Lou Harrison
Rhymes with Silver. New Albion, 2000.
Listeners who heard Harrison's percussion and/or gamelan music at last month's Festival of the Millennium should investigate the Portland native's chamber music, and his newest CD is a good place to start. Commissioned by innovative choreographer Mark Morris, the 1997 score features cello (Yo Yo Ma in the premiere, former Kronos Quartet member Joan Jeanrenaud here), violin, viola, piano and percussion (especially vibraphone). It also incorporates Harrison's longtime passions -- world music (including Indian and Turkish rhythmic schemes) and dance. Although the mood throughout the 12 short movements is generally understated, a rumbustious fox trot, romantic waltz and vivacious closing round dance combine with Harrison's harmonic imagination to create a quiet yet lively suite.
After Quartet
Metropolis. Self-released, 2000.
This group of recent UO graduates, now relocated to New York, debuted Brian McWhorter's mesmerizing original score to Fritz Lang's classic silent film at a screening a couple of years ago. The music, commisioned by the UO Cultural Forum, was edited for the new CD release (available at Cat's Meow and House of Records and at www.afterquartet.com) and easily stands alone without the film. Fans of forward-looking electric jazz will love this album's rhythmic vitality and Kyle Sanna's inventive, atmospheric guitar soundscapes, while new music aficionados should appreciate Aaron Trant's unusual percussion touches. The music transcends jazz to create a compelling, original sound. It's a perfect gift for the jazz or avant-garde music fan on your list.
Mark Vigil
In a Wild Garden. Self-released, 2000.
Another worthy effort from a Eugene composer whose enviable gift for lyricism sometimes leaves the music a bit soft at the center. Highlights here include Vigil's second string quartet, piano sonata, and "Mariposa Tulip," featuring the UO's Pacific Rim gamelan. New Age and many classical fans will find everything here to be at least pleasantly soothing and utterly delectable in some moments. Available at www.markvigil.com.
Jon Deak
The Call of the Wild. CRI, 2000.
Finding new ways to mix words and music is a dilemma that plagues many new music composers, and despite the excellent playing of Trio Pacifica (Victor Steinhart, Kathryn Lucktenberg and Stephen Pologe), Deak doesn't quite succeed here. Although the music (mostly recorded at the UO's Beall Hall) suits the texts (including excerpts from Orwell, Cather, Hesse, and Jack London), his unusual compositional technique, which he calls "Speakplaying," tends to grate after extended exposure. Maybe using a trained dramatic speaker would help; although there are plenty of exceptions to the general rule that instrumental musicians shouldn't vocalize, this isn't one of them.
Kyle Sanna
The Cabinet of Dr. Caligari. Self-released, 2000.
Recorded live in 1998, this soundtrack captures the celebrated silent flick's surreal, shifting atmosphere, yet it stretches beyond jazz and filmscore clichés into uncategorizable, yet vibrantly listenable territory. Composer has a dramatic sense that impresses as much as his guitar textures. Matt Shevitz turns in some fine klezmer-style clarinet works, while jazz fans will admire the free flights of saxophonists Shevitz and Daniel Powell. Even if you haven't seen the movie (and why not rent it and play this CD?), this album creates a compelling soundscape.
Elizabeth Falconer
Water Colors. Sparkling Beatnick, 2000.
Falconer's two decades of study with Japanese koto masters inform her liquid, supple playing, while the variety of styles avoids the tedium often associated with a solo instrumental recital. Most of these pieces -- all newly written by Northwest composers for this Seattle musician -- owe little to traditional koto music, and a few reveal the hazards of trying to compose for an "exotic" instrument without fully understanding its idiom.
Several works use the instrument's distinctive sound to evoke the sense of space and solitude and images from nature so often asociated with it. Jarrad Powell's insistent "Suite for Koto" creates an almost minimalist rhythmic effect, while Jack Gabel's "Etude" veers between simple scales and guitar-like embellishment.
Jeffrey Stolet
Faust/Faustus. Stolet, Creative Material Group, 1999.
