Review: Greater Alexander - Positive Love

There are few great catalysts for artists to draw inspiration from than good old fashioned life experience. While there are exceptions, one would most likely not find Justin Bieber discussing thoughts of the depth of life, nor would you hear an artist like Bob Dylan musing about his crush. There’s a depth that living brings to art and the best artists know how to tap those wells and draw deep.

If experience is any indication, Greater Alexander, better know to his mother and father as Alexander Vlachos, has it in spades. Drawing inspiration from his hometown of Southfield, Michigan, “by way of New York and Athens, Greece,” Vlachos is an artist who, even at a relatively young age, has been around the block a few times, holding over thirty different jobs. That journey has seen the budding artist juggle everything from being a barista to a healthcare provider, and several in between. And through it all, Alexander has emerged knowing that love is the one power capable of making a difference.

Alexander channels that knowledge and power into his debut release, aptly titled Positive Love, to great effect. Offering up accessible and intelligent lyrics that harness the celestial seesaw of life, as we ebb and flow through our experiences, enjoying great peace as well as struggling through great hardships, Alexander weaves a tapestry of indie folk that meshes with subtle pop influences, resulting in a warm, soulful, and encouraging journey of sound.

The Wayne State grad opens up his opus on love and life with “Any Way Out of It,” and from the get-go, his artistry is evident. Stunning finger-picked guitar is accented by layered harmony vocals from Alexander, presenting a full, yet subdued, vocal sound that flows throughout the majority of the album. The sound is reminiscent of artists like Joshua Radin and, to a lesser extent, Sam Beam of Iron and Wine fame.

The title track showcases more solid guitar alongside some falsetto tones from Alexander and a few extra bells and whistles, keeping the mood warm and cozy before giving way to the slightly moody and pop-friendly “Baby Steps.” More layered vocals color the laidback canvas of “Spinning” while “Better Days” hints at the warmth of memories as we reflect back. “Feel of Summer” is a just that, a fresh sonic breath of summery sunshine, given a light and fresh feel with some playful whistling throughout before the short but sweet “Chances,” with an almost choral feel to the vocals and some real instrumental intricacy taking place.

“Everlasting” is a slow-builder that utilizes some piano tones to build an additional emotive depth and “Let It Be Me” hints at some Latin influences before segueing into one of the album’s biggest highlights in “Oh, You.” Starting with a light, airy feel, gentle guitar and crooned vocals, Alexander utilizes finger snaps and subtle piano to layer textures later on that simply result in a great sound. The artist closes up shop with the slightly sad-tinged “Negative Fears” and “In The Stillness of Water,” which starts with a stark intro and then flows into a full and passionate ending that closes out this record in solid fashion.

Greater Alexander may be an artist that is new to the scene but, with talent like this, he should be received with open arms and welcomed in without qualms. Managing to conjure up everything from stellar guitar work to lush vocals, with cunning and inventive percussion in between, Alexander shows himself to be a real artist. Add to that the ability to write honest and insightful lyrics and you’re faced with the whole package. Fans of artists like Simon and Garfunkel to Bon Iver will find plenty and more to enjoy here on Positive Love.

Review: Beth Duncan - Comes The Fall

The jazz music genre is one of those areas where, for a vocalist at least, there’s no place to hide. While singers of other styles, whether it be rock, pop, country, among others, may manage to “get by” with subpar vocal deliveries and the help of digital helps like Auto Tune and ProTools. Yet, in jazz, where the vocals manage to be front and center, oftentimes taking on an instrumental quality in and of themselves, there’s no room to run. And thankfully, in the case of rising jazz artist, Beth Duncan, there’s no need to.


Duncan tracks her lifetime love of jazz music to her childhood where she recalls, “As a little kid, my older brother loved jazz. He painted his room black, had bongos, and I would hear Dave Brubeck, Miles Davis, Stan Getz, and Mel Tormé wafting out of his room,” she says laughing. “That music from down the hall led me to the path I am meant to be on.”

And, judging by the sound of her latest recording, Comes the Fall, that’s exactly where she needs to be.

