REVIEW: Wayne Stoddart "It Is Written"

Over the past two decades Wayne Stoddart has gradually emerged as an artist whose output has mainly consisted of roots reggae material, steeped in admonishment and encouragement from a Christian faith perspective. Having gotten his start as a musician in a church setting, his earliest recordings revealed a gospel feel while giving a glimpse of what was to come. From Wayne Stoddart & The Dynamis Singers' "Fulfillment Of The Bible" (1995) to subsequent solo releases including "Committed" (2001) and "Love Convictions" (2007) and a slew of singles and remixes in between (mainly tunes on the aforemention albums), Stoddart's work has shown a steady commitment to the gospel message and quality musical production. Tunes such as "Committed", "Love In Any Language", "Bountiful Love", "Spirit Of The Lord", "Move On" and others have made an impact on reggae lovers through the means of radio and live performances from Jamaica to the east and west coasts of the US and also in Florida where the artist now makes his home.

"It Is Written", the new album from Wayne Stoddart, establishes a high water mark in terms of songwriting, musical performance, and production. In addition, the artistic focus and consistency help make this project his best to date. While Stoddart's work has always been primarily roots reggae, this album has a warm, natural feel and sounds like a band project more than any previous work. With production credit going to Aston Barrett, Jr., current member of the Wailers and son of bassist Aston 'Familyman' Barrett and nephew of drummer Carlton 'Carly' Barrett, both legendary musicians in the annals of reggae history, it is no wonder the sound quality of "It Is Written" harkens back to reggae's so-called "Golden Age" of the 70's and early 80's. Over the past several years Stoddart has been backed by Reggae Force, and from that band this project includes Barrett, Jr. on drums, Alaina Reed on bass guitar and Peter 'Sprangy' Williamson on keyboards. As a result, rather than simply existing as a means to provide rhythms for Stoddart to voice over, the instruments on "It Is Written" are truly a highlight. Where on many reggae recordings the musicians sound stifled, here they are allowed to be expressive which brings the quality of the songs to another level. In addition to the drums and bass, vintage organ, clavinet, guitar, and even what sounds like a Fender Rhodes electric piano, are prominent throughout but never in a heavy-handed way. Stellar backing vocals and horn arrangements (including with Dean Fraser on saxophone on "Turn It Around") make for the icing on the cake. All of this provides the ideal complement for Stoddart's voice which is in peak from and truly an instrument in itself, ranging from robust to raspy and even silky, depending on the song.

While Stoddart fills the familiar role of fiery roots preacher in tunes such as "Turn It Around" and "Three C's", he reveals an introspective side which shows his evolvement has a songwriter. The brilliant country-flavored "Back To My Life" seems in the lyrical and musical senses to be a sequel to the Wailers' "Stop That Train." Where Peter Tosh lays bare the weariness of being rejected in one's community and desiring to leave, Stoddart sings of wanting to come back as the road has been unkind and the grass not quite as green as imagined. "Back To My Life" also features some beautiful slide guitar (reminiscent of Warren Haynes) from William Vasquez. The Toots & The Maytals-influenced "Dance In The Rain" is also a highlight as Stoddart shows a playful side and features call-and-response vocals with his backing singers. "Turn It Around" and "Fulfillment Of The Bible" are new renderings of tunes Stoddart has recorded in the past. "Fulfillment" is a standout with its crucial message and vocals sung in the vein of foundational singer Fred Locks. "Righteous Revolution" is an old school dubwise singer/DJ collaboration with St. Matthew while the pensive "Black And White" features Troy Genius who chants over an accented bridge in a song which speaks not of racial equality, but of how God Almighty is revealed in even the most subtle aspects of his creation and how he reveals Himself to the inner man. "Charity" is a tune which embodies a stark Black Uhuru/Mykal Rose vibe in the instrumental sense, while the militant-sounding cultural tune, "Taking Over", features the impressive vocals of Tamara Brooks. The self-explanatory "Prayer For Jamaica" would sound at home on a Luciano album and is a loving and impassioned appeal to Jah and a call for spiritual awakening. "Anywhere You Want To Go" is likewise a rootical commentary of superior quality in every sense and is one of a number of selections which could well be chosen as a single.