Stolet is one of the unfortunately rare electronic music composers who goes beyond merely creating soundscapes and geeking around with processes and gimmicks. This dark, evocative soundtrack conjures the atmosphere of Leon Johnson's theater piece premiered here last year, but also works fine itself. Some of it's necessarily background music so as not to interfere with the stage action, but when Fritz Gearhart's sumptuous violin floats over airy, sometimes eerie electronic clouds, or the bell and chime percussion effects kick in, this quietly haunting recording really strikes deep.
Terra Nova Consort
Renaissance en Provence. Dorian, 1999.
The house band of Ashland's Oregon Shakespeare Festival was runner-up in a national competition to sign promising early music groups, resulting in this debut CD on one of the best classical music labels. This disc covers rarely performed folk music from 17th century Provence (home of the Gypsy Kings), whose language and musical style differ greatly from that of the rest of France. The usual lutes, shawms, recorders, guitars and viols accompany spirited singing, but the hurdy gurdy, castanets and other exotic percussion attest to the Gypsy and Spanish influence on these spicy, saucy carols of a rural, oppressed people. The members, who have UO connections, delight in reaching beyond specialty audiences, using performance techniques more common to today's folk and world music groups than classical interpreters. One of the finest early music albums I've heard this year.
Vanessa's Views
Bebel Gilberto
Tanto Tempo. Ziriguiboom/Six Degrees Records, 2000.
Bebel's musical pedigree is impressive -- she's the daughter of Brazilian bossa nova legend Joao Gilberto and famed singer Miucha. Tanto Tempo, Gilberto's full-length debut, intoxicatingly marries her soft-pawed Brazilian vocals with both live and digitally produced bossa nova and samba rhythms. Sparely accompanied by acoustic guitar, piano and percussion, Gilberto sensuously breathes new life into bossa nova classics ("So Nice (Summer Samba)") and enchants with her own originals.
Italian Musical Odyssey
Putumayo World Music, 2000.
Putumayo is known for putting out excellent world music samplers and this is no exception. All the way from Sicily in the south to Piemonte in the north, the folk selections presented here highlight styles by region. Most of the tracks have never before been released outside of Italy. Everyone appreciates Italian art and architecture; let this CD reveal the beauty of the country's rustic musical heritage.
J Mascis + The Fog
More Light. Ultimatum Music, 2000.
The name J. Mascis is synonymous with guitar-oriented indie slacker rock outfit Dinosaur, Jr. After Lou Barlow left to concentrate on Sebadoh, Dinosaur, Jr. was basically all J. Over the years, J. forged a new brand of fuzzed-out guitar-indulgent rock for the introverted and then let the fire go out. Simply put, More Light is J.'s greatest effort since 1991's classic, Green Mind. Calling J. a singer is still a generous statement, but if his ambivalent whines never bothered you before, More Light will be a compelling and familiar re-emergence.
Macha and Bedhead
Macha Loved Bedhead/Bedhead Loved Macha.
Jetset, 2000.
A collaborative effort between the two underground darlings Bedhead and Macha conspired even as Bedhead disintegrated as a band. Macha shoots an Eastern-inspired arrow right through the heart, while Bedhead's influence tugs at your toes, namely in the guitar work's fuzzy undercurrents. My only beef is pretentiously listing 86 tracks (running time: 34 minutes) when it's really the first four that propel the album. Tracks 5-86 seamlessly flow through what sounds like a baby monitor in an interstellar nursery, culminating in Cher's "Believe," accompanied by someone playing telephone keypad. Hey, I said it was underground.
Mood Area 52
Mood Area 52. Self-released, 2000.
A local quintet, this band's debut CD is self-described as "tango nuevo." Jauntily combining sax, guitar, marimba, bass and accordion, the nine instrumentals exude a continental ambience. Whether for cafe society class, lounge lizard cool or rustic romance, MA52 gets my vote. Mood Area 52 features members of such local favorites as Thong, Los Mex Pistols and The Cherry Poppin' Daddies, so you know the music's good.
Queens of the Stone Age
R. Interscope, 2000.
Both the bassist and guitarist of QOTSA grew up in California's parched desert region, and whichever part of the pair's mind warping wasn't induced by heat was surely influenced by their association with hard-rock Kyuss. R, their second full release, continues to broaden in scope while retaining their trademark fuzziness and trance-inducing melodies. Driven by catalytic bass lines and quirky bits such as handclaps that you don't expect to find in a distortion-rock band, they've redefined the term "stoner rock." A mood-altering album -- even if you don't engage in lustful or illegal acts while under its influence.
