Joe Ross' Home Page -- The Joe Ross Band (with appearance schedule)

Latest Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
Earliest Joe Ross Reviews
Upated: June, 2008

CD REVIEWS
JUSTO ALMARIO, RIQUE PANTOJA, WALTER RODRIQUEZ, GUILLERMO GUZMAN - Holy Holy Holy
JOHN CAPRON & HIS MAUKA FAMILY BAND - Mauka Blend
CHRIS MARASHLIAN - Beautiful Sounds of Greece
EARL BROTHERS - Moonshine
JOHNNY FAA - Last Night's Fun
KIU HAGHIGHI - Reflections
WAYNE TAYLOR - Dear Mom
VARIOUS ARTISTS - 10 Years of European World of Bluegrass 1998-2007




 
JOHN CAPRON & HIS MAUKA FAMILY BAND -
Mauka Blend
Keepers of Aloha Productions, No Number
PO Box 760, Honaunau, HI 96726
Tel. (808)328-8307
Email: john@keepersofaloha.com
www.keepersofaloha.com or www.johncapron.com
         Recorded in Kona, Hawaii, "Mauka" is a family project by John Capron, his wife Rianne, 18-year-old daughter Elizabeth, and eight of their friends who live near the long sylvan ridge from the Pacific Ocean to the top of Mauna Loa. A grass roots project of original music, "Mauka" is a prolific journal of John's eclectic multi-genre songwriting with lyrics that range from provocative to humorous. We hear influences of country pop (Goin' Up Mauka), Latin (Wanting You), jazz (Autumn Waltz), blues (Technology), rock (Workin' Jerk), country (American Dream), and more. Some of Capron's most straightforward messages are found in his 'Jawaiian' tunes such as "Ho'okena" where a parent and offspring lament the passing of time with "When I was young I couldn't wait for things to change. Now that I'm older, I find changes happen while I'm nappin'." Outrigger canoeists will be able to immediately relate to "Paddle-osophy" and the exclamatory statement that "you got to give it all you got, don't hold nothing' back, people who whine don't matter, people who matter don't whine." That's what gives this album a fun and party-like atmosphere. Presumably written prior to Capron's move to Hawaii in 2001 and while working both day & night in San Francisco, "Workin' Jerk" lists many professions full of "turkeys at the bottom who keep pushin' this old world around," but John proclaims that one of these days he's going to have a decent, high-paying job and sit himself "on top of the heap and call everybody a creep."
         Vocals are always front and center, and they are supplemented with plenty of flavorful instrumentation (guitar, keyboard, bass, mandolin, flute, marimba, vibes, ukelele, trumpet, drums, percussion) . John sings lead on all but the two cuts that feature Rianne, a lead vocalist with several mainland jazz and funk bands. The accompaniment of Kona Lowell, Chee, Louis Pinault, Solomon Choo are especially noteworthy for their embellishment of this musical blend with broad appeal. Originating from the Big Island, this is some Big Music with excellent musicianship, strong emotion and heartfelt sentiment. John Capron & his Mauka Family Band may best state the CD's theme in the opening cut that states "With my voice I bring you this song, I will not stay too long, but I will keep you in my spirit until the mountain crumbles down." (Joe Ross)



 
CHRIS MARASHLIAN -
Beautiful Sounds of Greece
Creative Artists Productions 70026122835
PO Box 3455, Toms River, NJ 08756
TEL. (732)736-1666
www.creativeartistsproductions.com OR
www.beautifulsoundsofgreece.com
EMAIL:cm@creativeartistsproductions.com
         With eight tracks ranging from 3-11 minutes, this album actually has 37 songs written by eight different composers. Arranged in medleys, the instrumentals feature Panos Chrysovergis (piano, synthesizer), Chris Marashlian (12-string guitar, bass), and Michael Stupak (bouzouki, baglama). Bouzouki played by Nick Manioudakis appears on the first four minutes of the CD. With its smooth easy-listening feel, this relaxing album conjures up images of sandy coastline on the azure Mediterranean under a warm blanket of sunshine. Don't expect party music for an ouzo cruise. Rather, "Beautiful Sounds of Greece" is the perfect background music for a quiet dinner party with close friends. The introspective passages and lilting tempos encourage a listener to achieve a meditative state that allows the mind to experientially wander. Also an accomplished ethnomusicologist, Chris Marashlian clearly does have a passion and sensitivity for Greek melodies, and he was formally trained at the Berklee College of Music in Boston. Of particular interest, at track 6, are the melodies from Hatzidakis and Manos that ebb and flow like the tide through five different time signatures. Beginning as a ‰½-time waltz, the medley eventually evolves into an 11/8 melody that gets one's toe tapping with an occasional heel emphasis.
         Inspired also by the tides and emotions, a totally different side of Chris Marashlian is on another of his album releases entitled "Raqs el Qamar," with original music for belly dance routines of varying time length (www.raqselqamar.com) and with assistance of such top musicians as Zarouhi, Hafez El Ali, Hamit Golbasi, Haig Manoukian, Tamer Pinarbasi, Salah Rhanny, and others. Marashlian, born in New Jersey of Armenian heritage, is clearly a very talented and accomplished musician. In business partnership with Zarouhi (a Zils and Zaghareet player), their Creative Artists Productions is building a catalog of vivid music that is both shimmering and luminescent. (Joe Ross)