With a balance of admonishment, social commentary and reflection, this is a serious album for serious times with not a throwaway tune in the lot. Indeed, the majority of "It Is Written" has a serious and urgent tone but also includes the right amount of sweetness and sunshine to buoy the spirit. "It Is Written" may indeed be the breakout album which allows Wayne Stoddart an even greater platform to share his uncompromising message of the gospel along with a level of artistry on par with the best of conscious roots singers on the scene today. To purchase this album, visit www.waynestoddart.com.

Review by Mike Roots
Rating: 4 1/2 Stars (out of 5)

Freedom to choose what?

Since 2012 is a presidential election year here in the United States, much will be said by Republicans, Democrats and third parties alike on the issue of abortion. It's a topic that often seems to either simmer or boil over, and with good reason. Watching the first evening of the Democratic National Convention, the issue was raised again and again by a steady stream of speakers, concluding with First Lady Michelle Obama. The common belief held by each was that a woman should have the right to choose what to do with her own body. I agree. In fact, I would go further by saying this right should apply to men as well!

The problem I have with this view as it pertains to women is that it fails to regard the life of another body- that of the one living within the the womb of the chooser. I would argue that "Freedom of Choice" proponents need to clarify their position by saying they believe a woman should have the right to choose what to do, not only with her own body, but also with that which has been conceived within her womb. And therein lies the rub. Does the one within the womb have a choice? Do the unborn have a voice? If not, who will speak for them? If a woman has the right to decide whether or not this fragile life will continue or end, why does such a choice only apply to a baby inside the womb. Yes, I said baby, as the term "fetus" is often translated to mean "not a person." Needless to say, I strongly disagree.

I understand that in some cases, albeit a very small percentage, the circumstances are such that the life of a baby is not able to be saved. Also, there are tragic instances when the mother will die in the process of delivering a child who will survive. However, these deaths do not occur because they were intended.

I know that rape is a horrible, unspeakable violation of one's most basic rights as a human being. I can't imagine the trauma, nor what it would feel like to know you've been impregnated by someone in this manner. In such a case, even many who would normally support the right to life for the unborn are willing to make an exception here. But, what about the rights of this unborn child who is in no way responsible for this heinous violation? Often overlooked is that in such a case, the unborn is a victim as well. Can you imagine one day coming to know that your conception was the result of rape? I can't. Yet, I can't help but think of how many such children, despite the odds being stacked against them, were the recipients of the love of their mothers and others too. How many of them have gone on to make significant contributions to society and the lives of others? I once heard a man share a testimony about how his mother tried to abort him, but the procedure was unsuccessful. As a result, she had second thoughts and decided to keep the baby boy. He, his mother, and all of those whose lives he has touched are so grateful Almighty God miraculously preserved his life!

From the accounts I have heard and read, I have never known of a mother who was grateful for having aborted a child, even under such conditions. I'm not saying there aren't any, but I would hazard to guess they are very few and far between. On the other hand, I have often heard of women expressing deep regret, wishing they had chosen differently. As a Christian, I'm of the belief that Almighty God, in the Person of Jesus the Son, created all things. With that, I believe that although many children are conceived under untimely and even tragic circumstances, each of them is significant. Unplanned as they sometimes may be, no child is an accident.

Viewing the Democratic National Convention, as one speaker after another trumpeted how women should have the right to choose what to do with their bodies, I couldn't help but notice the sad irony as the cameras panned the arena, many times fixing on infants and young children. From what I understand, the attendance of so many young ones is not commonplace for such a convention. Had the mothers of these children chosen differently, that auditorium, and this world, would be an emptier, sadder place.

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)

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)

Tired of the same old, same old on the Torrington (CT) restaurant scene?

