Of Note: CD Reviews

A Million Stories, the debut CD from Barbara Nesbitt, is some downright heavenly music. What you have here is simply a girl with a tremendous, angelic voice singing wonderfully crafted songs while backed by a band that never once strays from the goal of selflessly supporting the music. The artists that come to mind as I listen are Suzy Boggus, Gretchen Wilson, Emmylou Harris, and Shawn Colvin. The opening title track hits you between the eyes and let's you know what you're in for. The lead and harmony vocals are so powerful, pristine, and alive that you might start looking around the room to see if Nesbitt herself and her band have somehow beamed themselves into your personal space. The drums and the bass (played by San Diego over-achievers Marcia Claire and Billy Coomes) provide a thundering bottom end to anchor it all and Mike Spurgat peppers the musical landscape with guitar work that can only be described as, well - perfect.

'Many Miles' is a perky, ear pleasing country/pop joint that started my toes happily tapping, but then the track turned around and sucker punched me with a bridge that goes full throttle with syncopated harmony vocals so amazing that I literally found my jaw open when it was all over. Speaking of notching up the intensity with mind blowing harmony vocals, 'Three Between Us' delivers the same brand of shock and awe when this cleverly catchy break up song ('two reasons to be alone, that's all this is') changes key toward the end and the already biblical vocals shoot straight into outer space. 'Flicker' struck me as the track that probably has the widest, dare I say, commercial appeal, and I love the way that the fluffy pop format adds the perfect punctuation mark to the comically tragic subject matter. Speaking of subject matter, the lyrics that Nesbitt spins are fantastic and not to be missed. Here is a woman who sees life and love through a very balanced set of eyes, understanding the fine lines between drama and silliness, between youthful hope and the limitations brought by human frailty. The good news is that the stellar lyrics are matched up with wonderfully effective melodic hooks throughout the entire disc.

'Broken Girl,' the beautiful closing ballad, takes producer Jeff Berkley from behind the control board to the role of harmonizer and backup musician with predictably amazing results. Nesbitt and Berkley effortlessly blend their voices together like tequila and lime juice with Berkley's resonator guitar work slowly pouring some Grand Marnier over the mix. What an exquisite way to end this A+ effort from a remarkable artist and her top notch cast of supporting players.  

A Million Stories will be released on July 19 at the Belly Up Tavern. More info at www.barbaranesbitt.com.

The old advertising slogan, been there, done that, comes to mind almost unbidden when one is presented with music by a singer-songwriter whose voice is accompanied by an acoustic guitar. The scene is abundantly populated with people who arrange their music in this tried and true fashion. So it is incumbent upon such artists to make their songs intriguing, be it through emotional vocals, insightful lyrics, innovative song structures, or instrumental skill Ñ preferably an artful combination of them all.

On his latest release, loneliness and freedom waltz together through the night, Nashville expatriate and current North Park resident Beston Barnett has crafted a sound that is unique and interesting. A long-time practitioner of genres as varied as world music and hip hop, he creates an atmosphere that is warm and sincere. And he does it with his just his voice and a guitar.

This CD is more of an EP than an album, clocking in as it does at a little under half an hour. However, it is instantly appealing from the first song 'the only way to go is alone.' Barnett's voice is warm and inviting, expressing a sincerity that is hard to resist. His guitar playing is interesting, in that he makes unusual choices of chords and techniques that lend an exotic quality to the songs. More often than not, he opts for an intricate finger picking style instead of merely strumming the chords, which adds texture and complexity to his music.

The title song is notable for its straightforward presentation and unusual lyrical imagery. Its protagonist is seemingly going through the routine motions of living, yet he manages to find deep meaning in the most mundane of observations. The music twists and turns through some unexpected chord changes, at times evoking the late Michael Hedges at his best. The follow-up track, 'in a beautiful place with high mountain air,' might also be a strong contender for the title, as its lovely melody and lyrics are perfectly suited to the pristine and sparse arrangements that define this recording. In fact, all of the tunes have a real tendency to get under your skin after a while. And that's a good thing!

Barnett has a curious penchant for long song titles, but he crafts songs that are succinct and to the point. While this collection's short running time might be considered a negative by some, it serves one of show business's most cherished tenets: always leave 'em wanting more!

As soon as I heard the guitar and accordion playing the harmonized melody line on 'Nomadic Thoughts,' the opening track of this fine disc, I knew I would love this stuff! Patrick Berrogain has a harmonic sensibility that really gives this music wings. As I have said before in earlier reviews of Gypsy jazz recordings, I tend to lose interest rather quickly because often the emphasis seems to be on musicianship rather than on the music itself.

You won't find that Gypsy curse at work here. Many of the tunes (including the opener) are original compositions by Berrogain himself and I actually like those the most. In particular, 'Material for Tears' is a melancholy swing ballad that truly conveys the emotional thread running through the heart of this style of jazz. For me, that emotional thread is the idea that this joyful music actually comes from a place of heartbreak and struggle. The guitar solo on the piece instantly became one of my all-time favorite jazz guitar solos (and I have heard many!), especially because of the way Berrogain departs from the more straight ahead phrasing of the melody and swings his solo something wicked.

