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MUSICDISH
CD REVIEWS
The crux of today's music (the selling point) is the unified accepted practice on how to market the "voice ratio coalescence" of any artist who is too diverse to fit into the standard "everything sounds the same" scale of songs. The usual answer is to not sign the artist. Or, with some marketing persuasions (pressure) to somehow adjust the artist (the vocal constants), thereby decreasing the musical CD ratio to a more simplistic and easy to understand (AND THIS IS IMPORTANT), easy to "sell" musical language!
Today Straw elucidates even further: "Eva let the cat out of the bag... and the majors have joined the party; exhibit 'A' being Nora Jones. It's no coincidence that the major label that broke Nora Jones (Capital Record's Blue Note Label) was the same label that passed on Eva because she was too eclectic. They lost Eva, went to school on Eva's success, and eventually graduated with honors by breaking Nora Jones. The big winners are music fans everywhere." And AMERICAN TUNE is proof of all of the above! 'Be-singing' with "Drowning In A Sea Of Love" (Kenny Gamble & Leon Huff), Cassidy evokes the meaning (definition) of true audio imagery. Giving to the listener not just the sound, but the sight and feel of sound. It's a good song that only gets better - "Better" because it is sung by a great voice. "True Colors" (Tom Kelly & Billy Steinberg) is a familiar song to many, but has never until now been interpreted with such audio/visual passion (perception), of total Eva vocalized color! The title track "American Tune" (Paul Simon) is Cassidy at maximum clarity, and is sung with the vocal-point convergence of two distinctive parts - Eva's heart, and Eva's vocal soul. Listen to the words. "Yesterday" (Lennon & McCartney) is a ballad of understated beauty. PowerfulSıbut ever gently, so. And the final track - "You Take My Breath Away" (Claire Hamill), and she (Eva) vocally does! Featuring members of the Eva Cassidy Band: Keith Grimes (guitar), Raice McLeod (drums), Lenny Williams (piano), Chris Biondo (for producer plays bass), with special performances by Dan Cassidy (violin) and the multi-instrumentalist (genius) of Marcy Marxer. In conclusion, AMERICAN TUNE will soon become an American Classic... It is a listening study into the heart (art) of Cassidy style vocal fusion. A successful union of ten-tracks formed into a beautiful CD syncretism, of one great voice singing (meeting), the diversity of songs.
Chris Grace and his band have more than a few things to say on their new release Compulsion. The CD cover is quite provocative and thought provoking is it not? The font in the album title is cleverly chopped up to suggest something very sexual, and it goes with the cover quite well if I do say so myself. This cover also reminded me of the now famous Pepsi commercial with Ozzy Osbourne and Donny and Marie Osmond. The person looks as though she will unzip herself and something else will emerge, on the contrary, what she is doing is "Offering" you to come inside and visit her world, then she shuns you, shutting the door in your face. The words of the track say-"Just let me put you inside of me, I will not offer you mine, I will not let you in this time, although I want to." Although this lover wants you to get inside her, she does not trust you, yet one last time you can make love then walk away, or can you walk away when you are under the powerful bewitching spell that she cast upon you? It is amazing the meaning you can find in one song. The music is just as governing and embracing. With the multi-talented leader Grace showing everyone how it is done on vocals and a myriad of stringed instruments, the tracks are full bodied expressive exercises in alternative rock with hints of pop found lingering in the upbeat ballads. The guitars are explosive, and it is no wonder with the guitar army Grace has at his disposal. I would encourage you to grab the CD booklet and follow along with the words to each song; I promise you will have a good time as you listen. I am guilty as the next person; I do not always pay attention to the words and I get all absorbed in just the music. This time I did both and caught a few key tip-offs to the underlying premise of this project. The production of this project is just beaming as Grace puts layers of guitars in between the stimulating lyrics for just the right mixture for maximum impact upon the listener1s (receptive) ears. I found largely that this was an engaging and get-up-and-go filled release that was worthy of more than one listen. In order to absorb it all, I think it is a necessity to pay attention to every aspect of this recording. Some albums are not so enticing, so there is some validity in taking the time for repeated listens. Get ready to be unzipped from head to toe, this music stands by ready and willing to help you reveal what is really inside.
This CD has got style got style! Jae-P's new Latin rap album is easier to take for those of us who never listened to rap. After all, it's hard not to be intimidated by the romantic strains of the music to "Soldado Sin Querer." Great acoustic guitar and laid- back rhythms in this one. Production on the CD is pretty lavish, coated in confident hip hop with a trace, at times, of the humor of soul. But never, never will you forget (regardless of the language) just what side of the border it's coming from. After listening to the line up, it might be hard to believe that Jae-P is only 19. But they're getting younger every year, so get used to it. The opening verse (translated) from the title song tells a little about the man. "I had no opinion, I was brought here as a kid, when my dad said, let's cross the river. Neither my face nor my skin were accepted, made in the USA, damn I'm worthless." It's a CD for street kids, commiserating with outcasts who find acceptance and a social presence on the street. "The things I rap about are about my life and I'm sure that the life I lead or that I talk about in my songs is representative of the experiences of many people. In other words, I don't just talk about me but also about other people's lives. There are many people who'd like to say what I'm saying, so a lot of them relate to my music. They feel it." Feeling he's got. Production values, yes. Spirit, talent, yes, yes!
Marcel Coenen makes his Guitartalk with twelve slices of fiery instrumental progressive metal tracks. He cuts loose with some of the best solo guitar work you will ever hear. Coenen is a well-known force in the field of prog-rock for his work with Lemur Voice and Sun Caged. This recording, originally released in 1998 with seven tracks, now has an additional three tracks, all remastered by the Marcel himself. This is not a collection of shredding; it is very lucid six-string mastery. His abilities reminded of current wizards Vai and Satriani, two of the most revered players for this type of music. The incorporation of different influences and styles (blues, rock, fusion) is what makes this so aurally appetizing. What I heard on this CD was a concentrated effort to touch upon a lifetime of persuasions in life and music. Coenen certainly has recorded a fine effort. I would think the consideration as one of the best guitar players in the world today should be right around the corner if enough people hear this recording. Creating your own niche is not an easy thing to do and Marcel Coenen looks as though he has put himself in position to do just that as a valid solo artist.
My favorite jazz label is back with something you don't hear every day. The Kim Richard Concert Jazz Orchestra goes much further than the average big band. In fact, this Isn't a big band in the accepted sense. It's more akin to an orchestra doing movie music. When the opening track starts, you'll think you've wandered in to a mid-70s Airport film being scored for a main title. Well, maybe not quite that extreme, but there's something about the quality of the horns and the more majesty arrangements that really takes you back. Played by an orchestra a little too big to list the players for in this review. But conducting and playing saxes is Kim Richmond who leads the LA-based band like the cinematic monster it is. Remember the good ol' days when John Williams led his Boston Pops? Kim brings back those days. 'I seek,' he says, 'a broader emotional palette for jazz. I feel that all too often jazz, especially for large ensemble, expresses only a small range of emotions. My writing for this 24-piece jazz orchestra combines elements of both large ensemble jazz with free- swinging improvisation and symphonic colors and textures.' The symphonic work certainly stands out. Here's hoping this is the first of many cds like this. This kind of sound, especially in the current Republican economy, could sure use a comeback. Provided by the MusicDish Network. Copyright © Tag It 2003 - Republished with Permission
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Artist: Eva Cassidy (
Artist: Chris Grace (
Artist: Jae-P 
Artist: Marcel Coenen (
Artist: The Kim Richmond Concert Jazz Orchestra 