It seems if you're driving from Hartford on Route 44 (202) and heading west, after you get through Canton your choices in terms of cuisine really dwindle. While Avon, Simsbury and Canton boast of numerous choices such as Indian, Thai, Lao, Vietnamese and others, Torrington, the largest city in northwest Connecticut and the hub of Litchfield County has seemingly little variety. If you like pizza, no problem. Torrington probably has one of the highest pizzeria per capita ratios in the state! Likewise, there are many restaurants serving Chinese food, fast food, Italian and American/continental cuisine. Perhaps the proliferation of pizzerias and Italian restaurants is understandable since Connecticut is the most Italian state in the union, according to the latest census statistics.There are also some great diners and local institutions serving time-tested breakfasts, lunches and dinners to loyal customers. However, for the more adventurous there are some terrific options too.

Fuji Japanese Restaurant at 1883 East Main Street serves authentic Japanese cuisine in a pleasant environment, complete with entertaining hibachi chefs, a sushi bar and numerous other features. Las Delicias Latina at 433 Main Street is a great little Mexican place offering the real deal in terms of Mexican food at a great value in a cozy setting.
 

Falafel at Noujaim's Specialty Foods

 
Noujaim's Specialty Foods at 281 Winsted Road is another gem, serving up delicious Lebanese, Middle Eastern and Mediterranean cuisine to go or eat in. Another winner, Northern Galapagos, right next door at 281 Winsted Road, Suite 3, serves tasty Spanish and American cuisine in a bit more elegant settting.

Ecuatoriano & American Cuisine

A more recent establishment among Torrington restaurants is Ecuatoriano & American Cuisine located at 1241 East Main Street. Here, you can find outstanding Ecuadorian and South American dishes, American and Italian classics with a twist, exotic fruit drinks and shakes, and more.

Las Delicias Latina

My wife and I have eaten at each of these restaurants and would highly recommend them for their food, value and service. So, next time you want to go out for lunch or dinner, consider some of the not so ordinary options Torrington has to offer. Your adventurous exploits are sure to be rewarding.

REVIEW: Noam Elron "Fluctuation"

Israeli bassist Noam Elron, though an avid listener of music from his youth, only took to the serious pursuit of playing and composing in his mid-twenties.  However, in the ensuing time he has developed and burnished his craft through private study, session work and live performance in venues both large and small.  Some of the festivals Elron has played include the Israel Festival and Caesarea Jazz Plus.  Though jazz, both traditional and contemporary, appears to be his primary genre and mode of expression, his avenues of musical application include rock, R&B, funk and others.  Additionally, Elron has composed and performed music for film and theater as well as serving as co-leader and bassist for contemporary jazz unit, Umami Quartet.
Brimming with inspired performance, a variety of ethnic influences and magical interplay, Fluctuation is Elron’s brilliant solo debut recording.

Displaying the tasteful restraint and maturity of seasoned artistry, Fluctuation is really the fruit of a collaborative effort between guitarist Dima Gorelik, flautist Hadar Noiberg and percussionist Noam Landsman, rounded out and led by Elron on double bass.

“An Interesting Young Woman” serves as the album’s wistful intro, awash in lyrical guitar and flute melodies, shimmering cymbals and understated bass.  A rustic quality, perhaps evoking Gabor Szabo, offers early evidence of Elron’s contentment to let the music speak without him having to be in the spotlight.  It’s this wisdom and unselfishness which helps to make Fluctuation such a delightful collection.

The flamenco-infused “Los Agvañiotes” exquisitely balances the fiery guitar strumming and flute of Gorelik and Noiberg with peaceful passages.  Sharp accents and flowing melodies make for a fluid tension and release effect while Gorelik’s contemplative guitar solo halfway through is a terrific counterpoint.  Because Fluctuation is such a synergistic effort, it’s difficult to make the case that any one player stands out, but it’s clear that Noiberg’s flute shines with buoying melodic effect on “Los Agvañiotes” and throughout.

