Review: Rachel Barton Pine - Violin Lullabies

It’s the rare artist who might be somewhat excited to hear her listeners softly exclaiming, “This album isViolin Lullabies, and stems from her family’s unique daily tradition of collectively enjoying a classical lullaby together.

putting me to sleep,” yet, for violin virtuoso, Rachel Barton Pine, those words are music to her ears when it comes to her latest recording. Of course, it just so happens that Pine’s new album is aptly entitled,

“My first exposure to music wasn’t on the radio or at a concert, it was the sound of my mother’s voice as she sang a lullaby to me, just as her mother had sung to her, and her mother before her,” says Rachel.

Pine is attempting to further that legacy by sharing these classical lullabies with her daughter, Sylvia, aided by her husband, Greg. It’s a tradition that holds something warm and spiritual feeling for the artist.

“’There is something truly universal about the sound and feel of a lullaby melody, with a tempo and cadence derived from the way we intuitively rock our infants,” says Rachel. “Hearing these beautiful little songs takes us back to pleasant childhood memories. Lullabies are also the perfect building blocks to help children explore and create their own musical interests,” she adds.’”

And while Violin Lullabies is just that, a collection of twenty-eight classic lullabies, this recording’s appeal stems far beyond the nursery, inviting classical connoisseurs and those with a less familiar palette to the table as well. The key to making the album work stems from the stunning delivery by Pines on violin and her accompanist, Matthew Hagle, on piano. Hagle provides sound support while Pines’ violin notes swirl up and beyond, conjuring emotion and soothing the savage beast.

Pine has scoured the musical pantheon, searching out one hundred and fifty plus lullabies to share with her family before settling on this set list for the album. Offering up short, accessible interpretations of each song, the artist delivers music from many well known composers. Among them, listeners will find familiar strains from classic composers such as Franz Schubert, Johannes Brahms, Igor Stravinsky, and Richard Strauss. Yet Pine is not content to represent only the well-known and she showcases “works by little or unknown composers whose lullabies Rachel found irresistible.” In fact, five of those compositions see their world premiere on this recording.

But what ultimately makes this album so great are the performances offered up by Pine and Hagle. Hagle’s piano is almost haunting, his keys tentative as they work through the various arrangements while Pine’s violin, all the tracks performed on the “ex Soldat, a violin made by Joseph Guarneri “del Gesu” in 1742, which was hand-picked by Brahms himself for 19th century violin superstar Marie Soldat,” soars for the stratosphere. Its uncanny the emotive tones that Pine coaxes from her instrument, taking what many may perceive to be simple songs, as lullabies are often thought, and offering them a sense of transcendence on tracks as diverse as Gershwin’s “Porgy and Bess, Act I, Summertime,” and Ravel’s “Berceuse sur le nom de Gabriel Faure.”

That’s the tale of the tape here. Rachel Barton Pine, with stellar assistance from Matthew Hagle, showcases an expansive array of diversity across the realm of lullabies while maintaining a sense of integrity and sophistication within these compositions. Violin Lullabies highlights lullabies from far and wide, providing listeners with an experience that is soothing, tranquil, and invigorating, all in one. It’s truly an experience that will appeal to young and old alike.

Review : Brian Larney - At the Starting Line

It seems that within the heart and soul of many successful band members, there always lies that
powerful question of, “What if?” Most specifically, “What if I were to try and do this on my own?’ And, for years, band members have been stepping out of the shadows of their comfort zones and have tried to forge ahead with their personal visions. In some cases it’s been wildly successful while others have unfortunately met with far less success.

Rising artist, Brian Larney, knows all too well those introspective longings and questions. A longtime member and collaborator within local Northeast bands, Larney has long felt the urge to venture out solo, seeing if his particular brand of pop-rock could stand on its own.

“It’s a triumph of the spirit,” the Bridgeport, Connecticut artist says laughing playfully. “I always hid within bands so everything about this is like starting over, hence the title, At The Starting Line.”

The product of a longtime musical education, Larney spent his early years honing his songwriting and focusing on the “art of harmonizing.”

“I would get to school at 6:00 AM and go into the piano practice room and pick out songs and work on harmonies,” he says.

