Of Note: CD Reviews

Kruno and his musical compatriots are clearly too busy perfecting the art of gypsy jazz to spend too much time on marketing. The cover art and title of this disc are not exactly monuments to creativity, but none of that matters once the music starts. I literally started laughing like a giddy kid about 15 seconds into track one. That reaction comes to me when I hear something so killer that I almost can't believe what I'm hearing.

Kruno's chosen style of jazz is easily accessible and instantly likeable but can be somewhat repetitive. Gypsy Jazz consists mostly of shorter, guitar-centric bursts of kinetic musical energy and, although there are probably a few too many of these types of tunes on the disc, Kruno does a supremely stellar job on all of these guitar showcase songs. The opening track, an original piece called 'Swing Strabo,' hits the listener right between the eyes with an up-tempo swing number featuring a sparingly written melody and a blistering guitar solo. That basic arrangement is used for most of the following seven tracks, but there is enough variety in tempo and melodic approach to keep things from really tipping over into being too much of the same thing. The original tracks 'Pikap!' and 'Bossa Kruno' really shine as tunes that make the most of this 'guitar showcase' format. Track nine, the Django tune 'Hora/Minor Swing,' moves into a new direction and thankfully adds a violin and a cimbalom (a really cool, percussive Hungarian gypsy instrument that looks like a small piano, played by striking the strings with metal mallets). These new instruments add new life to the tracks that they are featured on. 'Svaku Zenu Volim Ja' (featuring the aforementioned supporting instruments and some amazing vocals that I assume were done by Kruno) is the strongest track on the recording as it brings all the best elements together in one place. 'Django's Castle' returns to the sparse guitar, bass, rhythm guitar format and really satisfies by taking a more restrained, melodic approach. 'Spider Man' and 'Puttin' on the Ritz' add some kitsch to the mix with two fun, rapid-fire cover tunes. 'Delem, Delem' returns to full instrumentation, plus vocals, and ends the disc very nicely with beautiful performances all around and a very interesting arrangement. It should be mentioned that the supporting musicians do an excellent job and that the production effort is just about perfect.

I think this record would have been even better had Kruno spread out the distinct formats more rather than, mostly, clumping them together (i.e., put one of the vocal tunes as track three and one of the playful covers as track four to break up the guitar extravaganzas a bit). Still, this is an extremely entertaining and expertly executed recording, done by masters of this genre. This is gypsy jazz at its finest.

As much as I would like to think that I am in touch with my feminine side, I fear that my gender may be a slight roadblock when it comes to reviewing A Beautiful Road, the new disc from singer-songwriter Marie Haddad. The ideal target demographic for this music would be that intelligent, logical, yet passionate girl you see reading a worn out copy of a Jane Austen novel at the local coffeehouse but who also has a copy of Sex and the City in her purse somewhere. However, I drew this review, so I damn the Y chromosome as I reach deep for the estrogen within me and move forward.

Marie Hadad sings and plays piano with intensity, clarity, and precision in a style that will surely draw comparisons to Tori Amos (although Ms. Haddad seems to be in a much better overall mood than Ms. Amos and I think Haddad's voice is more versatile). The first five tracks follow a consistent direction with mid-tempo (mostly minor key), moody pop tunes full of impressive piano flourishes/hooks and crystal clear vocals. 'Is It That Obvious' (note: if it wasn't that obvious before, it sure as hell is now!!), 'Wishing Well' (irresistible piano intro on this one), and 'Faster' (very nice staccato piano jabs) are the most appealing offerings in this first group of tunes. There is an impressive musicality showing through on all of these tracks and one could never fault this artist for the overall quality, but the challenge for me was to find an emotional connection with the poetic and highly personal lyrics (perhaps the gender issue rearing its ugly head?). For reasons that I can't put my finger on and for some that I can, I really did connect with track six, 'Why, Why Not,' the tune I liked the most. It reminds me of vintage Elton John with beautifully stacked harmony vocals that perfectly set up the verses, a powerful piano track that mixes complex chord/melodic structures with sublimely simple ones, plus a pre-chorus melody that positively soars.

The rest of the disc offers the same kind of mix and vibe that the first tracks did, with a few new touches like louder, more pronounced electric guitar tracks. 'Rockstar Head' is the most playful, rocked out tune and I have a feeling that this song really gets the gentler sex reaching for the volume knob and nodding their heads in agreement with the lyrics.

Finally, I hate to give away too much info on hidden bonus tracks, but you really should to keep your CD player running after the last track. Throughout the CD, you'll find gems in the composition and performance that indicate the high level of care and craftsmanship Haddad brings to her work. Whether or not you personally connect with 'A Beautiful Road,' I leave you to discover, but any way you slice it, this is a fine and lovingly crafted piece of work.

With breathtaking brevity and disarming warmth, Matt Curerri and the Exfriends try something crazy Ð they play modern rock music with honesty, depth, and feeling. Intelligent, English-major rock sometimes suffers from debilitating self-consciousness, but Curreri and company steer clear of that mirror and go straight for the dusty, open-ended majesty of truth, no matter what the cost.

This is literature. Like the best short stories, Curreri's vignettes score deep into the copper plate of consciousness with an economy of motion. Evoking just the right blend of detail and universality, these two-minute rock operas have you reaching for the replay button. Like great art, it continues to reveal layer after layer.

As the Attractions did for Elvis Costello, the Exfriends create the perfect canvas for Curreri's portraits. Sounding like the Replacements, Talking Heads, and early Paul Simon, they blend the East Coast, Midwest, and West Coast sound so masterfully that this music seems to come from everywhere at once.  