Ray Condo and his Ricochets
High and Wild. Joaquin Records, 2000.
This outfit is a favorite of local audiences whenever they blow through town. You can see the years and the miles etched into Ray's face, and you know his Western swing and rockabilly are the real deal. Condo swings on the sax and vocals, while a tight rhythm section fires up a slew of pop standards and obscure gems from the golden age of rockabilly. High and Wild reinvigorates a 1940s R&B tune from Buddy Johnson, even one made famous by hip jazzster Anita O'Day.
Rocket 350
Junglebilly. Beatville Records, 2000.
Attention all you leopard-print-loving cats and kittens, Rocket 350 is here to tickle your whiskers. This Georgia-based band revs up the rave-up rockabilly revival in a dark, Cramps-ish kinda way. Guaranteed to get your hips a swaggerin' with cavernous guitar, big beat drums and pluckin' bass, this CD rocks! It's a rockabilly jungle out there, and you're the prey.
The Sea and Cake
Oui. Thrill Jockey, 2000.
The Sea and Cake's name evokes all things pleasant -- nature, sweetness, open air. Musically, this Chicago quartet has refined these aural elements over the course of their 6-release history into a beautifully woven tapestry of Caribbean-inflected jazz pop.
Oui's gently syncopated rhythms and playfully lazy vocals don't tread any new ground for the band, but, as with all the band's past recordings, it's detailed enough to reward careful repeat listening while still softly floating by on the breeze.
Shellac
1000 Hurts. Touch and Go, 2000.
If legendary musician and producer Steve Albini's music is like a rock flying through a window, then this time the rock is smooth and round. Here, he's letting the vitriol flow freely, honing his malevolent assault with surgical precision. As usual, he sings like a lunatic raves, and the rhythm section figures prominently with the muscle to back him up. Albini's emotions wander from a prayer to God for revenge to a "sad" song about squirrels to ramblings about recording equipment. And of course, the packaging's substantial.
Tupac Shakur
The Rose That Grew From Concrete.
Amaru/Interscope Records, 2000.
"In ancient African civilizations, poets went from village to village -- that's how stories and lessons were taught Ö we picked up those strong vibes and started rapping," said the late Tupac Shakur on this CD. The two-volume set features poems by Shakur, performed by a variety of musicians and actors such as Quincy Jones, Q-Tip, Danny Glover and the Broadway cast of The Lion King.
Many of the 25 tracks are more songs than poems, appropriately incorporating the rhythms of rap and hip-hop that Shakur used to convey his message. Whether for its smooth grooves or its socio-political pleas for peace and understanding, the disc warrants a listen.
Steve Earl
Transcendental Blues. Artemis Records, 2000.
OK, does everybody know what I mean when I say "twang?" If you're at all unsure, just listen to the latest recording from the minister of "twangtrust," Steve Earl, to get the full, drawn-out Southern effect.
The bad boy of country waxes philosophical on this disc, talking about his blues, travels and what it all means. True to the album's title, much of the lyrics are on the sadder side, but the upbeat rhythms and sounds of banjo, mandolin, fiddle and harmonica still make it seem more like a hoe-down than an album of laments.
Patty Larkin
Regrooving the Dream. Vanguard Records, 2000.
The disc starts off with an electronic loop, fading quickly into track two and a lonely electric guitar, singing sparsely over a pulsing railroad drum beat. "River let her dog run free, from the bay to where the island used to be." Patty Larkin proceeds to set a mood so rugged and raw that her chorus of "yeah" repeated many times seems to be the only word that can hold enough emotion.
This whole album is full of expertly crafted, marvelously subdued songs. Larkin's voice seems a little huskier than in previous works, but the sound works for her and this round of songs.
Laura Kemp
Alone. Two Kitties Music, 2000.
Local folk diva Kemp released a solo EP earlier this year. The six-song recording features Kemp on acoustic guitar, harmonica and vocals. The sparseness of the music works well for her and enables the poetry of her lyrics to stand out.