And while his initial efforts resulted in over the top, “overly complicated 7-minute opuses,” Larney eventually found his way, merging his personal tastes as a listener, which encompass everything from pop to bluegrass and everything in between, together with his work as a traveling musician where he worked with bands playing everything from pop-punk, power pop, post-punk, and hardcore. Through all of those experiences, Larney found the strength and the skill to step out of the shadows and being casting one of his own.

And with the early verdicts coming in, Larney has nothing to worry about.

Larney’s number one coup was in snagging Americana songwriter, David Mayfield, to produce, the singer/songwriter lending a refreshing tone to Larney’s work. But, while Mayfield’s production keeps things clean and clear, it’s Larney and his compelling songs that are the star here and they don’t disappoint.

Fueled by Larney’s humble yet smooth vocals and an eclectic sense of composition that fuses soulful harmonies, tasty indie pop-laden hooks, and elements of country and Americana together in a highly listenable gumbo of sound. There are elements of bands like Wilco and others to be found but, through and through, this record resounds with Larney’s own signature.

That signature is most notably heard on the album’s highlight track, “Why God Why,” which finds the artist dealing with the loss of his father. It’s a simple arrangement, surprisingly mid-tempoed and driven ahead by subtle percussive notes as Larney sings, “Wake up, Dad, I need you now/Is this the place you were laid down/And why are you still sleeping?/And I ask/Why, God, why?” It’s powerful, haunting, and lovely all within it’s two and a half minutes and captivates the listener.

Not afraid to tackle other heady topics, the artist wrestles with religion on the bluesy “Dogma (On a Leash),” calling out his take on swarthy preachers who repeatedly speak with “forked tongue” and coax parishioners into giving money that they use to line their own pockets. Soulful pockets of both acoustic and electric guitar bolster the track, lending it a vital, swampy note.

“Whistling Past the Graveyard” is a track that makes great use of the artist’s pop leanings, featuring great harmonies, killer keyboard chops, and a toe-tapping arrangement, making it another favorite. Ditto that for album opener, “You, Me, and Alison” which captures an expansive Americana vibe, perfect for long summer road trips, and harnesses the great line, “Jesus in your tears.” Flipping the tables, “Solace” slows things down with a lyrical journey that explores spiritual oppression with stringent honesty, offering up the thought that, “There ain’t no difference if you’re good on the outside/Still got your demons locked up inside your heart.”

Merging genres and writing honest, poetic, insightful lyrics that speak to the heart and doing so while providing a great hook, Brian Larney’s At the Starting Line is a masterful work. And while Larney may have been content to rest in the shadows for some time, he’s going to have to get adjusted to the spotlights because if he keeps making music like this, they’re going to be shining on him for a long, long time.

Review - Arlon Bennett : World of Possibility

We’re all drawn to honesty in music. No matter the genre, whether it is hip-hop or heavy metal, we long for our musical muses to reach out and touch us with sounds and lyrics that carry themselves with an air of authenticity, relevance, and connection. And it’s those best artists, those that have stood the test of time, that manage to continue to captivate audiences with their ability to, time and again, deliver honest music.

If he keeps on pace, Arlon Bennett is a name that will bandied about with those artists who have, and are, making music that connects in that way. Calling Long Island, New York, home, the artist is set on making music that carries his simple philosophy, “Shoot for the moon and ask questions later,” capturing elements of folk and singer-songwriter stars like Harry Chapin and James Taylor. Since the release of his debut album in 1998, Fountain of Dreams, the artist has seen solid success, scoring opening acts for Americana stars Glenn Tilbrook, Jill Sobule, and Tom Paxton while as being honored by being “twice selected by Noel ‘Paul’ Stookey (Peter, Paul & Mary) to perform in his Music-to-Life showcase at the Kerrville Folk Festival featuring America's best songs of social consciousness.”

Now, the artist continues his mission to bring his dreams to life, while igniting those of others, on his heartfelt new release, World of Possibility. Coaxing classic folk sounds from his guitar and writing lyrics about real life, Bennett captures and captivates the heart here. It’s not fancy and sports no frills, much like a meal at the county diner, but its “stick-to-your-ribs” good, leaving you full and satisfied at the end.