What distinguishes Curreri from the herd is his utter lack of guile. There is no self-conscious ironic distance, a feature that mars so much modern rock music. Curreri's humanity shows and it isn't a joke. Curreri and the Exfriends have the humility and the courage to let simple truths emerge from the weave of life. Honesty creates intimacy. Some artists create masks to hide behind; other artists trust you with the truth.

But Curreri is no heart-on-his-sleeve singer-songwriter. Instead, he lets his scenes and characters call up moments of truth from the depths of your own soul that litter your life like jewels forgotten and fallen behind department store discount bins. You find the best of yourself in these songs, grateful for the reconnection.

Even when Curreri shows the darker side of his characters, he does so without a shred of condescension or condemnation. Curreri simply loves the frail, flawed hearts of his characters and he lets it show. Curreri never tells you what to feel. He simply lets you feel it.

'Carrie's Freckles' is a perfect example of the masterful way Curreri's skills of observation reveal a longing beyond language. Every songwriter in town needs to study this record if only to learn how to get to the point. 'Carrie you have got some beautiful arms, they're covered in charms that God gave to you. Two short, short sleeves and a beautiful v-neck; I love what a v-neck and some freckles can do.' Study how he lays those lines in a slow country waltz. Be amazed. Count yourself among Curreri's new friends.

Exercise Music for the Lonely is available at www.mattcurreri.com

If you've been around town lately, you may have heard Spinster recording artist Steph Johnson at one time or another. You'd remember if you had. You would've been mesmerized by the soul-soaked voice, the ease with which she moves through lyrics, her wild abandon as she deftly scats her way past your ears and eyes and into your heart - and you feel what she wants you to feel.

Genesee Avenue, Johnson's debut CD, features just over 39 minutes of jazzy, funky, bluesy soul music, spread over eight beautiful tunes, just aching to get to your heart.

The musicianship on this disc is absolutely stellar - it has to be when supporting a vocalist as strong as this one.

The band is comprised of Steph Johnson on vocals and guitar, Sean Rose on bass and guitar, Mikey Cannon on drums and percussion, Leo Dombecki on Wurlitzer organ, Seth Blumberg on guitar, and Leonard Patton on backing vocals.

Esteemed guest artists include trumpet master Gilbert Castellanos, percussionist Ty Kiernan, guitarist Christopher Hoffee (who also engineered and co-produced the album), and the fantastic Lisa Sanders singing back up on 'True Love.'

There are no disappointments on this CD, the songs, the performance, the production, the picture on the cover (by the illustrious Henry Diltz) are all high quality by any standard.

If I had to find something to nit-pick about, and I do - I might take issue with the third track,'Can't Relate' and the choice to fade out, then back in to hear someone say 'This is gonna fade out, right?' I'm not a fan of these kinds of devices, but at least this one is kinda funny.

Also, 'Wonderful Things' (track 5) immediately makes me want to sing 'Mother, mother,' the opening lyrics to Marvin Gaye's 'What's Going On?' It does diverge from that pretty quickly, so it's not a big deal, but I am nit-picking here, it's my job!

Truly, I've found it difficult to nit-pick on this CD though; I love each track. Johnson's voice slays me. One big nit-pick is that I didn't get to play guitar on a single track (grin)!

I think it's obvious that I like this CD. Check out her website: www.stephjohnsonband.com to hear some samples and to order the CD. There are also some cool pictures and even a PodCast available. How cool is that?

If you ever have the opportunity, see Steph Johnson solo or with the band, she is phenomenal. Her voice is unique and original and someone you could compare to Ella, Bessie, even Mahalia, and so many other great jazz/blues singers - but that still isn't Johnson. You've got to hear her to know what I mean.

Rarely does a debut album possess such a well-formed sense of purpose and musical direction the way the Drinks' self-produced debut LP GRR! does. It grabs you by the ears as to say, 'Finally! Where you been? We've been waiting on you.'

An indie band with a sense of humor, the group has wielded all they know about music to make this album one you'd bring to your buddies' house party.

Of their sound, Indie Retard magazine, a questionable fictional publication, says, 'The Drinks create a dreamy tapestry of rock, funk, indie pop, and a Unique-Something-All-Their-Own (known to promoters and A&R as the coveted USATO).'

Chalk the diversity up to the length of their musical history. They've been at it for a while. Nick Carvajal, a band member, majored in music at the University of California, which, no doubt, lent a hand in stabilizing their eclectic, professional sound.

According to their web site, the Drinks have even been known to swap musical instruments while onstage. Talk about versatility.

Track 16, 'Vow to Change' was recently played by request on The Local 94.9 radio show with Tim Pyles. Along with its introspective lyrics, the track's stripped down acoustic strumming leaves room to showcase just how gritty and engaging the vocals are.

'Friends and Lovers,' a retro '80s, new wavish fusion, has a hook as classic as its sound. And, just when you think it's over, it catches you off guard by jumping over the cliff of momentary silence, belting its pleas.

On 'A Diet That Actually Works,' the guys flash their musical grins. It's a bluegrassy, acoustic slow track that pokes fun at the ridiculousness of dieting.

Half way through the album, it becomes refreshingly clear that, although others may box up their sound in order to catalogue it easily, the Drinks can't be bothered. Instead, it seems they'd rather subscribe to the idea that a debut album should be a well-rounded helping of material.

Also, in the spirit of classic '70s' rock bands, they sprinkle three musical interludes throughout the record.

So, what to make of it all? Where can it be unwrapped and enjoyed to its maximum pleasure? It's definitely music made to be shared.

With this album, these four guys, (five if you count their imaginary member Muscles McSexy) welcome you into their garage of sound, take your coat, offer you a beer, and show you their high school year book. They make this their own personal album in every sense of the word; they've even pasted their baby pictures on the back. Who could ask for more than that?