 
JUSTO ALMARIO, RIQUE PANTOJA,
WALTER RODRIQUEZ, GUILLERMO GUZMAN -
Holy Holy Holy
GGM Productions, No Number
1109 Glendon Way, South Pasadena, CA. 91030
(626)403-7136 OR (626)372-7072
EMAIL - guzby1@gmail.com OR hymnsproject@gmail.com
         Subtitled "Hymns to a Different Drum," this instrumental CD opens with a very contemporary smooth jazz rendition of the hymn, "Doxology," that dates back to 1551. With sax, flute, clarinet, keyboards, percussion and bass, this project features a quartet of stellar California-based musicians, with special guest percussionist Richie Gajate Garcia. The smooth jazz arrangements (with traditional Latin and Afro Cuban rhythms) of hymns then cover from 1800 (At The Cross) to 1923 (Great Is Thy Faithfulness). Creative renditions are heard throughout, and all blend recognizable melodies with instruments, tempos and rhythms that transform hymns like "Fairest Lord Jesus" into vibrant, inspirational charmers. Of particular interest are the nouveau recordings of chestnuts "How Great Thou Art" and "Amazing Grace" that glow with the same joy, exaltation and optimism as more standard offerings. While lyrics are often central to spiritual music, Almario, Pantoja, Rodriquez and Guzman clearly follow their own muse on a very enjoyable and easy-listenable instrumental journey that sings praise in a special, unique way. These smooth jazz players have the tunes from their musical ministry available at Digstation, CDBaby and Itunes. (Joe Ross)



 
EARL BROTHERS -
Moonshine
Big Hen Music, No Number
72 Belcher Street, San Francisco, CA. 94114
TEL. (415)621-0865
EMAIL: robored@pacbell.net
www.earlbrothers.com
         The Earl Brothers' "hillbilly mountain music" continues to emphasize pain, sorrow, troubles, loneliness and heartache. The fiddle-less bluegrass quartet features a brother-duo singing style that recreates a traditional sound reminiscent of the 1930s and 40s. But at the same time, their songs are all originals as if they were living another life from decades past. As vocalized in "Dark Days," these boys have a different kind of brotherly bond ... singing about life as rounders with drunken days and evil ways. Earl Brothers songs are all about hurtin' inside, and they contain succinct, concise observations and guidance. For example, in "Troubles To Blame," they tell us to "stay ahead of the game" and "make your own sunshine." It's pure, simple, unadulterated, rustic country folk advice like "I'm going walkin', stay away from bad blues." Their music, old-timey and mountainous, begs for more of the wail and moan of the fiddle such as that provided by guest Bill Foss on the closing cut, "Life is Full of Trouble." While the Earls probably record live around a couple of mics, they could still import fiddle tracks from the likes of guest artists who share their lonely sentiments and blue style. On the other hand, The Earl Brothers have clearly established their conceptually thematic sound on previous releases. Like Billy Boy "that old broken heap" who was abandoned by his mother on the side of the road, The Earl Brothers deserve a happy ending. I encourage you to hear their "pitiful cries," and if their music moves you, please help them along their way. (Joe Ross)



 
KIU HAGHIGHI -
Reflections
Self-released
Tel. (847)332-1540
EMAIL: qhaghighi@aol.com
www.kiuhaghighi.com
         Kiu Haghighi is a virtuoso on his native Persian instrument known as the santour. In the U.S., we know this trapezoidal instrument as the hammered dulcimer, and it has various other names among countries where it has been played for thousands of years (yang in China, hackbrett in Germany, and cymbalom in Hungary). Affectionately, pioneers to American simply called it the "Lumberjack's piano" or "whammadiddle." With the mallets in the hands of Kiu Haghighi, original music using Middle Eastern scales flows freely with detail, nuance and sensitivity. Haghighi's musical expressions are both delicate and intricate, but they also have a percussive effect by virtue of this instrument's effect. Varying tempo changes impart dynamic, changing moods to the pieces, and the overtones of reverberating strings throughout the 3.5 octaves provide clarion statements.
         Taking up the instrument at age ten, Kiu was a featured performer and instructor at the Iranian Ministry of Education and Art by the time he was in his twenties. In 1965, he left Iran to study in the U.S. He has now performed in concert halls around the world, and this album is funded in part by a grant from the Illinois Arts Council within the state where he currently resides. The four tracks on "Reflections" range from 6-23 minutes, and Haghighi presents his compositions in lean arrangements with only his own accompaniment on tombak, a kind of drum. At 23 minutes, "Dastgah-e Homayoon" is a magical kind of journey through the changing environments of a distant, arid land. Apparently an artist who also uses the canvas to express his creativity, the CD was designed using one of Kiu's oil paintings of his Iranian birthplace. Knowledge of the instrument's traditional art form has now evolved into Kiu's own personal signature sound intended to promote cross-cultural understanding and cooperation.
         With dreamy creative passages, "Reflections" impart multi-hued shades similar to a desert sunset. This musician states that his personal goal is to create a romantic world of excitement, emotion and spirit. This album certainly captures that passion and sentiment. (Joe Ross)



