Of Note: CD Reviews

Spanning the different pop genres from reggae, to folk, Cahill and Delene have filled their new disk, Songs For Humanity, with sweet songs of spirituality and ways to make the world a better place. Delene St. Clair has a beautiful alto voice that she uses expertly. She seems to sing these songs effortlessly, with an unstrained naturalness. Equally appealing is the high tenor of Barry Cahill. They’re a great match. Her voice and delivery are easy, almost light, whereas Cahill sings with more verve and volume.

They were also smart enough to record with some of the best musicians in the area. Drummers Dave Blackburn and Paul Kimbarow, bassists James East and Dave Curtis, and keyboardist Barnaby Finch solidly back up the duo, as do violinist Dennis Caplinger; guitarist Jeff Bristol; singers Robin Adler, Cecily Johnson and Devonnye Allison; and pianist Steve Smith. The disk is expertly recorded.

Cahill is a multi-instrumentalist, playing keyboards, saxes, and flute. His soprano sax is every bit the Kenny G. You might even think that it’s the G-man when the soprano comes in for a solo, which is sort of cool but also a problem for this recording. All musicians are thieves, stealing what they can from the ones they admire. Nat King Cole stole from Art Tatum, and Oscar Peterson stole from Cole. But what they stole they took for their own. Cahill and Delene seem unable to break away from their sources of inspiration, almost as though the tunes were actually covers. From song to song I wanted to hear more of them and who they really are.

As the title says, these 13 songs, with a bonus instrumental track, are songs for humanity, meant to inspire and uplift. It’s pretty obvious that these are two caring individuals who believe in peace, justice, and a better world. These are admirable traits; there should be more folks like this. But the lyrics often fall short, having a self-satisfied didacticism that often struck me as lacking depth. They stay in a middle ground that, while thoughtful, does not dig deep into gut-level emotion; nor do they reach for irony, humor, and self-reflection.

The way Lindsey Yung puts her heart and soul out there with such passion, intelligence, and vulnerability makes her a uniquely powerful artist. In an era where it’s fashionable to be aloof, this artist would rather be authentic than hip or cool. Fusion, Yung’s latest release is a compelling, if somewhat uneven, recording.

The CD’s tracks alternate between sincere glimpses into the heart and soul of the artist (“Becoming,” “Insecurity”) and bold takes on romantic love (“Surrender to You,” “Fickle Heart”). There is something very personal in Yung’s music and her intense delivery made me feel like I had walked into a live theater to experience a one-woman show.

“Becoming,” “Surrender to You,” “Fickle Heart,” and “Insecurity” shine the brightest on this CD. Yung’s voice is a beautifully refined and powerful instrument that makes the melodies, lyrics, and rhythms crackle with life and emotion. Listen to how, on “Becoming,” she gradually notches up the volume and intensity of her vocals, starting in a wonderfully restrained tone and ending in an earthshakingly full voice. “Surrender to You” is instantly catchy with hooks and ear candy galore, but the lyrics offer something much more enlightened than the typical “I dig the way you stir your coffee” relationship banter that fills the airwaves these days. “Fickle Heart” offers up complex and somewhat mysterious rhythmic and compositional turns that perfectly complement the dark, poetic lyrics. “Insecurity” reminded me of an all grown-up version of one of those soul-baring, female vocal power ballads that so many pop stars throw down these days, but the difference here is the powerfully honest self-reflection and intelligence in the lyrics.

What I found uneven about Fusion is how the instrumental tracks sounded flat compared to the vocals. At times the guitar locks into cool tones (like the twang on “Drawn to You”) and/or the keyboards add good techno touches, but it sounded like stock sounds were picked and then played through with skill but not much flair. Some might argue that the producers created an understated backdrop in order to let the vocals soar over the top, but I think there is a difference between sparse production that conveys passion and backing tracks like these that end up sounding somewhat canned. The disc’s title conveys the idea of “fusing” Yung’s acoustic and techno influences, but there was almost too much restraint to go too far in either direction.

Production issues aside, there are many reasons to fall under the spell of Fusion. Yung’s powerful artistic expression rings remarkably true.

Call her a singer-songwriter, history teacher, guitarist, poet, banjo player, or author, Patty Hall has earned all of these distinctions.

In her newest album, Just Be Glad!, Hall sews together 13 tracks from her bountiful quilt of life experiences. This ever versatile artist sings about topics ranging from a tribute to Amelia Earhart to failed relationships.

Hall is confident in her musical convictions — what she’s learned and who she is. The overwhelming impression on this album is that she is just having a hoot doing what she loves to do. You can feel her joy and hear her smile through the wire. Her voice is padded with wisdom, making her sound comfortable enough to just let it all hang out. And, through that, she is able to put others at ease too.

The best part is that she isn’t too busy to stop and share what’s on her mind with whomever will listen. In addition to performing at local San Diego coffeehouses, Hall also gives workshops and lectures.

She’s also got some impressive supporters. Lou Curtiss writes, “I first heard Patty Hall sometime in the early 1970s and immediately booked her for a concert series I was doing at Folk Arts Records, my store in San Diego. Her original songs were clear (still are) and she also played traditional and old-timey music.”