“Constante Anhelo” is a mellow piece, colored with Latin pastels and Elron’s deliciously textured and underscored playing. Like a fire gently stoked, energy gradually builds then recedes just at the climax.
Middle Eastern vibes, courtesy of Noiberg’s flute, add unexpected spice to the Latin Jazz of “Sababa 5”.  Memorably lyrical passages make the piece accessible and inviting whilst the sizzling energy of the group provides danceable inspiration.  Landsman’s drums and cymbals crackle with zest yet reveal an uncanny sensitivity to space and time.  What’s also evident is that Noiberg’s or Gorelik’s solos are never obligatory; rather they are thoughtful enhancements to the compositions and album at large.

In its intro, “Oblivion,” penned by Astor Piazzolla and the only non-original piece on the record, offers a humble showcase for Elron’s sinewy bass interpolations and slap percussion.  A quietly rich cohesion is established as the musicians interact, supported by Elron’s cavernous lines.  “Oblivion” is a splendid gem, radiating earthy colors and subtle beauty, and punctuated by impassioned interplay.  Landsman is particularly impressive here for his use of timber, texture and rhythm.

“Hydra Variations in F# Minor” reveals a bit of avant garde flair before settling into a groove.  Conversation between Noiberg’s flute and Gorelik’s guitar add a bit of tension as accented bass and drum offer a solid foundation.  The pensive “Fluctuation” is a gorgeous centerpiece, displaying creative mastery and thoughtful muse.  The sunny-sounding “The Day Without Time” breathes with openness and free expression, imbued with the soft richness of Noiberg’s flute.  Gorelik sets forth a memorable guitar motif which is revisited periodically.  Surprisingly, in a most pleasant way, backing choral chants enter into the mix, lending a distinctive old world flavor and suitable finishing touch as the music fades out.

Much in the way fellow bassist John Patitucci is able to interpret the music of various cultures and sensibly incorporate it into his own compositions, Noam Elron, with his solo debut, shows himself to perhaps be a branch off the same musical tree.  Fluctuation is an authentic beauty of an album that never sounds like it’s trying too hard to be anything; it just simply is.

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

REVIEW: Mindy Hartman "Speak To Me Now: A Journey"

The very best of gospel and sacred music is borne not merely of creative inspiration, but of personal experience in one’s relationship to God.  The realization of His existence, salvation and purpose for humanity, and individuals, serves as a point of origin for getting to know, love and serve Him.  And so it is with Chambersburg, PA native Mindy Hartman.  Having become a follower of Christ upon her conversion at the age of fourteen, she became involved in music ministry in her local church.  During this time, she studied and trained under professional voice teachers to develop her gift and enable her to pursue her passion through music.  In addition, Hartman participated in the glee club at her high school and also discovered an interest in reciting poetry and prose, even going on to compete in a national tournament in her senior year.  In the fall of 1994, she joined Living Miracles, a young people’s choir directed by Doris Ortman, and continued with the choir until it disbanded ten years later.  Aside from singing, Hartman began to further explore opportunities to use her reading and recitation skills and thus became involved in narration and the recording of audio books.  While this considerable background of learning, growth and experience are foundational, it only tells part of the story of how Speak to Me Now: A Journey, her debut recording, came to be.

A fascinating and relevant point of consideration is that Hartman is blind from birth, and her blindness influences her perspective as a person, as a Christian, and as a singer.  Further, it was tragedy that God used to guide and encourage her to use her talents and gifts to honor Him and bless others.  Hartman’s seventeen year old brother Aaron died in an automobile accident just months before the September 11, 2001 attacks.  The fruits of her experiences, both good and bad, positively inform and influence the fifteen tracks that make up her faith-affirming debut.

Primarily a collaborative effort between Hartman and keyboardist Duncan Holmes, Speak to Me Now: A Journey is characterized by genuine expressions of quiet devotion and reflection.  The selections on the album are an effective combination of Holmes compositions and traditional hymns, each chosen with apparent consideration for the general theme.  Perhaps to complement the devotional and personal nature of the songs, Hartman’s voice was recorded dry, with no apparent enhancements.  For listeners, this may be slightly off-putting, but once the first few songs settle in, any distraction this may present, fades away.

