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)

REVIEW: Peter Westheimer "Tranzworld Express"

 

If Peter Westheimer is not yet a household name, it’s not for lack of involvement or contribution on a broad scale.  On the contrary, perhaps it’s because the Melbourne, Australia-born artist’s work is so varied in scope.  Upon establishing a foundation in classical music as a child, Westheimer went on to play violin through his teen years, eventually leading the Victorian Junior Symphony Orchestra and playing as a member of the Australian Youth Orchestra.  From there, his spectrum of musical ability expanded to include improvisation and the use of many other instruments, ranging from keyboard to sitar, with much in between.  In addition, Westheimer also cultivated an interest in singing and songwriting, eventually working and shaping his craft with a number of bands during the 70′s and early 80′s.  His foray into recording began in 1982 with the release of Laminex Lovers, regarded today as a seminal Australian synth pop album.  During the ensuing years, Westheimer would release five more albums while also creating a plethora of music for soundtracks, documentaries and multimedia installations.  In 2002-2008, he would devote himself to pursuing his passions and convictions through a considerably different medium: politics.  Serving in local government from 2004-2008 in the roles of Independent Councilor and Deputy Mayor, Westheimer’s areas of focus included biodiversity, cultural development, rail transport and renewable energy.  Tranzworld Express is his first album since 2004′s Music Sculptures, a compilation of mainly earlier works, and his first release of all new material since 1994′s Balance.

The concept for Tranzworld Express, with its synthesis of world beat sounds and contemporary, often danceable rhythms and electronic music, is not altogether new.  In the early 90′s, projects like Deep Forest and B-Tribe successfully incorporated African and Latin music into modern dance structures, introducing music listeners to exotic timbres, colors and textures they may not have otherwise discovered.  As Westheimer’s earliest musical exploits and endeavors may suggest, perhaps he was on to something even before the aforementioned groups or maybe they’ve simply all reached similar creative conclusions at different times.  To be certain, for all its similarities to Deep Forest and B-Tribe, Tranzworld Express possesses distinct differences yet maintains comparable appeal.

A cursory glance at Tranzworld Express, with its indicative title and track listing, offers a strong hint at what is contained inside.  Knowing Westheimer’s background provides even further insight.  “Change Now” with its infectious dance pulse, spoken word injections, rhythmic string sweeps and Asian influences makes for a memorable and impressive opener.  Far from settling for incessant throbbing, Westheimer incorporates a brilliant knack for adding and taking away tension while never losing momentum.  As lovely female vocals deliver the lyrics, “Come on, come on, change now / Come on, change for the children, change for the children,” followed by cheering children, the effect is nothing less than delightful and inspiring.

On “Dancing Hearts Orchestra,” Westheimer uses funky guitars and rhythmic flute over a Black Box-styled wicked dance beat.  Again, Westheimer shows a good sense of when to back his foot off the accelerator by allowing the music to breathe with all of its retro piano, string flourishes and reverb-soaked guitar goodness.  As such, the song, and frankly the entire album, makes for a great chill-out listening experience.  The deep bass, percussion and synth washes of “Peacedance” lend themselves well to Asian string sounds and wordless vocals thoughtfully applied atop them.  Interestingly, “Chances of Life” establishes the rhythm of a heartbeat and then moves on to add futuristic vocal sounds and melodic riffs via the use of strings.  Echo-laden female vocals, some seemingly sung as words and others not, offer refreshing contrast as they drift and wash over the rhythms.

Westheimer applies his exotic sitar to the percussive “Virtually Enlightened” as numerous elements, including dubbed out guitar strums, keyboards, hand drums and strings float over a primal pulse.  Occasional jazzy trumpet or flugelhorn reverberations give an urban feel to the mix as spoken word samples are sprinkled in.  With lines such as, “I know everything about nothing”, “totally light”, “virtually enlightened” and “almost got it,” one might wonder whether Westheimer’s intent is humor, sarcasm or both.  Regardless, the combined effect is once again captivating and enjoyable.

As its double entendre title might indicate, “i-Ran” includes Middle Eastern touches through the use of sitar and other stringed instruments.  Processed vocals conveying the message, “I ran from Iran,” offer a subtle yet stirring thought about living under and escaping from the brutality of a totalitarian regime.  “i-Ran,” while having its merits, is neither as melodic nor memorable as the stronger pieces on Tranzworld Express.  With “Karma than Chaos,” Westheimer once again brings a Middle Eastern flavor to the fore.  Dreamy female vocals create a cool and refreshing effect as they wash over the soundscape and then dissipate.  The track is punctuated by stabbing synth sounds, punchy bass and well-placed breaks.  “China India” also captures the exotic charm and mystique of Asian culture, this time taking on a decidedly more ethnic musical complexion.

On the title track to Tranzworld Express, Westheimer effectively creates the atmosphere of a transportation terminal through echoed announcements of boarding calls spoken in an undetermined language.  Supported by a pleasing chord structure, the mood set forth by various synthesizers and programmed drums is edgy and exhilarating.  Reflective of Westheimer’s eco-sensitive views and championing of the same during his time in public service, ”Renewable Energy” refreshes with the sound of cool waves washing up on a beach in its intro.  What sounds like an African xylophone adds a complementary touch along with Asian strings as hand drums build into what becomes a plush groove.  Futuristic vocal injections, expounding simply upon the theme, make for a convincing result that is effective at provoking thought.  Brilliantly, Westheimer is not heavy-handed, allowing the beauty of the music and meaning of the words to enhance one another.

