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Of Note: CD Reviews
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Freebo
Before the Separation
Written by Frank Kocher

Making the
rounds of local and North County venues quite a bit lately has been Freebo, a
folk and blues singer/songwriter with a colorful background. The face and name
will be familiar to veteran Bonnie Raitt fans, as he was her longtime bassist.
After his decade-long stint with Raitt ended, Freebo (aka Daniel Freidberg)
stayed busy with session work and working as a touring musician with other top
artists.
In the
1990s, he decided to give songwriting a try, honing his craft until his 1999
solo debut, End of the Beginning. He
has since released two more, with the most recent being Before the Separation.
His background would point to abilities playing blues, rock, and country music
as his fretless bass and tuba playing have put him on album covers as far back
as the late ‘70s, but the sound on Separation is mostly subdued and intimate
folk, with a touch of other styles.
"It Goes By
Fast" establishes the sound, a lighter-than-air tune built around an acoustic
guitar lick, tight Crosby-Nash style harmonies, Freebo's sweet-sounding
fretless bass, and his vocal. He has an easy folk-singing presence that evokes
John Sebastian. The title tune stays in a soft folk mode with some criticism of
the status quo, again effectively using harmonies to shore up the vocal,
especially on the chorus. A rare step toward rock is taken in "Stand Up" as a
strident beat is supplemented by electric slide guitar (not Raitt on this
disc). This one clicks pretty well, though it is a step outside the box for
Freebo the songwriter. "You Don't Have to Live This Way" is better, straying
from folk for a mid-tempo minor chord ballad that uses sitars, drone effects,
and a lead solo played on an esraj (a sitar-like Indian string instrument).
This track has a memorable melody, stylistic surprises, and is also the closest
that Freebo comes to country-blues music on the disc. The listener won't be
able to forget the chorus lick of this standout cut.
Freebo
produced himself, and the sound recalls the folk-pop of the late ‘60s and early
'70s. The title tune and a few others might touch off reminders not only of
Sebastian but also of Jon Mark of Mark-Almond and others from the era.
"The Beauty
of Life" tries for a funk/R&B vibe, with horn charts and chord changes that
sound like Otis Redding's "Dock of the Bay." Freebo tries hard for a style
switch here, and sings it well. While the tune lyrically matches the
uplift/lesson ideas elsewhere, musically it doesn't fit. Buried in the play
order is the disc sleeper, "To the Light." This is an infectiously catchy,
quiet folk tune needing only Freebo's voice with some background vocals and
light instrumentation; another highlight, it probably works best because of its
simplicity.
Freebo is
rare musical personality, who completely transitioned from a successful
performer to become a creator of his own interesting musical ideas and songs. Before the Separation is a chance to
hear what he has to say.
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Glancing Love
Along the Enchanted Way
Written by Mike Alvarez

Glancing
Love is a duo featuring Celtic folk harpist Theresa Rochelle-Ross and violinist
Rachel Amov. These two are familiar faces in the local music scene, having both
members of the Celtic Fusion group the Strange Woods as well as collaborators
with a variety of artists. Each is also a multi-instrumentalist; Rochelle-Ross
performs on penny whistle, recorder, bodhran, and harmonium, while Amov's
musical abilities extend to viola, cello, and keyboards. All of these
additional sounds complement their primary instruments, creating a richly
layered depth to their arrangements. Guest musicians include
guitarist/keyboardist Patrick Espinoza and Cactus Jim Soldi on bass and guitar
(who also mixed and mastered the recording). Glancing Love is generous in their
praise of these guests' talents and contributions, noting that they were often
the source of ideas.
The CD's
selections are medleys of tunes linked together and given unique titles based
on the moods they create. The liner notes also list the titles of the songs
that make up each medley so that listeners can identify the source material.
Their performances are immaculate, with Rochelle-Ross' sparkling harp tones
providing the foundation upon which much of the music is anchored. Amov's
string melodies go from sublime lyricism to nimble displays of agility. The
wind instruments add another color to the melodic palette, lending everything
from poetic serenity to uptempo fire to a number of passages.
"The Fields
of May" opens the album with the instrumental layers slowly unfolding. A penny
whistle and violin are soon joined by a piano playing arpeggios underneath.
Harp and violin take center stage during a fleet-fingered passage that finds
the whistle returning to play the melody in unison with the fiddle. This track
evolves in a very natural progression, displaying a number of styles as it does
so. "Highland Boat Song" starts as a somber minor key ballad that has nice
interplay between the violin and whistle. The violin then takes the lead during
a more leisurely passage, which later features some lovely cello
countermelodies. Soldi's lush guitar accompaniment is notable on "Over the Sea
to Skye," creating a pastoral, almost church-like mood behind the melody. There
is a real sense of a journey here. "Flowers of Edinburgh" is a spirited medley,
evoking visions of folk dances and period costume. The middle section of this
piece is a very famous song called "Morrison's Jig" whose great energy carries
through to the finale.