Fans will recognize from her live shows such tunes as "Suicide" and "While You Were Gone." The album also contains treasures that Kemp rarely performs, such as the final cut "300 Seagulls." If you ever wanted to get Laura Kemp alone, this album is a great way to do it.
Susan McKeown
Lowlands. Green Linnet Records, 2000.
The Irish lass with the honeyed voice has given listeners an album of traditional Celtic tunes with an edge of modern instrumentation and arrangements.
Lowlands features songs in English, Gaelic and Scots, each one coming with a translation and explanation of how McKeown discovered the song. Instruments include Irish flutes and whistles, Middle Eastern bouzoukis (like a mandolin) and tabla drums as well as electric guitars, synthesizers, cellos and banjos.
The blending of instruments from different places fills these traditional songs with a mood that enchants and transports the listener to the misty moors.
Brent Floren
Fortune. Self-released, 2000.
"Hey, hey, lemme tell you what I'm not, I'm not a jukebox." Local singer/songwriter Floren makes it clear he's an original artist, and with a full-length album of his own songs released earlier this year, who could argue?
Sounding like a less hoarse Tom Waits, Floren holds up a mirror to the ugly underbelly of society and lets us all take a look. Mercifully, the grooving rhythms and well-worked melodies balance out the tough subject matter to give us an album that is as artful as it is meaningful.
Thais Perkins
Imaginary Elephants. DoDecaPus Records, 2000.
With a voice reminiscent of a folky Ricky Lee Jones, Thais Perkins will sing her way into your heart. Her album, Imaginary Elephants, deals with topics of loves lost and found, Louisiana heat, Oregon rain and hiding from the world. My favorite cut was track 10, a song called "Let it Go" that seems especially timely right now with the line "Ö the politicians and the media magicians don't matter right now/ discard all the drivel, let it all go down."
Dar Williams
The Green World. Razor & Tie Entertainment, 2000.
More poppy than folk, Dar's new album showcases mature songwriting. Some may miss the lighter tunes found on previous albums, but you can't argue with her solidly catchy songs and strong melodies. She plays with a full band and as the mix is on the muddy side, the resulting fuzzy sound wraps around the listener like a big, warm cocoon. With lots of signature Dar vocalisms -- "all this baaaa-aaa-aaa-aaad drivingÖ" -- and power hooks on songs like "What Do you Love More than Love" and "Spring Street," the album will be hard for Dar fans to resist.
Listening With Lois
Almost Famous:
Music from the Motion Picture.
DreamWorks Pictures, 2000.
A mix of familiar oldies such as Simon and Garfunkel's "America," Elton John's "Tiny Dancer" and less well-known, vintage vinyl, like The Seeds' "Mr. Farmer," as well as new stuff by the movie band, Stillwater ("Fever Dog"), and Heart's Nancy Wilson ("Lucky Tumble"), this compilation CD evokes the 1970s that Cameron Crowe's excellent rock movie celebrates. I've been listening to this one for months, and I'm not tired of it yet.
Noah Paley
Noah Paley. Soundside Records, 1999.
Singer/songwriter Noah Paley's debut CD was recorded live in performance on Ocracoke Island, NC. Paley's lyrics and tunes are simple, but they get inside and work their magic on you. "Our stories have more sides than two/ No matter how they're told./ The future's right beyond our reach./ Good outcomes are on hold./ A crystal ball for worrying,/ a lifeline long and deep/ won't calm the bell of one man's dreams/ that rings outside of sleep." -- from "Lost for Sure."
John Hiatt
Crossing Muddy Waters. Vanguard Records, 2000.
From the crackety, true voice of a master storyteller comes this outstanding musical treat. The heartbreaking title tune is getting some radio play, but I haven't caught airtime for Hiatt's perfect testimonial to the bewildered daze of just breaking up, "What Do We Do Now?" or his meditative, hymnlike "God's Golden Eyes," or the Hiatt strangeness of "Only the Song Survives."
You gotta love "Gone," especially "gone/ like a Nixon file/ gone, gone away/ gone/ like my landlord's smile/ gone, gone away." Cherish this one.