 
JOHNNY FAA -
Last Night's Fun
Self-released
PO Box 16322, Lubbock, Tx. 79490
TEL. (806)441-7466
http://www.geocities.com/coyotebanjo/Inf/
         Johnny Faa is a Texas-based quartet that presents the songs, tunes and airs that comprise traditional Irish music. With 18 tracks running over 70 minutes, "Last Night's Fun" is a comprehensive set of the band's musical expressions. Prior to the album's production, the band originally known as Last Night's Fun decided to change its name so as to not be confused with others of the same moniker. Personnel include Steve Cooper (flute, tin whistle, guitar), Angela Mariani (guitar, mandola), John Perrin (bodhran), and Chris Smith (bouzouki, tenor banjo, button accordion, guitar). All the musicians also sing, and songs feature each as lead singers. Steve Cooper's songwriting skill is showcased with "Willie Calvin's Surprise," a tale of an emotional reunion with an old friend after thirty years. They are joined by Kathleen Finley's lively step dance on a medley of Derry Hornpipe and Staten Island Hornpipe at track six. This presumably emphasizes their respect for the danceability and deep tradition of the music they play. Another set perfect for any ceili would be the "big tunes" (Humours of Ennystimon, Humours of Ballyloughlin) that segue into Liz Carroll's jig entitled "The Diplodocus."
         The band's musical journey weaves its way along the narrow roads of Ireland, past beautiful coastline to small, quaint pubs that serve as community gathering (and watering) holes. Just like the varied scenery of the Emerald Isle, Johnny Faa's music incorporates the considerable diversity provided by jigs, slides, reels, hornpipes, polkas, airs, and songs. At track eleven, the band also wisely includes what they call their "crooked set," a 9-minute 5-tune medley that begins meditative, builds dynamically, and ends frenetically -- slow air, march, barn dance, schottische to reel. The CD jacket includes a few lines about each of the tracks and their sources. Johnny Faa's strong musicianship, eclectic repertoire, and lively personality will no doubt win them a legion of fans wherever they play. A live recording of their closing number, "There's The Day," indicates that Johnny Faa already has plenty of fans in their "Usual Suspects" chorus supporting them. (Joe Ross)



 
WAYNE TAYLOR -
Dear Mom
Raincoe Music RM010408
EMAIL: waynetaylor1@verizon.net
www.waynectaylor.com
         After years of honorable service, guitarist/singer Wayne Taylor has retired from the U.S. Navy and their Country Current bluegrass unit. "Dear Mom," his first release since leaving Country Current in March, 2008, showcases a fair amount of Taylor's original material, as well as an eclectic repertoire of gospel, country, and folk covers presented in stellar fashion with top-notch bluegrassers Ron Stewart (fiddle), Emory Lester (mandolin), Keith Arneson (banjo), Kip Martin (bass), Russell Moore and Ray Deaton (harmony vocals). From a different recording session, John Prine's "Grandpa Was A Carpenter" and Taylor's own "Dear Mom" feature Bill Emerson (banjo), Wyatt Rice (guitar), Mike Nicholson (bass), Rickie Simpkins (fiddle), Mike Auldridge (Dobro), Dan Tyminski or Jimmy Gaudreau (mandolin), and Dan Tyminski (harmony vocals).
         Besides being a troubadour, Wayne Taylor is also still a bounding seafarer at heart. While each song tells an evocative story on its own, the CD could also be viewed as a booklet with each song documenting chapters in Taylor's life. Opening with strong original material, "Golden Hair" emphasizes how something as simple as a lock of hair helps a sailor deal with the angry waves and depths of the seven seas. With Arneson's frailing banjo, "Dreamin of the Sea" is a lilting message that a sailor's choice is clear when faced with deciding between his Tennessee home and the sea. I wonder if Wayne Taylor is really ready and content to just "kick back in my easy chair and dream of the sea." At track three, Taylor admits that he's living and dying with "Choices" made, but track four then reinforces just how much he loves "My Smoky Mountain Home." If it's guidance and wisdom that Taylor needs, he knows where to look -- track five is a beautifully-rendered version of "Be Thou My Vision." So, in just the first 15 minutes of this album, one sees just how Wayne Taylor conceptually organizes his songs, not only as seafarer and musician, but also as storyteller and prophet.
         The jazzy arrangement of "Wayfaring Stranger" allows Ron Stewart's fiddle and Emory Lester's mandolin to converse freely. "Late in September" is an instrumental written by Keith Arneson, and the album's lean arrangement features just banjo, mandolin and guitar for a slight change of pace. Besides paying tribute to those friends he's met on the deep blue sea, "Dear Mom" states that Taylor will be home once he's old and his work is done. When he finally does reach the end of his journey, Taylor exclaims "Lord Take Me Home." Songs like Don Gibson's "Oh Lonesome Me," John Prine's "Grandpa Was A Carpenter ," and Fred Neil's "Everybody's Talking" all convert nicely to bluegrass treatment. As an optimistic album closer, "Everybody's Talking" does seem to bring it all home. Taylor smoothly vocalizes, "I'm going where the sun keeps shining through the pouring rain ... sailing on summer breeze, skippin' over the ocean like a stone." Besides his mother, home, family and Lord, there's still clearly a fond place in Wayne's heart for the sea too. (Joe Ross)