Things take
a more reflective turn on "Dew on the Grass," with the whistle leading for
quite a while until harp and fiddle come forward bringing the song to a more
energetic finish. "In the Grove" is notable for its very familiar melody ("The
Ashgrove"), played alternately on harp, whistle, and violin, then picks up
steam as it turns into a couple of lively upbeat tunes. "Her Dark Hair" begins
as a melancholy duet for whistle and fiddle before becoming an Irish standard.
It ends with a jig, led by Amov's articulate fiddling, bolstered by Espinoza's
skilled piano playing.
The CD ends
on a hopeful note with the title track, a dramatically melodic harp piece that
features accompaniment by viola, cello, recorder, and penny whistle. That such
an authentically Celtic sounding recording can originate in Southern California
is a testament to the deep commitment these artists have to this music. Their
years of immersion in this art form bring credibility to the statement they are
making. The overall effect is soothing, but attentive listeners can also
appreciate the musical sensibility and craftsmanship that went into the making
of this recording.
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Jackie Daum
The Sky Inside
Written by Frank Kocher

Local
singer/songwriter Jackie Daum has been writing songs for her debut disc, and
headed for Austin to record keyboard pop and alt-country songs with producer
Billy Harvey, who has worked with local songsmith Steve Poltz and others. The
result is The Sky Inside.
The music
on the new disc is a collection of heart-felt love songs with good first-person
lyrics and plenty of emotional delivery by Daum. The band of experienced
session players gives the music an Austin-gloss sound, their letter-perfect
touches catching notice only here and there. Daum has a very strong vocal
presence and fills each of the songs nicely, though there aren't many big
changes of pace in the ballad-heavy outing.
The album
opens with "Cottonwood," a soft tune packed with expressive lyrics about
memories of a past love. The tune builds up well, as Daum establishes her
smooth, unaffected voice. "Going to New Mexico" pushes the beat harder but
stays in the same comfortable alt-country groove, and pays off with a catchy
chorus. "Landfall" is a piano-based ballad clearly intended as a highlight; it
has an interesting melody but doesn't match "New Mexico" or some of the later
tracks in impact. Next up, a different, bluesy vibe as a Hammond B3 leads the
way on "Water Tower"; Daum gives this an aggressive vocal that draws from
gospel in one of her best performances on the disc. The clear standout of the
disc is "Pearl," a mid-tempo pop number that blends nifty lyrics, a great
melody hook, and perfect arrangement. "Rock Stars" is full of clever verses
about relationship issues and being numb; it's a good song - but not as good as
"Pearl," which it follows and musically resembles. Like the earlier "Water
Tower," "Always on Time" changes things up a bit with a more syncopated,
R&B-style rhythm, though the Austin crew does a lot to smooth this out.
Throughout,
Daum sings with an assurance that belies the fact that this is her recording
debut. She has good range, no overdone twang, and doesn't sound like some other
singer. The thoughtful lyrics are provided in the disc packaging, a plus
nowadays. The disc is one of those that gets better with repeat listening.
Daum puts
together three of the strongest tracks on at the end of the disc, a place often
reserved for filler. "Preacher's Slough" has great dynamics, a country power
ballad that starts quietly and fills the room with Daum's heartbroken voice,
slide guitars, and B3 in crescendos. Next up "Cry" clicks with her piano work,
a locked-in catchy melody, and a B3 riff floating over the top. The closer is
"You Give Me Air," co-written by Harvey, uses another simple but memorable hook
with harmony vocals to bring together another standout cut.
Jackie Daum
makes an impressive debut and quite a statement with The Sky Inside. It shows a confident singer who has written some
interesting songs, and knows her way around a ballad.
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Sara Petite
Dog House Rose
Written by Steve Roche

Right off
the bat, let it be known that there isn't one dog in the pack on Sara Petite's
new CD Dog House Rose. Dog House Rose is a fully bloomed,
seamless piece of Americana art that is sure to see Sara achieve high accolades
and national attention this year.
Expertly
produced in Nashville by Eddie Gore, with a fine cast of over-achieving studio
cats, this disc sounds great and plays great. Well-crafted songs, heartfelt
singing, great musicianship, and perfect sequencing make this a very strong
work; I dare might say an "Instant classic!"
The opener,
"Magnolia," twangs to life with its unison guitar and dobro licks, loping
rhythm section, and very catchy chorus. The second song happens and just keeps
happening with "Take What I Can Get," which moderately builds and evolves into
a modern country-rock anthem that devastates the memory with its hook. Absolute
timeless magic! "Baby Let Me" proceeds to burn the barn down with Kenny Vaughan
channeling the ghost of the late Eddie Shaver with some ferocious guitar
soloing while a boozed up Sara is busting down the front door with her sultry
plea of need.