Bennett’s key to providing this satisfaction to his listeners is in large part due to his prowess as a storyteller. Through a simple, homespun tale of an elementary school janitor, “Sal,” Bennett manages to grab the heartstrings and teach a lesson. Likewise, the snow-laden sadness of “The Christmas Tree on Salem Street” weaves a tale of holidays left sad by the loss of loved ones in the military, daring one to not wipe away the inevitable tear. And the artist’s heartland-fueled personification of the U.S., “I America,” complete with its soulful harmonica fills, has the potential of adding itself to many a listener’s Independence Day playlist.

Inspired by an invitation to perform at an international Parkinson’s conference, Bennett wrote the title track, conveying an acoustic-driven melody that brims with hope and confidence while “Nothing Like a Song” captures some old school country vibes, telling of the power of music. It’s simple and, some might say, hokey, but there’s an inherent honesty to it all.

The highlight track here, however, is Bennett’s playful and unique song, “Question for Einstein.” Celebrating the joy and mystery of love, Bennett ponders questions to the great physicist, asking in the chorus, “Dr. Einstein/The question I would ask/If you were alive and I was sitting in your class/Of all the beauty in your mind/Of all you know of space and time/What is love?” Bennett plays with asking these questions of Einstein, adding in some soulful strings, and ultimately concluding in the end, “Well you ran out of time/Before you could find/The answer to all that is/But I will keep on searching/To find the inertia/Behind a single kiss.” It’s sweet, poignant, and from the heart.

And those are the elements that truly make up Arlon Bennett’s work on World of Possibility. Clearly working as a glass half-full sort of guy, Bennett presents warmhearted, honest songs of real life and real people, continually seeming to find the silver lining in each situation. He frames these tales in musical compositions that mirror their lyrical counterparts, coming across as accessible and inviting. So, come on in and sit a spell and let Bennett tell you a tale.

Review - Zain Lodhia: The Leap

Most artists look back at their early days and recall hours of hard work, toiling away learning their instruments, honing their craft, and fighting the critical looks some would throw their way, calling into question the viability of a career in music.

Then there’s Zain Lodhia.

While the artist has no doubt fought hard to hone his skills, his early days recall a gentler, simpler time in college playing the now classic video game, Rock Band, with his roommates. Tasked with taking the mic and delivering vocals, Lodhia took a different path, discovering “his own musicality and embraced a new era of creative self-expression.” And most importantly, he found his voice.

That voice, as well as an uncanny understanding of what makes a great pop song, is a large part of what makes Lodhia’s latest effort, The Leap, so successful. Following the success of his 2011 EP, Memories, the artist enlisted the help of producers, Tim Brennan and Mark Sutor, formerly of the pop punk band, June. The result is a warm, creative, and polished record full of acoustic tones tempered with layered electronic elements and percussion with a purpose.

Lodhia’s sound has been likened to artists such as Maroon 5, The Script, One Republic, The Fray, and more but, through and through, Lodhia manages to craft a sound that, while revealing some of his influences, ultimately carves out his own comfortable niche within the music world. Perhaps the best example of that comes on “Send Me Away.” Compelling programmed percussion sets the tone while Lodhia’s smooth vocals press the track forward before bursting into the energetic chorus, featuring vocal assistance from Katie Foster. It’s as radio-friendly as you can get, the arrangement stunning and the delivery shows that this is an artist who’s ready to make an impact.

And the rest of the album manages to declare the same.

Songs like “Lost for Words,” which also receives the acoustic treatment, showcase a keen ear for pop sensibilities and production while “Beautiful Devotion” brings a slightly hip-hop element to the vocal, offering interesting sonic textures. Keyboards play a prominent role in “I Wonder,” giving the song that wistful, thoughtful edge as the title track carries across a plethora of percussive tones that hit all the right spots. It’s layered with notes that don’t just fill the voids but that contribute to the overall emphasis of the song and that blend solidly with Lodhia’s skillful acoustic guitar work.

“Long Run” showcases the artist’s ability to write a strong, ballad-based hook and deliver it which he does with passion and poise, maintaining a similar flow on the lyrically upbeat, “Close.” Acoustic guitar and skillful keyboards blend into a solid tapestry on “Keep Breathing” while “Shadow of Your Light” maintains a mid-tempo pace, accented with creative composition elements. Add in warm, heartfelt tracks like “Dreams Out Loud,” “Make It Through,” and hidden track, “Perfect World,” and you’re left with a smile on your face.

