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)

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)