Reviews: January 2007

Keola Beamer - Ka Hinika O Ka Hau (The Coming of the Snow)

Dancing Cat

An odd one, this. Beamer is a master of the Hawaiian slack-key style, but here he takes it in a new direction, playing mostly classical pieces arranged for several guitars, all in odd tunings (overdubbed by himself), plus a pair of originals. It works reasonably enough, and delightful on the ear, but if you're hoping for slack-key fluidity, you won't find it. Enjoy it for what it is, an unusual classical disc.

Máire Ni Chathasaigh and Chris Newman - FireWire

Old Bridge

They can certainly play, and the harp and guitar weave definite magic on this mix of traditional and contemporary material. The instrumentals fare better than the songs, ranging from Irish to bluegrass to neo-jazz touches. If there's one criticism, it's that it's all a bit too smooth in execution, never pushing for the edge. But the virtuosity is dazzling.

Luke Daniels - Lost Music of the Gaels

Wren

A mix of traditional Irish, O'Carolan (the famous blind harper) and one original piece for a group listen as "classical quintet and Uilleann pipes." It spans the folk and classical world, but instead of being directionless, there's real beauty in the arrangements that show the stateliness of much of the Irish folk. Something to return to often, this is a little gem that deserves to be widely heard.

Keith Hudson - Nuh Skin Up

Pressure Sounds

A very valuable bit of Jamaican musical history. This, recorded with the Soul Syndicate, is the last part of the trilogy that began with the seminal dub album Pick-A-Dub (still one of the classics). This might not as vital, but still a sonic joy on both vocal and instrumental tracks, with some great invention in the mix. A must-have for all reggae fans.

Joi - Without Zero

Real World

The first Joi album in, well, far too long. Five years have brought a refinement to the sound, to the point where East and West mix well, often (as on the opener, "Praying For You") with palpable excitement. It might not seem as exotic as it once did, but there's an individuality to the music now, so there's no Asian Underground tag attached. This is just world music for the club scene, handsomely crafted and sometimes inspired.

Jaune Toujours - Club O

Choux de Bruxelles

This live disc shows the way the Belgian band skips around genres, usually within the same song. In a few instances it makes for spectacular listening (and the audience loves it), but all too often it ends up feeling directionless and dilletantish. There's no doubt they can play well, and it's tight as a drum, but the music seems to lack a deep emotional heart.

Femi Kuti - The Definitive Collection

Wrasse

Double disc best of from the son of the legendary Fela Kuti, who's established his own take on the Afrobeat sound. However, with just three albums, isn't this too soon? There are a pair of cuts from his long-vanished debut (good but unfocused), but the meat is in the second disc of remixes, which sizzle and take his sound directly to the dancefloor.

Seth Lakeman - Freedom Fields

Relentless

Up for a Radio 2 Folk Award, Lakeman's really come of up, and finally put the debacle of Equation behind him. There are some traditional pieces here (one of which is dubiously trad), but mostly it's his own work, and he's become a very good songwriter and singer, nodding at the past and evoking it but sounding completely himself. Whether he'll be great remains to be seen, but for now very good is fine enough.

Mariza - Concerto Em Lisboa

EMI

The biggest fadista in the world right now goes home to Portugal for this live album, accompanied not only by her own group, but also Caetano Veloso accompanist Jacques Morelenbaum and the Sinfonietta de Lisboa. Although neatly arranged, the strings are a bit of glitzy overkill, but there are some lovely moments, like the vocal-cello duet. But it all gets showbiz on the closer, an Amália Rodrigues classic. Great singing, but she's better with a small group.

Jim Page - Head Full of Pictures

Self-Released

The veteran Seattle singer-songwriter might owe a debt to Dylan, but his songs can be little gems. Although more engaging live than on record, there are some gems on here, like the title cut, If I Fall In Love With You and the acidic Petroleum Bonaparte. More than a protest singer, he's the perfectly rounded American folkie. See him if you can. This is a good record, but no substitute for live performance.

Andy Palacio & the Garifuna Collective - Wátina

Cumbancha

A stunning album where Central America and Africa mix perfectly. The Garifuna are descendants of slaves, and their rhythms are direct from Africa, whilst the melodies skip around the Caribbean, echoing, Cuba, Brazil, Mexico, even Jamaica. At times reminiscent of a young Buena vista Social Club, it has its own identity, melodic and powerful, and downright addictive. A lovely album that demands to be played often.

Graham Parker - Don't Tell Columbus

Bloodshot

Is he rock or alt-country? Does it matter? Parker still has the same bitter power he had when he was an angry young man 30 years ago. Oustanding material helps, of course ("The Other Side Of The Reservoir," reminiscent of Dylan's "Knockn' On Heaven's Door" is a wonderful piece), and the stripped down feel is ramshackle enough to be inviting. The spirit that inspired punk is alive and well here.

Alasdair Roberts - The Amber Gatherers

Drag City

Nowhere near as dark as his last release, Roberts fits in well with the new psychedelic folk generation, with songs that are sometimes wistful and dreamy, sometimes forging slowly down a twisted path, and occasionally beautiful. Very far from traditional, and often as stark as the rocks on the back cover, it's not for everyone. But listen a few times, and it offers some lovely secrets within.

Rachid Taha - Diwan 2

Wrasse

Once again Taha goes back to visit some classic Arab-inflected songs (plus a couple of his own), and it's as good as his first effort in this style. Dark, often emotional, there's a new, mature power to his voice here, whilst the iconoclastic punk attitude that's powered his work remains intact, if not so abrasively overt. From the sound of this, Taha might be heading in a subtly different direction in future. And it's good.

Roy Young - Memphis

Tommy Boy

An Israeli-based Jamaican soul singer? That might sound unlikely, but one listen to this album convinces. Young finds a deep heart on most of this album, even turning REM upside down with a lovely cover of "Everybody Hurts." This soul like you haven't heard since the '70s, down to the arrangements, with "So Strange" especially notable. It loses its way a little towards the end, but redeems that with the bare closer "Bring In The Dawn." Listen to this - now.

Reviews: January 2007

Keola Beamer - Ka Hinika O Ka Hau (The Coming of the Snow)

Máire Ni Chathasaigh and Chris Newman - FireWire

Luke Daniels - Lost Music of the Gaels

Keith Hudson - Nuh Skin Up

Joi - Without Zero

Jaune Toujours - Club O

Femi Kuti - The Definitive Collection

Seth Lakeman - Freedom Fields

Mariza - Concerto Em Lisboa

Jim Page - Head Full of Pictures

Andy Palacio & the Garifuna Collective - Wátina

Graham Parker - Don't Tell Columbus

Alasdair Roberts - The Amber Gatherers

Rachid Taha - Diwan 2

Roy Young - Memphis

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