 
VARIOUS ARTISTS -
10 Years of European World of
Bluegrass 1998-2007
Strictly County SCR-66
PO Box 628, 2130 AP Hoofddorp, The Netherlands
TEL. (31)297-347-101
EMAIL: liz@lizmeyer.com
www.StrictlyCountryRecords.com
         When Blue land (from the Slovak and Czech Republics) presents Harley Allen's "Simple Life," the message provides some insight as to why bluegrass has gained such appeal throughout much of Europe. The genre's hard-driving high lonesome sound and evocative substance have many European followers, and its strong entertainment value is appreciated in an otherwise hectic and complicated world today. When long-time supporter Bill Clifton sings his classic "Little Whitewashed Chimney," the message really hits home. The European World of Bluegrass (EWOB) is an annual 3-day event held in May in The Netherlands, and it's obviously a homecoming for bands and fans alike. This outstanding 2-CD album is a sampler of many different European and American groups that have appeared at the festival from 1998-2007 ... showcasing an eclectic range with such bands as Belgium's Rawhide (a 1998 rendition of "The Typewriter") to Italy's Red Wine (a 2007 cut of "Winter's Come and Gone"). Produced by Liz Meyer, it was no easy task to chose from the available live cuts from nearly 200 different groups representing 24 different countries. The action packed album turned out with 48 cuts (eight that are instrumentals), and no band appears twice. Most European groups typically have solid banjo, guitar, mandolin and bass, and it's particularly a treat when a band also complements their overall bluegrass sound with a fiddle and/or resophonic guitar.
         While some vocals may be a little more difficult to understand with European accents, they are all sung with considerable enthusiasm and emotion. From France, Springfield's quartet of "Paul and Silas" has all the energy of the Stanley Brothers' rendition. One can only imagine what Footprints' rendition of "Nazaj u mesto" is about as that original composition is sung in their own Slovenian language, just as The Stroatklinkers do in Gronings (a dialect of Dutch) when they present "Zoltkamp" with a melodic accordion line played by Henk Bloupot. Thus, we see that European bluegrass has evolved to the point that the music's traditional roots have been embraced, and branches have now inspired songs and instrumentals capturing uniquely original and personal feelings from Europe. Propelling his band with his homemade mandolin and heartfelt vocalizing, Jussi Syren (from Finland) sings his self-penned "Life of a Steel Driving Man" in much the same way that Lester Flatt or Bill Monroe probably would have decades before. It's especially gratifying to see that European's best can hold their own alongside their American counterparts. The two CDs (with over two hours of music) offer much variety from frenetic instrumentals to lonesome ballads, solo renditions to quartet harmonies. EWOB recognizes top bands annually, and many of the top award-winning groups are featured -- Relief, Mideando String Quartet, 4-Wheel Drive, Carmel Sheerin & The Ravens, and Petr Brandejs Band. More than just a novelty or curiosity, "10 Years of European World of Bluegrass" captures a love of this genre, as well as the originality and innovation that have taken seed in the fertile soil across the pond. (Joe Ross)



Latest Joe Ross Reviews
Joe Ross Reviews
Joe Ross Reviews
Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
More Joe Ross Reviews
Earliest Joe Ross Reviews


©2006-2007 Joe Ross