Comes the Fall was tracked by producer/engineer, Guy Kowarsh, who challenged the artist, pushing her to “add nuances and layers to her recordings, encouraging her to do vocal harmonies,” wrapping them around an “orchestral approach within a lean bass, drums, guitar, and vocal format.” Performing original arrangements written by composer Martine Tabilio, as well as some classic covers, Duncan found herself joined by a set of world class musicians to complete her vision. Among them were her longtime guitarist, Steve Homan, Mike McMullen on both flute and tenor saxophone, bassist Bill Douglass, trumpeters Frankie Bailey and Steve Roach, and percussionists Babatunde Lea and Brian Kendrick, with some assistance from producer Kowarsh as well. The result is a strong, mature record that will satisfy jazz fans from all walks of life.

The title track is a nice look into Duncan’s abilities, surrounded by a warm arrangement of hushed drums, Homan’s great guitar, and McMullen’s tenor sax fill as she sings were way home, harmonizing with herself perfectly and delivering a perfect start to the record. “Wish I May” keeps the good going with Homan taking the guitar solo to nice levels while Duncan adds a playful vocal delivery while “How High the Moon” uses percussion to move things forward.

“I’m On a Cloud” is a track that would make Ron Burgundy smile, with its sublime use of jazz flute while Duncan’s delivery of the classic, “Moon River,” is stark and compelling. It takes a listen or two to get adjusted to it but it works while “Quiet Nights” taps into some Latin roots, letting the artist strut her stuff a little bit more.

“No Rhyme or Reason” is a moody affair, somber notes holding sway early before the album’s real opus, a rearrangement of Coltrane’s “Giant Steps,” by guitarist Steve Homan, is presented. Duncan works hard and nails it on this most difficult work. “There wasn’t a lot of room for bending notes, I had to just purely sing,” Duncan says.

And singing is what she does best, finishing the final tracks just as heartily as she tackled the first. On “Almost Like Being in Love,” Homan continues to show his supreme prowess on guitar while Duncan skits and scats beautifully on the pleasantly invigorating, “Simple Life.” “Embraceable You” finds the artist teaming only with Bill Douglass’ bass and delivering a sultry song as “Wish Me a Rainbow” close things out with a jazz-styled jam, all the instruments getting their due and Duncan showcasing her range and skills further.

While jazz may not be everyone’s cup of tea, for those open and hungry for it, Beth Duncan is an artist who has plenty to give. Comes the Fall offers skillful arrangements and great musicianship, a nice blend of original songs and covers, and, ultimately, Duncan herself who stands poised to take the next step into jazz stardom.

Review: Jensen Reed - The Left Coast

What’s that? You say you’ve never heard of Jensen Reed? Well, you might be surprised. Because, since his move to The Left Coast, this kid’s steadily been making a name for himself.

The rising artist’s career started humbly in the Tar Heel state of North Carolina when a classmate asked him to duet on the Beastie Boys’ “Pass the Mic” for a talent show. The crowd loved it and so did Reed. He set his sights on the big time and, drawing heavily on the influence of the Beastie Boys, along with bands like The Doors, The Beatles, Led Zeppelin, among others, and set about making music. Eventually, Reed was performing with his college band, Plan B, for crowds of 5,000 in Raleigh-Durham. Yet, the artist soon found himself feeling the need to make a move.

So, in 2007 the budding artist set his sights on Los Angeles. While keeping his day job as a tennis pro, as well as stepping out and getting his real estate license, Reed kept pushing ahead with his musical dreams in the difficult L.A. scene.

“At first it was somewhat intimidating,” he admits. “But then I rocked a couple of shows and it gave me a lot of confidence.”

That confidence has brought Jensen Reed far, seeing him sign a deal with a publishing company and has "had song placements in the lauded series “Friday Night Lights,” Showtime’s “House of Lies”, the Oscar-nominated film “The Messenger” and several MTV and VH1 shows. And with the release of his debut album, The Left Coast, his star is only sure to rise higher.

For, with this release, it’s easy to see what the buzz is all about. Reed carries himself musically in a way that is far beyond his years, crafting quality rock and hip-hop elements together into a mélange of power and poise. Underlying many of Reed’s tracks is an overwhelming side of darkness and moodiness, as evidenced in standouts like “American Psycho,” colored with Kid Cudi-esque riffs and effects and the Linkin Park-feeling “Countdown,” complete with riveting keys and a haunting arrangement. “Ricochet” carries the theme along as well as on “Throw You the Rope” which features a guest performance from Johnny Pacar.