With its ominous strings, stuttering drum kit rhythms, tablas and ambient synth sounds, “Ghosts of the Future” carries an undeniable tension that Westheimer manages to balance with understated strings, vocals and quiet passages.  With numerous musical elements and rhythmic interplay at work, the track brings Tranzworld Express to the end of its fascinating and adventurous journey.  It is clear that Peter Westheimer’s time away from making music was not wasted; rather this project, with its varied textures, tones and references, effectively serves as a culmination of his musical, cultural and ideological passions.

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

REVIEW: Scot Crandal "Now & Again"

Everything on the front cover of Scot Crandal’s Now & Again evokes vintage music, from the sepia tone photograph of Crandal seated at a piano, head in hand and pen to paper, to the font type and “stereo” insignia in the upper right corner.  Even the CD itself has been designed to look like a vinyl platter.  Frankly, one could be forgiven for assuming the disc was a reissue of “an album of fresh, original jazz songs” (as described on the front cover) recorded decades ago. 

Since Crandal’s wide-ranging musical exploits as a singer, pianist and composer include classical, jazz, rock and liturgical music, it makes perfect sense that such thought would go into preparing the listener for the eleven songs contained on Now & Again.  In fact, in conveying his inspiration for the project, a collaborative effort between Crandal and lyricist Nancy Jerrick, he makes it clear the intention was to write and record a body of songs that sounded familiar.  To capture the quality and spirit of such contributors to the Great American Songbook as Cole Porter, Frank Sinatra, Tony Bennett and Ella Fitzgerald was the more specific objective.  With the use of just piano and vocals, the melodies and lyrics are brought into the spotlight, and the results are rather good.

As one might expect, romantic love, whether experienced and appreciated, yearned for or lost, is the lyrical heart of Now & Again.  The wistful “Any Day Now” effectively sets the tone with Crandal’s smooth, soulful and powerful vocals.  Jerrick’s lyrics beautifully capture hope undimmed by the pain of longing and loneliness; “Always standing at the sidelines, wondering how it would be / Any day now, I just know it, love will finally find me.” Crandal’s satisfying piano accompaniment is spot on, providing perfect support and framework.


“Now You’ve Heard It from Me,” with its spry rhythm and melody, would certainly sound at home if it were sung by Tony Bennett.  Crandal’s magnificent vocal embraces lines such as “Some things, like the breath we take, seem to need no mention / But just so there is no mistake, I will state my intention.” Jerrick’s poetry here is linear yet thoughtful, radiating with a sense of joy and relief at being able to express love once concealed but now welcomed and free to communicate.  The piano blues of “Bad Storm Comin’ In” is a lively number in which Crandal cathartically asserts his disinterest in reuniting with a former love who once left but now desires to return.  As he sings, “You’ve got a soul like frozen sleet and a heart made out of ice / Now you’re left out in the cold, and I’m not even thinkin’ twice” it’s clear he feels better off without her.  Crandal adds grit and fervor, coming across joyful rather than bitter.

Then arrives the contrite “Now and Again,” with its aching articulation of the sorrow and desolation experienced after a break up.  Jerrick’s lyrics provide a vivid and intimate glimpse of one still in the process of healing and moving on, still prone to occasionally looking back at what might have been.  Once again, Crandal, with both voice and piano, delivers with emotive substance and musicality.  The bouncy confessional “I Guess I Need A Second Chance,” clocking in at less than two minutes, is a confident yet humble plea for, as the title would suggest, a second chance at love.

Tinged by melancholy, “No Regrets” is Crandal’s genuine attempt to reach an amicable conclusion to failed love, as difficult as it is.  As he sings, “No regrets, this is just the way it turned out to be / No regrets, as you said, love’s tide can change like the sea,” it’s clear he’s still working through it all.  In her lyrics, Jerrick thoughtfully conveys sadness without resentment, resolving that it’s best for both parties to move on.  In terms of musical structure, “No Regrets” certainly keeps to the tradition of countless American standards.
“So Much, So Fast, So Soon” is fun, daring and brisk, but Crandal is once again up to the task.  Jazzy vocal phrasing and sprightly piano would seem to make for a musical tightrope, but it all holds together nicely. 

The theme of coping, healing and moving on after the dissolution of a relationship, familiar to Now & Again, once again surfaces in “Can’t Seem to Find My Way.”  As Crandal sings, “Sleepless past midnight, still up at dawn / Swear by the first light, today’s the day I’m moving on,” the sentiments are utterly convincing.  Similar emotional territory is explored in “Summer Heat,” albeit with a more upbeat musical approach.  The twist here is that rather than being satisfied with a split, Crandal passionately longs for and expresses his hope and desire for love to be rekindled.

With joyful confidence and abandon, Crandal melds the pretty poetry and dancing piano of “Until You” into something smile-inducing.  The warm sincerity of “Loving Just You” takes on just a touch of modern flair with Crandal’s soulful delivery and enthusiastic approach to the piano.  These final two songs serve nicely to break through emotional clouds to offer a sunny conclusion.

As ambitious as Now & Again is in its pursuit of the lofty goal of finding a fitting and comfortable place within the canon of American standards and jazz vocal pieces, it succeeds in a marvelous way.  Rather than mine the trove of recordings and compositions of yesteryear, Crandal and Jerrick have produced an album of fresh and inspired songs that nonetheless serve as a tribute to an era they aspire to capture.

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