The title
cut, "Dog House Rose," is a tender, acoustic, and fitting tribute to Steve
Earle, one of Petite's major influences.
The only
song on this CD that Petite didn't write turns out to be a rockin' cover of
Harlan Howard's "He Called Me Baby." A great version! "Bootleggers" is another
ultra-tempo burner about moonshine. You'll find yourself singing the fun chorus
by the end of the song. Kudos to Sasha Ostrovsky on dobro. "Souvenirs" is a
slower, touching acoustic tale of loved one's items and the poignant memories
they hold.
The
forbidden temptation of "Shouldn't Be Doing This" and the perfect title of
"Beautiful Thing," with their ethereal eloquence, remind one of a chapter taken
from Emmy Lou Harris' Wrecking Ball. Both are superb and you can hear Daniel
Lanois' footprints everywhere.
Sara Petite
has done her lessons thoroughly and wears her heartfelt influences on her
sleeve. You'll hear nuances of many of the greats in her work; however, Sara
has created her own masterpiece here. The excellence and continuity of Dog House Rose can't be overstated.
Congratulations to Sara and the Sugar Daddies. One of the best CDs of the
decade!
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Tim Flannery
Travelin' Shoes
Written by John Philip Wyllie
Ask just
about any musician and they will tell you that whatever project they are
currently working on is the one that contains their best work. In the case of
Tim Flannery and his recently released Travelin'
Shoes, his ninth CD in a musical career that dates back some 30 years, that
actually happens to be true. This 12-song collection, recorded under the
watchful eye of multi-talented producer and performer Jeff Berkley, represents
a high water mark for Flannery and his star-studded backing band, which he
jointly refers to as the Enablers.
Hearing
Flannery and his mates perform makes it hard to imagine how he ever found time
to enjoy a successful Major League baseball career. From February until October
he remains fully engrossed as the San Francisco Giants' third base coach;
fortunately, he always makes time for his music.
This new CD
delights from beginning to end with its carefully crafted song writing, clever
lyrics, and outstanding overall musicianship. It is enhanced by the
contributions of a bevy of stellar local musicians that Flannery has attracted
with his magnetic personality. The credit's lists reads like the Who's Who of
San Diego acoustic music.
On his way
up to Riverside to visit his older brother, Flannery spoke about some of his
favorite tracks on the album.
"Each one
of these songs is on this record because they mean a whole bunch to me, but I
[particularly] love "All the Things We Carry." The title comes from a Tim
O'Brien book about Vietnam. The song is about the accountability and
responsibility that we all carry and the responsibility that I carry as a man.
I think it might be my favorite song out of the ones that I have written."
During the
baseball season Flannery would listen to the title and opening cut, "Travelin'
Shoes," on his way to the ballpark every day. This bluegrass number is one of
several on the album that benefits from the "Caplinger effect." "Enabler"
Dennis Caplinger can play just about anything, but put a banjo, fiddle, or
mandolin in his hands and magic occurs.
While
Flannery has become an accomplished songwriter in his own right he is not
opposed to covering other people's songs. Mixed among the originals there is a
brilliant cover of Tom Petty's "Scare Easy" as well as a beautiful version of
Karla Bonoff's "Home."
"I love the
cover that we do of Eliza Gilkyson's ‘Think About You.' I actually had a song
called ‘I'm a Half Moon Away,' but it was such a long song and it had too many
words. While I was recording it I heard Eliza's song and I realized that she
had done what I wanted to do in about two and a half minutes. So, I decided to
record her song instead."
Barbara
Nesbitt's beautiful backing harmonies on this cut blend perfectly with
Flannery's earthy, warm voice, making this one of the many highlights of the
album. Throughout the years the duets he has sung with artists such as Randi
Driscoll, Eve Selis, and Nesbitt have ranked among his best work.
The
rollicking "Don't Come Home on Account of Me" takes on a Cajon flavor with the
addition of Sharon Whyte's jaunty accordion and its bouncy beat.
"That one
is a collection of about four or five stories all played in one song," Flannery
said.
The famous
parrots of San Francisco's Telegraph Hill are used as a metaphor in his song
"Telegraph Hill." Here the highly spiritual Flannery returns to a theme found
frequently throughout his albums: God's grace and salvation.
"Words
Unspoken" is about the San Francisco's Depression Era speakeasies and the rum runners
of Half Moon Bay. Like "Think About You," it benefits from Nesbitt's backing
vocal.
"I can't
pick out a favorite song, but I love this record and I am proud of it,"
Flannery said. "It is something I'm sure I will look back on when I remember my
time in San Francisco."
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