But perhaps no song captures the real essence of this record like the single, “Lifetime.” Upward bound with a lyric that focuses on second chances and the reward for hard work and sweat, blood, and tears, “Lifetime” hints at the heart of the artist behind it. And that artist is a grateful one.

“It’s a milestone being able to hold this album in my hands,” Lodhia shares. “Music has always been a passion of mine, but it wasn’t until later in my life that I discovered how powerfully songs can move us,” he says, pausing reflectively. “I’m so glad I didn’t let my fears hold me back.”

Don’t let anything hold you back from picking this one up either. Lodhia may be taking The Leap but if the musical gods are just, this is a job he’ll do doing for a “Lifetime.”

Review: Oliver James - Chasing the Sun

Some artists approach their art from a very free-form place, letting inspiration come from where it may and

grabbing ideas here and there. Their focus is on their art but how it comes together is left up to chance, so to speak. Others, such as rising artist, Oliver James, tackle their craft with a more thought out and concentrated focus.

“I want to write songs that touch people and come from a real place,” says James. And it’s this mentality that fuels the artist’s debut, Chasing the Sun.

Chasing the Sun is a collaboration between James and fellow collaborator, not to mention keyboardist and songwriter, Brett Levine. The two work together, offering their input, and liken the experience to a chess game. “I make a move on a song, go away, and come back to see what move he made,” Oliver shares. Their teamwork even extended to the production process, both artists sharing in the full development of the album, “uncompromising in quality and emotional intent” and working at “crafting a meticulous multi-dimensional album that keeps surprising after multiple listens.”

And by and large, they’ve done just that.

The duo opted to test the waters before the release of their record by offering up the song, “Keep Breathing,” early on. The track, colored by a beautiful instrumentation layered in piano and haunting strings, speaks of the dangers and horrors of war alongside the hope and love their loved one’s at home have for them. It’s slightly melodramatic in some senses but it apparently resonated with quite a few, garnering over 10, 000 radio spins and generating some early positive reviews online.

Those reviews are well warranted as evidenced by the rest of the record.

Album opener “Giving Chase to the Sun” is a lyrically strong tale of dealing with past decisions and the ramifications and consequences that come with the good and the bad set against an up-beat, acoustic driven soundscape before giving way to the more positive tones of “Running Back to You” with some Edge-esque guitar work at the intro that flows into pounding percussion and culminates in a great pop-rock power anthem.

“Pain” is a more subdued journey as the artist showcases some of the aspects that have drawn comparisons to artists such as David Bowie and Nick Cave and the Bad Seeds with heavy lyrics, tasteful strings, and some poignant piano tones. Album closer “Avenue of the Stars” is an almost country tune, complete with some mournful steel guitar in the background that comes accented with some banjo and more.

Yet, it’s near the center of this album that James really shows his stuff. “Lover’s Bridge” kicks off a great trifecta of tunes, rousing Motown horns blaring ahead of a fun-filled musical romp that features some soulful background vocals that give that certain amount of something extra. “At the Water’s Edge” follows and is entirely different, almost somber in it’s delivery of moody piano and layered vocals. James also employs a bit of sound effect, bringing in some sounds of waves crashing on the shore, which can oftentimes come across as just cheesy, but this time it works, providing that extra splash of texture the track needs.

But it’s on “Before He Turned the Gun on Himself” that the artist really hits his full stride. James’ lyrics are spot on, showcasing a great hook and plenty of insight, while the arrangement which features strings from a 15-piece orchestra and background vocals from David Letterman’s Late Night Gospel Choir. It’s a slow build but one that will inevitably find listeners singing along with the sad tale. This is definitely the highlight track of the album.

Chasing the Sun is an apt name for James’ first outing, offering up the idea of trying to accomplish a mission that is all but impossible. It’s a fitting metaphor for the music business at times, as artist after artist seeks after fame and fortune, only to be lost in the shuffle. And while the future is always hard to predict, if Oliver James keeps making music like he’s done here, he might just have a chance of doing that which so many have fallen by the wayside attempting, he just might catch the sun and become a star himself.

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.