A fourth-generation California native, Hall was more than qualified to call herself the “Native Daughter of the Golden West.” She recalls what it was like to leave her California home for Nashville in 1975 to pursue an internship at the Country Music Foundation. It begins with an effortlessly graceful kind of acoustic arpeggio that warms listeners up for lyrics and a delivery that’s just as thoughtful and seamless. Hall longingly sings, Far across the valley-far as the eye can see / looking to the hills – the hills of Tennessee/ I swear I saw an ocean – It was shining in the sun where the state of Alabama ought to be.

These days, Hall is back in San Diego sharing what she’s learned during her 25 years away.

Whether it’s a documentation of her longing for the land she loves, living an organic lifestyle, or giving a history lesson about life “Back in the olden times,” Hall entertains, teaches and keeps it real. Her “tell it like it is” clarity and candid nature is like a welcome mat on the doorstep or her brain, inviting friends to stick around a while.

Listening to True Stories I Made Up, the latest release from Randy Phillips, I felt like I had taken a seat at a friendly, beach side coffeehouse at sundown. The good vibes permeate this disc as it skips between different musical genres, and the glue that keeps it all together is the musical synergy between Randy Phillips and her all-around musical partner, Peter Sprague.

Of the Phillips-Sprague collaborations, the track that comes together with the most pleasing end result is “Tumbling Into Blue,” a tasty Latin jazz tune that simply floats out of the speakers like a summer breeze. The breathy, soulful lead vocal and the stellar nylon string guitar work on “Tumbling Into Blue” make for an intoxicating combination from two seasoned talents who have clearly learned how to play off each other to full effect.

I was surprised and intrigued to see that there are a few tunes on this recording that feature lyrics by Randy Phillips set to music by Pat Metheny. Of these Metheny-based tunes, the one that works best is “Farmers’ Trust,” which seamlessly weaves the lead vocal and heartfelt lyrics into the music.

“Could It Be You,” featuring some great lead vocals and fiddle playing from Gabe Witcher, is the strongest of the country/pop flavored offerings with its wonderfully romantic lyrics and melodic hooks. If this song hasn’t been shopped to the country music machine in Nashville, it should be.

My only gripe with this CD is that a few of the tracks are more dark and/or bitter than I think Phillips can effectively pull off. For instance, “All About You” (which features a killer jazz guitar solo) is a fairly stern rebuke written to a self-centered lover, but somehow there is still sweetness and light in the lead vocal, making the end result a bit like what it might sound like if Mr. Rogers were trying his best to scold a child. I suppose this could be classified as a backhanded compliment and the point is that the more positive offerings on this recording seemed to ring more true.

Randy Phillips and company have created a warm and inviting musical sanctuary with True Stories I Made Up and I highly suggest pulling up a chair at this particular seaside coffeehouse.

A funny thing happened to me on the way to work the other day. I popped in Kaleidoscope’s End, the latest release from Scott Wilson, and my reaction surprised me. I had been keeping my eye on my cell phone for an important call and about 20 seconds into the music, I involuntarily reached for the phone and turned it off. It was as if my musical sensibilities alerted my subconscious that this music merited my full attention.

The word “craftsman” comes to mind when I think of Wilson’s work on this disc. Not one aspect of this recording sounds like it was phoned in or rushed. Wilson is an artist who understands how to bring his songs to life, fully realized, through the hard work of matching creativity with meticulous attention to detail.

“Coffeehouse 101” starts it all off with a sly, catchy alt-pop rocker, featuring everything you want to hear on a tune like this. The driving guitars, powerful vocals, and grinding bass and drums provide the meat and potatoes that you would expect, but the sneaky chord changes, spacey breaks, sardonic lyrics, and funky production touches provide unexpected audio candy. “She Won’t Stop,” “Too Tired,” and “Nobody’s Home” follow a similar alt-pop rock template with equally pleasing results. In particular, “She Won’t Stop” packs a serious lyrical and musical wallop with a highly insightful take on the dangers of human ambition. “Marielle” and “Shade of Eden” stand out as the most effective softer offerings. Both feature beautiful melodies and hook-laden chord changes, which serve to bring the reflective lyrics to full life. Kaleidoscope’s End had me trying to decide if it reminded me of something I heard in the ‘70s or just last week on alt. radio. “Van Gogh’s Ear” provides a fascinating juxtaposition between a confident, almost arrogant sounding musical background and a highly vulnerable lyric (“I feel like Van Gogh’s ear, a useless appendage, stashed behind the mirror”). I love the choice of chords used as a backdrop for the guitar solo, which is itself a masterpiece of blistering aggression.

My only beef is a subtle point regarding the lyrics. While the CD’s heady, sometimes poetic approach works very well, the overall effect is somewhat impersonal. I would have liked to hear a tune or two that took a more personal, emotionally accessible approach in the lyrics. 

The musicianship and vocals throughout this recording are stellar, highlighted by the fretless bass work on a few tunes, the consistently exciting guitar solos, and the powerful lead vocal on “Shade of Eden.” Wilson’s hard work make for a very compelling recording. Turn off your cell phone and take a listen.