Yet, all is not epic and moody with Reed as he ably displays throughout the rest of the recording. The title track is an appropriately sunny, driving track that begs airplay on a hot summer afternoon, windows down, as you drive to the beach, while “Something Missing,” featuring The Mowglis, is another bright ray of sunshine, the communal chorus lines bringing a distinctly indie feel to the proceedings while incessant piano tones plunge things forward. “Rocketship” pushes ahead with positive lyrics and a driving bass drum kicking throughout as “Lights Come On,” which showcases Lauren Mayhew, is a pop driven track that lets Reed showcase his skills as an arranger.

The keyboards play a role once again in the multilayered “Can’t Downplay (Going Home)”, accented by a catchy percussion arrangement and “So You Know,” which finds Reed drawing help from Drew Seeley, is another worthwhile listen, Reed’s synth fills meeting with the percussion notes nicely and forming a great gumbo of sound.

Jenson Reed? You might not know him now but, mark this reviewer’s words, you soon will. The Left Coast is a great record and it’s only a matter of time before this young artist is rocking the charts hard. Reed’s about to blow up and we’ll be glad to say that we knew him when.

Review: Lisa Bell - The Italian Project

The old adage holds that one should not judge a book by its cover. And perhaps that adage should extend to include the title as well. Because, to those unfamiliar with the music of Lisa Bell, the title of her latest album, The Italian Project, could have listeners anticipating hits of accordion, perhaps some stellar operatic notes, or at least a decent cover of “That’s Amore.” So hopefully they’ll be wonderfully surprised to find that Bell’s record is anything but that, instead offering up a warm array of Americana tinged country and jazz notes, sounds that the artist comes by honestly.


Bell boasts a B.A. in Vocal Performance from the Conservatory of Music at the University of Missouri-Kansas City and has, for the past eleven years, set herself on a path toward expanding beyond the jazz standards she was known for to embracing a sound and style that encompasses everything from jazz, blues, country, roots rock, and more, all with a positive spin, believing that that sort of music truly does help to change lives. Along the way, she’s had the opportunity to perform with a number of powerful performers such as Christopher Cross, Boney James, and Oleta Adams, as well as guitar great, Stanley Jordan.

And along the way, Bell found her way to Italy where she not only gained fans with her powerful performances but she made friendships that would last a lifetime and add to her musical repertoire, owing to the creation of The Italian Project.

And, as mentioned before, while this bears a European name, the sound is all Americana. Bell harnesses the worlds of country, jazz, blues, and even adds a few Latin influences in order to create this world that she inhabits with her honeyed vocals. Bell opens the album in a warm, country fashion with “Bring the Love,” playful lyrics merging with the artist’s great vocal work, drawing to mind an artist and sound like Bonnie Raitt. It’s those more roots-flavored tracks that seem to find her at her best, as further evidenced by songs like “Come My Way,” colored by a more contemporary arrangement, and “Walk With Me” which reads like a Patty Griffin B-side. Add “Love Hurts” and the toe-tapping tones of “The Best of Me” to that and you’re assured that at least one half of this record is more than solid.

Yet, don’t let that lead you into thinking that the other half is any slouch. Rather, the remaining tracks find Bell erring more on the side of her jazz and singer/songwriter influences, which hearken back to her early days. “One Face One Race” bridges lyrics of unity together with a hybrid of jazz, Latin percussion, and some adult contemporary while “A Brighter Day” continues in that same vein, shakers providing some nice texture around Bell’s vocal delivery, recalling elements of Carole King and the like. “Quilt” continues those singer/songwriter elements, an acoustic arrangement providing a humble canvas for warm vocals as “From the Outside Looking In” and “I Can Be Anything” round out the record before closing up shop with the one real disappointment here, “Set It Free (The Boomba, Boomba Song.)”

But, one disappointment isn’t enough to detract from the overall promise of the rest of Lisa Bell’s The Italian Project. Filled with plenty of grounded songwriting, near-flawless vocals, and great musicianship that runs the gamut from country to jazz and back again, Bell has crafted an album that plenty are sure to enjoy.

Review: Take Me To The Pilot - What Makes You EP

Canadian-based power pop quartet, Take Me To The Pilot, wants to know What Makes You on their sophomore EP, but for those of us in the dark, perhaps its best to start by understanding what makes them.

