Archived Reviews P-R

Pato Banton - Live at the Maritime

2b1

Banton has a reputation as reggae jovial dread, and this disc, recorded live in San Francisco, does nothing to dispel that. The Birmingham accent is still there. He's definitely left behind all the 2 Tone associations of the beginning of his career, and is now firmly a roots reggae singer, with the opening "Revelation/Exodus" offering homage to the late, great Bob Marley...and "Jaming" rears its head later. What the adulatory crowd have really come to hear, though, is "Don't Sniff Coke" (cleverly positioned after an a capella version of "Legalize It") - it becomes a love fest, with the audience doing most of the singing, not a bad reception for a Brit with no reggae hits, but a very lovable way of presenting himself. Not to denigrate the man - he's as good and positive as anyone else on the scene, and obviously a warm live act, but shorter performances and more tunes would help a bit.

Peru Negro - Sangre de un Don: Herencia Afro Peruana

Times Square

It would be easy to say that Peru Negra fall somewhere between the lush quiet of Susana Baca and the hyperactivity of Pepe Vasquez - but it would aso be largely true. working from a deep rhythmic base, they explore black music in Peru, with the vocals of Monica Dueñas especially prominent. The group, former by principal songwriter Ronny Campos, might have a folkie feel at times, but it's unlike any singer-songwriters you've heard before, injecting real emotion and fire into the words over a backing that seems stark at first, but simply throws the rhythms and voices into high relief. Startlingly original and endlessly melodic, this is both artefact and joy - and worth every minute of your time.

Pierce Pettis - State of Grace

Compass

The best analogy for Pierce Pettis is an American Richard Thompson - there's a similar sense of roots and place in his work, and often a graceful lyricism that takes unexpected turns. He might not be the lead guitar player that Thompson is, but he's no slouch as a picker, as the acoustic gems of "Georgia Moon" and the title track eloquently show. In fact, it's the tracks away from the band that tend to have the most impact, where nothing distracts from a perfect match of words and music. With help from the Compass Mafia (Alison Brown, Clive Gregson,, Tim O'Brien, etc.) Pettis continues to move from strength to strength on his albums, mining a rich Southern vein that's far from played out. Not everything is perfect - his cover of Dylan's "Down In The Flood" is more groove than performance - but with a couple of brief exceptions, Pettis has made an album that deserves to propel him into the top rank of American singer-songwriters.

Quirkus - Farewell to Treebeard

Quirk

While it has plenty of hippie-dippy elements in the writing and performance, there's a certain unforced charm about this that satisfies in an unexpected way. Some affecting songs, and rhythm tracks that do unlikely and enjoyable things. It's the '60s transplanted to the new Millennium, and indulging in some of the modern technology, alongside the acoustic instruments. Others have done it, but few will put a smile on your face the way this lot manage.

Radio Tarifa - Cruzando El Río

World Circuit/Nonesuch

Back for a third time, Radio Tarifa expand their sound with the addition of electric guitar - which fits in better than anyone might have expected in their fusion of Spanish and North African sounds, which cross both space and time - "Si J'ai Perdu Mon Ami" dates back to the Renaissance, but there's a continuum to the music that makes it seem perfectly modern and natural. Foot percussion on "Patas Negras" simply emphasizes the flamenco connection that's all too evident in the cross-cultural rhythms. Instrumentally and imaginatively, this is a masterpiece.

Rahat Nusrat Fateh Ali Khan - Rahat Nusrat Fateh Ali Khan

American

The nephew of the late, great Nusrat, and his anointed successor, comes on like a steam train for his debut. And the music offers some interesting developments for qawwali. The essence of the tradition is definitely there throughout, but whereas his uncle had become meditative, Rahat is full speed ahead toweard ecstasy, meeting it head-on. His party uses complex harmonium and rhythm lines that actually seem to have more in common with mid-'70s Lee Perry music than yer usual Sufism ( a tribute to producer Rick Rubin). Rahat is one hell of a singer, his voice twisting and spiralling on itself, and the band superbly drilled, following him every step. Nusrat couldn't have asked for anyone better to follow in his footsteps.

Riccardo Tesi & Banditaliana - Thapsos

Dunya

After a couple of decades going through European music and jazz, bandonean player Tesi returns to his Tuscan roots for Thapsos, and a joy it is, too. While there are still more jazz touches, particularly on the later tracks, there's also some striking vocal polyphony, and plenty of regionally-rooted playing, not just from Tesi himself (although he takes center stage) but also his bandmates on an unusual lineup of guitar, sax, and percussion/vibes. Plenty of guests help out, and the improvisations all stand as small jewels of the art. With this record, Tesi deserves acclaim for offering what is state of the heart Italian music.

Rick Treviño - Mi Son

Vanguard

Treviño, best known for his work as a member of Los Super Seven, shows that he has plenty of talent as a solo artist, too, exploring his strong Mexican-American roots. From the surging opener, "El Gustito," this is a tour de force, bringing together some Cuban inflection here and there to spice the upbeat songs, while the slower pieces, such as the duets with Ruben Rarrios and Martha Gonzalez, offer heartbreak in their aching blend of voices. With contributions from Los Super Seven and Los Lobos, this is the work of an artist already at full maturity. Only the English-language closer, "Long Goodbye," fails to completely satisfy, coming close to country-by-the-numbers. Admittedly, he started out in country, but this isn't a great song, nor does it fit with the rest of the record.

Roy Harper - Hats Off

The Right Stuff

Another attempt to break Harper in the U.S., this time trading heavily on the names of his 'heavy friends' across the years. It's a shame, because there's other material, mostly from 71-77, that's much better than some here. And some of the edits (as on "Me And My Woman") are less than judicious. Harper is still a big talent, even as he turns 60, always an iconoclast, and perhaps the nearest analogy is Bob Dylan, since he too has transmuted the forms, and is something of a poet. But to pull him along on the coattails of others really isn't doing him justice. They've been there (much as Zeppelin have lauded him), but the story and vision is his, not theirs. He deserves the recognition, it's long overdue, and if this works, then fine. But let him be accepted for who he is.