The Holmes original, “In My Mother’s Womb” seems to be influenced by a combination of English folk  and Hebrew music, with what sounds like harpsichord and piano accompaniment.  Her alto is pleasing on the ears, and the harmonies on the chorus offer nice emphasis, though she tends to cut her syllables short, giving the song a narrative quality.  The title track, a simple and soothing prayer of yearning and commitment, while sincere in its message expressed unto God, falls short in terms of musical originality.  “Speak to Me Now” has a predictable flow in term of chord changes, and may have benefited from different musical choices.  Still, from a lyrical and vocal standpoint, it’s serviceable and does display Hartman’s warm and pure alto rather nicely.

The “The Master Has Come,” with its Welsh melody and challenging cadence, proves to be difficult for Hartman to squeeze in all of the words while having time to breathe.  In all fairness, this is one of those hymns that is generally not easy to sing, but it might have been advantageous for Holmes to slow the tempo down a bit. The great Irish hymn, “Be Thou My Vision,” similar in structure and its sheer lyrical fullness, is more successful.  Generally, Hartman handles the vocal phrasing quite well, but still, it’s quite a pace to keep up with.  Triumphant-sounding synthesizer chords and organ add to what begins with simply piano and vocals.
Hartman, with a delivery combining singing and speaking, comes across with self-effacing honesty as she shares the struggles of walking the road of faith on “Introspection.”  Her mood moves from voicing complaints about these challenges, including dealing with her own weaknesses, to endeavoring to trust in the Lord and His sacrifice.  Though the honesty and integrity of the message is not lost, Hartman’s sing-speak style is a bit awkward.

On “Trust and Obey,” rendered in simple a cappella harmony, the vocals are straightforward, allowing the lyrics to shine through.  “Lord God, Why Did You Choose Me” brings a refreshing musical change with its traditional gospel chord structure and tasteful and heartening accompaniment by Holmes on piano and string bass.  In addition, Holmes, possessing an earthy baritone voice, adds interesting contrast to Hartman’s alto.  Unfortunately, the combination of the two voices, aforementioned sing-speak delivery, and production doesn’t quite mesh.

When on “He Keeps Me Singing,” Hartman sings “All my life was wrecked by sin and strife / Discord filled my heart with pain / Jesus swept across the broken strings / Stirred the slumbering chords again,” there is a sense of personal connection with suffering and God’s redemption.  The combination of Holmes’ bouncy piano and Hartman’s ebullient vocals, subtly shifting to reflect sorrow and joy, represents a highlight on the album.  Likewise, the hymn “Oh Love That Wilt Not Let Me Go” is also a gem as it receives Holmes’ reverent and inspired piano treatment, providing the ideal backing for Hartman’s pledge to loyalty to the Lord.  The slower tempo revealed here, seems to be ideally suited and allows the strength of the music and the meaningfulness of the lyrics to come through.

“He’s My All in All” reflects Hartman’s passion for narration and storytelling with it’s biblical references to God’s faithfulness.  Effectively, she ties in these biblical accounts with her own life thereby making the song personal, while also emphasizing the practical application of scripture.  When Hartman sings “He’s a Father to the fatherless and I’ll tell you right now / He’s a husband for the woman who that’s alone / He’s a comfort to the comfortless / He binds the broken heart / He’s the kindest, truest friend I’ve even known,” it is comforting.  Considering Hartman’s blindness, “Turn Your Eyes Upon Jesus” takes on deeper meaning as the encouraging lyrics point to the kind of seeing that is by faith and of the heart.

Mindy Hartman is clearly a singer whose purpose is not to perform, but to minister, and that intent is unmistakable as evidenced by the choice of songs and the way in which they are presented. Though there are a few weak spots, Speak to Me Now: A Journey will certainly reward the listener in search of simple, sincere and uncluttered songs of faith, worship, loyalty and devotion.
Review by Mike Roots
Rating: 3 Stars (out of 5)