Victor articulates the resultant pain of “falling” and “stumbling” in relationships rather than proceeding with caution.  The pensiveness that colors most of the songs on Transparent is present on “Clumsey” too, though openness and balance in the song’s arrangements prove the perfect complement for his earnest vocals.  With jazz-inflected acoustic guitar and a subtly strident groove, “Still in Love” has a distinctly Terrence Trent D’Arby feel.  Renamed “Christopher’s Sail,” Victor’s interpretation of the 1980 Christopher Cross classic “Sailing” is imaginative, refreshing and quite enjoyable.  Adding a decidedly urban sheen while incorporating the sounds of seagulls and the delightful saxophone of Gordon Jones, he does more than justice to an A/C radio staple.

Evoking the classic soul of Al Green meets Luther Vandross, Victor’s “Something About You” radiates with warmth that is countered only by lyrics of frustration and regret.  Despite knowing he needs to guard his heart, he agonizes over having feelings for someone he knows he can’t be with.  Where Victor provides most of his own backing vocals on Transparent, here Raye Smith and Samatha Miller add welcomed contrast.

“Spirit” is a gospel song in which Victor reveals his inspiration for living from day to day.  “I may stumble, may even fall, but I’m never down for long / No, I just reach out to His forgiving hand / Lift me up, restore my soul, ease the burden of this load.” The arrangement and melody are fairly pedestrian, but the subject matter, bouncy gospel tempo and additional vocals of Yvette Soul and Phil Walker bring considerable lift to the album. “Full is the heart with the blood that was shed for me / Cleansed and whole, washed in the tears He cried on Calvary,” deeply personal lyrics, sung by Soul offer insight into Victor’s motivation and values.

Because “Spirit” works so well, it might have been nice to hear more tracks in which Victor expresses his faith and perhaps family and social concerns as well. But then it’s possible that future projects may very well deliver in this regard. Apart from a bit of uneven mixing, Transparent is a solid, well-crafted album that persuasively reveals Victor’s impressive singing and songwriting abilities.

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