On all of the original compositions, there is a wonderful playfulness where the melodies dance just between being pleasingly straight ahead and devilishly 'outside' (think dissonant for those unfamiliar with jazz vernacular). This marriage of dual harmonic approaches really shines on 'Swing for Dexter' where the melody is so sly that you can almost picture the band smiling like Cheshire cats while playing this sneaky stuff. Of course, no disc in this genre would be complete without a couple of Django tunes and on 'Black and White' (and on two other tunes elsewhere on the disc), Gypsy master Angelo Debarre adds his stunning guitar wizardry to the mix. One nice surprise is a lovely version of 'La Vie En Rose,' sung beautifully by Rosemary Berrogain and arranged by Patrick Berrogain. I have heard many versions of this tune and I have to say that this is my new favorite because of the way the slow tempo and simplicity in the arrangement allows the melody to breathe so completely. 'Fantasy on a Norwegian Dance' is a haunting ballad featuring both Berrogain and Debarre dishing out some of the most tasteful guitar work you're likely to hear anywhere. Lou Fanucchi, Tripp Sprague, John Leftwich, and Kevin Hennessy (on accordion, sax, and bass) fall right in line with Berrogain's musicality and add their own flair to help complete this satisfying musical landscape. I loved pulling up a chair at this Hot Club and my guess is that you will too.

Tim Egan's new album The Long Ride Home reminds me of when I was a young man of about 18 years and dated a voluptuous blonde drum major from my rival high school. She was pretty cool, until she dumped me for some grocery bagger in our freshman year of college, but it was her family that I really missed. Man, we used to go back to her parents' house after hanging out with my metalhead friends and they'd be sitting around playing guitars, sipping on straight whiskey, and passing around some homegrown. I'd grab my old guitar out of the back seat of my Volkswagen and her dad would feed me shots of Evan Williams like it was Kool Aid and we had some good, clean, family fun.

Egan sounds like he would have fit right in. One thing I noticed about this 13-song collection is that not a harsh word is sung along the way. Like that old girlfriend's family, they might have been having a really good time, but they were always honest, respectful, and wholesome enough for the entire family to get in on the fun.

The songs are easy to listen to and each one begins to take on a life of its own as the disc plays out. 'Lonely Boy' and 'How Far Your Love Will Go' move along soft and slow, like a walk through dreams almost forgotten. I enjoyed the slower songs a little more, but 'Small Girl' rounds out the album with a full rock band sound that would probably wake a few people up and maybe get them on the dance floor. Egan's picking and vocal melodies paint a pretty picture, while the accompanying guitar and harmonica float just below, warming the sound up a bit. Egan didn't do it all alone though. He had some help from John Katchur, Pat Brady, and Richard Egan.

Egan cites James Taylor, Eric Clapton, Steve Winwood, Jim Croce, and the Eagles among his influences. I think he might have accidentally left John Denver off the list. He definitely knows what he's talking about. You can hear the softness of James Taylor and Jim Croce coming through in his delivery. This album definitely rides on the softer side of country, and there are no signs of a more outlaw style, which I prefer to hear. I almost could see my mom listening to this on the way to church or with Grandma in the car. Like I said before, it's definitely suitable for the whole family.

Egan made the recording at John Katchur Studios in 2007 and he has four songs posted on his Myspace page.

Writer is a local band comprised of Andy Ralph on vocals and guitar; James Ralph on guitar, percussion, synthesizer, and vocals; and Matt Fredrich on drums. I must confess that when I first played this CD I was prepared not to like it as the opening track unfolded. 'Title Track Part 1' is an odd combination of electronic sounds and acoustic guitar strumming underneath a simple vocal line, and I just did not get it. Yet in the spirit of being objective, I forged onward and was immediately rewarded by the second tune 'Make Us Proud.' This very engaging song could very well find a home on a Tom Petty album with its bouncy mid-tempo rhythm and deliberate guitar parts. The occasional electronic effects actually sound pretty good here. In fact, this one song immediately had me re-evaluate the first one. Armed with more of a context to place it in, it was easier for me to understand how it fits into the grand scheme of Writer's sound. When it reprises later as 'Title Track Part 2,' this becomes more apparent.

Certain songs that stand out immediately. 'Friend' sounds simple but actually develops into something more interesting. A repeating synthesizer riff complements the melody. As the song fades, it's the only thing left standing, making for a very dramatic coda. 'The Pollution,' an up-tempo song with big hooks, reminds me of vintage Jackson Browne with its melody, arrangement, and even the lead vocal. 'My Thoughts on the Subject' has a big Springsteen-esque intro and then turns into a quirky alternative pop number that takes some unexpected twists and turns.

'Title Track Part 2' is an extended take on the opening number, which dispenses with Sputnik effects. It starts simple and builds into a dense mix of multi-layered guitars and rhythm section. The album closer, 'I Think She Died,' is a melancholy waltz with a calliope feel. It is here that the group's signature mix of the acoustic and technological realms comes to its logical fruition.

Interestingly enough, as one listens to more of this CD, one frequently hears points of artistic reference. A little Tom Petty here, a bit of Jackson Browne there, some U2 vibe in a few guitar and drum licks - but it doesn't 'feel' like any of them. They have taken their influences and used them to create a sound original enough to be unique. Their songwriting is very clever and their production style makes every note count.

Writer plays and sings with a remarkable restraint that places the songs first. The arrangements are spacious, leaving room for the songs to breathe, which has the added benefit of letting the listener hear how all of the instrumental and vocal parts work together. While this is a strength, I sometimes got the impression that they could have turned up the intensity a few notches. Nevertheless, they have meticulously crafted a sonic vision that is at once catchy, idiosyncratic, and ultimately quite satisfying.