The band is the brainchild of lead vocalist and songwriter, Mike Bilenki, and simply started with a song. While tinkering in his basement, Bilenki found himself between bands and not really sure what direction he wanted to head when he started work on a new composition. As it turns out, that would be the song that would reenergize the young musician and lead him to record the track, build a MySpace page to promote it, and would soon add fellow members Adam Brown (bass), Eric Grabowecky (guitar), and Jonathan James (drummer) to the mix, completing the trifecta. With all the pieces in place, the band has garnered a fair amount of success, traveling across their native Canada multiple times and performing with acts like The New Cities, Fefe Dobson, Alyssa Reid, and Brighter Brightest, among others.

And one listen to What Makes You helps listeners to understand the quick rise of this young band. Featuring an overall sound that is reminiscent of bands like Yellowcard, Fall Out Boy, and Relient K, Take Me To The Pilot crafts a fine blend of power pop and rock, giving thing their own spin, largely through the able songwriting craft of Bilenki and his able crew of musicians. There’s plenty of the requisite hard hitting percussion, jangling guitars, and up tempo jams throughout this release.

“Baby We’re Gonna Be Rich” kicks things off with a solid punch, a simple opening flowing into a solid burst of sound as Bilenki sings of youthful love, Grabowecky’s solid guitar chops holding things in check as “Time’s Up” adopts a slightly more organic sound throughout, with some “wah wah” guitar notes and plucky bass from Brown. “Melody” delivers some nice synth tones to start while Bilenki is aided by some vocal effects and hand-clap percussion before the EP segues into “the song.”

The song that birthed the band is “Carry You Back,” and, by and large, it’s a solid track. Love-based lyrics are surrounded by a full-fledged pop sound, Bilenki showcasing some nice harmony vocal work and the overall appeal ending in something rather encouraging, buoyed by some soulful string section work throughout. “What About The Time” plugs the synth back in and gets things rolling from the start before things pull out into a more traditional flow, Brown’s bass getting plenty of work as the whole bands goes into overdrive, pulling together hook-laden, catchy pop fare.

Persistent guitar kicks off “Right Now” and when the rest of the band kicks in, bolstered by Bilenki’s passionate vocal delivery and the rolling bass line from Brown, listeners are going to be glad they tuned in to this upbeat track. Some acoustic notes and a quiet intro open “Travlin’ Heart” up and closes things out on a slightly subdued note that provides a nice contrast to the rest of the EP.

Take Me To The Pilot is a band on the rise, and with a median age of 21, they’ve got plenty of time to make that trek. And while What Makes You isn’t a perfect record, it’s not half bad. As these young men get a few more miles under their feet and diversify their sound just a little bit more, they’re going to be a force to be reckoned with.

 

Review: Keznamdi - Bridging the Gap EP

Some folks are simply destined to follow in their family’s footsteps. Whether it’s the proud son following his father into the family restaurant business or a family legacy like the Williams, where Senior begat Junior who begat Holly and Hank III, sometimes it’s just bound to happen. Such is the case with up and coming reggae star, Keznamdi.

Keznamdi is the child of the lead singers of the internationally known reggae troupe, Chakula, and, for as long as the artist can remember, music has been a part of his life. He spent his “early years touring the world and (was) present while they were recording their ten albums in the recording studio located in his own home” which was found on the outskirts of Kingston, Jamaica. In fact, he recorded his first song at the ripe young age of five, entitled “Mix a Color,” “an educational song about color mixing” that he then performed at his mother’s release tours for her children’s album, Save the World.

Music schools dominated the lives of Keznamdi and his sisters growing up and each child took to the arts in their own way, his sister marrying reggae artist, Jah Cure, and recording with established artists such as Calico while his other sister pursued her musical dreams in Kingston. A three year stint in Tanzania as well as the completion of high school in Ethiopia would hone Keznamdi’s ears that much more and once he landed at St. Mary’s College in northern California, the artist was set to take his sound to the next level.

“This is not a choice or hobby for me; music chose me,” the artist shares of his path into music. “It’s a way of life and the only thing I have ever known.”

And that path looks mighty promising from the early sounds coming from the artist’s debut EP, Bridging the Gap. Featuring six songs that cull aspects from the artist’s influences, boasting vibes that hint at elements of Damian and Stephen Marley and ranging from dancehall reggae, R&B, and hip-hop, Keznamdi is an artist set to carve his own way through the musical landscape.

“I Don’t Wanna” kicks things off with a smooth island breeze, layered singsong rhythms and an acoustic backdrop leaving listeners with the scent of the ocean on their ears while “My Love” is a pop/hip-hop inflected jam that would play fine on the radio, bookended by tracks by Bruno Mars and Usher. The artist’s voice is smooth and soulful and the backing track follows suit, making this one of the highlights of the collection.

A bit of hip-hop flow colors “Darkness,” a moody jam that lends some different textures before those rap notes grow even more with “Is This Love.” Buoyed by a solid horn section, Kez showcases a nice blend of traditional reggae tones with modern sensibilities while he takes things back to that traditional element with the upbeat and encouraging “Just Vibe.” Another classic, laid-back reggae roll, it keeps the artist anchored into his roots.

Saving the best for last, “Weekend” closes the EP out, each and every element coming together just right. Kez’s vocals are spot on, whether singing or flowing out tight rhymes, and the unique blend of musical influences blends together solidly, making this yet another standout. And once again, it’s a track that’s ready-made for radio play without any tweaks.

In short, Keznamdi is the real deal. Boasting a great pedigree as well as a boatload of influences, both personal and musical, he’s an artist who’s gifted not only with experience but with pure talent. His rich vocals, uplifting lyics, and ear for a catchy hook and melody help make this debut something that should and, dare we say, will be heard around the world. It’s quality music that deserves a listening ear. Here’s to hoping he gets just that.

Review: Oh, Jeremiah - Tall Tales and Tiny Fables EP

Modern music is finally beginning to re-embrace the world of great, acoustic driven and Southern style music. Bands like Mumford & Sons, The Lumineers, and The Civil Wars have done a tremendous service in helping to show the glory that is at the roots of so much Americana-flavored stylings. Now, indie recording artist, Jeremiah Stricklin, better known to some as the band, Oh, Jeremiah, is out to add his name to that circle of rising stars.

Stricklin hails from the Deep South where he’s long been drawn to quiet, honest conversations, whiling away the days over tall glasses of iced tea while sitting on the porch. An early love of music would send the artist to study at the University of Southern Mississippi’s School of Music while, interestingly enough, exposure to a Blink 182 video and a track by The National, would work to shape the artist’s journey even more.

That journey would eventually find some of its lines colored in by the sounds of artists like Ryan Adams, Shovels and Rope, and Josh Ritter, among others, working to forge his own take on the Americana singer-songwriter sound. The result is his debut EP, Tall Tales and Tiny Fables, a five song collection that shows a whole lot of promise for the future of this bright artist.

Stricklin opens up the proceedings with the fiddle and string-laden “Better Man,” singing a tale of longing and pursuit while accompanied by some pleasant female harmony vocals which help to balance out the tone overall. Buoyant percussion and passionate acoustic guitar drive the song home while “Circles” is a quieter conversation, fingerpicked acoustic guitar primarily holding the spotlight over a tale of love and longing.

A dramatic string section opens up “Happy Now,” it’s near-theatrical opening bringing a sense of excitement to the track as Stricklin plays back and forth with the heartbroken lyric, strong fiddle notes rolling throughout the track and accented by more pounding drum work. His lyrical take is spot on and the emotion, fueled with both anger and loss, is readily evident before allowing more fingerpicked guitar to take center stage on “Mississippi, I’m Yours.” A beautiful ballad, merging Stricklin’s nuanced vocals again with some nice female assistance, it’s a moving and warm track that conjures the mind to reminisce of times growing up.

“The Scariest Thing” closes the EP out and is the most sonically diverse tune on the record. While it still features the requisite fiddle notes and acoustic guitar push, as well as Stricklin’s female counterpart, a thumping electric bass offers a whole new dimension to this song, alongside some plucky piano notes, allowing it the most contemporary feel, for better or worse, to be found here.

And while it’s tough to make large decrees based upon five simple songs, it’s safe to posit that Jeremiah Stricklin is an artist with a solid future ahead of him. Offering up poignant and honest lyrics alongside great arrangements with ties to the Deep South, Stricklin and his project, Oh, Jeremiah, have hit upon a musical gold mine. Here’s to hoping Tall Tales and Tiny Fables is but the first of many tales we’ll get to hear.