Chewing Pine

James Blackshaw – Litany of Echoes (Tompkins Square, 2008)

Litany of Echoes contains a great deal of stunning musicianship. And James Blackshaw, who has released more full lengths in five years than anyone could expect, continues to exhibit his compositional skills. Unfortunately for him, he’s British and listeners should be able to tell pretty quickly. If given a chance, any fan can differentiate between Bert Jansch and Townes Van Zandt. Their respective countries are vocally expressed through music. The same is true of Blackshaw – except his cultural baggage is displayed via his 12-string guitar.

Drawing from 20^th century composers as much as other guitarists won’t make ones recordings effete, but being more indebted to Windham Hill than Takoma will. Litany does strive to repeat motifs, but only to serve the compositional entirety of the release. It’s just less tied to American blues and folk forms than most would let on – that’s not good or bad, it’s just different than, let’s say Jack Rose.

Again the musicianship, as Blackshaw’s guitar is augmented by various bowed instruments as well as piano, is beyond reproach – not necessarily engaging, but well beyond competent. It seems though that the concepts that spurred Blackshaw into these compositions are as intriguing as the music that it produced.

The cover of Litany is emblazoned with a circular figure endlessly retreating into itself. The image is verbally reflected in the title of not only “Echo and Abyss,” but also in “Infinite Circle.”

Continuing to extend the circular and assumed philosophical meaning imbued in the image as well as the musical compositions, “Past Has Not Passed,” again relates to a notion of circuitous movement. That title hints at the all together crushing-unknowing and uncertainty by which life is lived. Blackshaw seems fascinated by any obscurities and also entitles a tune “Shroud,” lending listeners images of cloaked and clandestine figures.

By titling the first and last track after a pair of gates related to the origin of dreams, Blackshaw not only succeeds in creating a recording that is circular in nature – it refers back to itself – but even concludes with a reprisal of the lead off track.

There seems to have been an immense amount of contemplation poured into the titling of each of these six tracks – not more than the music one may assume, but the lack of consideration given to listeners relegates Litany to art for art’s sake. There’s obviously nothing wrong with that, but it doesn’t necessarily make for good listening.

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Tracklist:
01 – Gate of Ivory
02 – Past Has Not Passed
03 – Echo and Abyss
04 – Infinite Circle
05 – Shroud
06 – Gate of Horn

“All I can do is try and make my guitar sound like a piano…”

From Architects of Harmonic Rooms

Brad Barr – The Fall Apartment (Tompkins Square, 2008)

Unfortunately or not, The Fall Apartment really has nothing to do with the Slip. That band’s metamorphosis over the years has encompassed a great deal of stylistic variety, but doesn’t ever really touch upon acoustic, instrumental guitar music. The lone, potential meeting of Barr’s group and his solo outing is that of production value. Even while this disc focuses on Barr’s guitar, there are occasional flares of studio treachery more commonly found in electric music.

The first time that some obvious tape hiss rears its head is on “War.” And coming after “Sarah Through the Wall,” with its complex, although at times academic progressions, “War” presents itself as a new idea amongst all the lonely guitar tracks. Sadly enough it begins in the same fashion that the M.A.S.H. theme song does. Pretty quickly the tune differentiates itself enough so that listeners don’t think about helicopters and medics. Deep in the mix, a ghostly stringed instrument rings out occasional chords as the tape hiss fills the holes that the guitar leaves. It’s an interesting, if perhaps under-developed idea.

The only other track from The Fall Apartment that boasts production in the same way is the penultimate track, “Do I Have to Understand That?”

Whereas “War” retains the album’s folksy direction, “Do I…” seems like an ambient interlude from a rock record. Echoed percussion and the plucking of strings back-up an occasional electric guitar chord or screetch. More importantly than the sounds flying from this track is it’s sequencing on the album. Were this track placed at the very end of the recording, it would have served the album more fully as a whole. As it is, the following number, “Seranetta,” another lonely ballad, seems disconnected from the rest of the disc. This one flaw doesn’t greatly detract from the recording, but could have worked to create a more unified offering.

If this all sounded liking whining, it shouldn’t. ‘Cause Barr has balls enough to turn in an interpretation of Nirvana’s “Heart Shaped Box,” which surprisingly retains a tremendous amount of its initial fervor and ferocity. Who knew?

Harry Taussig – Fate is Only Once (Tompkins Square, 2008)

Comparing this, the lone, 1965 release of Harry Taussig, to another instrumental Tompkins Square Records re-release – that of Richard Crandell – reveal some striking differences. Even with obvious proficiency at the acoustic guitar, Taussig’s less polished playing easily places his talents a bit bellow those of Crandell.

That being understood, Taussig’s limited career is to blame for any perceived blemishes listeners find here. He does reach beyond his natural abilities, but that, in a musician, should lead to expanding one’s talent. Unfortunately, Taussig wouldn’t record again, so listeners won’t ever know.

Based solely on the contents of this album – although not really in the same league as 6 and 12 String Guitar – the potential follow-up could have been staggering.

Beginning Fate… with a Rev. Gary Davis cover forces a specific expectation. Davis, who should be considered rag-time guitar’s most creative practitioner, can so rarely be matched, that leading the disc off with “Baby Let Me Lay It on You (That’ll Never Happen No More)” could have only led to disappointment. To Taussig’s credit, he is able to imbue the song with a strong lyrical feel. The playing here just doesn’t seem to be as syncopated or assured as that of Davis’.

There are a few other covers, hinting at Taussig’s affinity for clear and danceable melodies. In his cover of a Shelton Brooks number, the guitarist is able to morph “Dark Town Strutter’s Ball” into something of his own – or at least a Rev. Gary Davis version of the song.

A great deal of the album is devoted to lithe numbers and dancing guitar, but “Dorian Sonata” is a drastic departure in tone from the rest of the disc. The pronounced chording accents the tune, but the progression moves towards a darkness absent in the other eleven tracks. While not in the music, downheartedness seemed to overcome Taussig in the titling of “Rondo to Death” as well as “Fate is Only Once.”

This final track perhaps points to the future stylistic changes that Taussig foresaw for himself. A very distinctive melody persists for a minute at the beginning of the song. And while he undoubtedly duffs a few notes, Taussing moves to an unsettling rag – not all too accented – but slow and emotionally heartfelt none the less.

Everything about Fate is Only Once can be understood from this last track. An earnest and emotional man poured every part of himself it into these recordings. And because of that, it’s regretful that solitary disc is all listeners have to reflect upon.

Tracklist:
01 – Baby Let Me Lay It on You (That’ll Never Happen No More)
02 – Blues For Zone VII
03 – Dark Town Strutter’s Ball
04 – R.R. Bill & Co.
05 – Rev’s Rag
06 – Sugar Babe, Your Papa Cares For You
07 – National Ragtime Stomp
08 – Rondo to Death
09 – Monte’s Blues
10 – Dorian Sonata
11 – St. Louis Tickle
12 – Fate Is Only Once

Richard Crandell – In the Flower of Our Youth (Tompkins Square, 2008)

A few years ago, picking up any music publication exposed readers to “New Weird America,” alternatively referred to as “Freak Folk.” Devandra Banhart was a fashion plate and James Jackson Toth was releasing dozens of albums. Now, Banhart’s an exhibitionist and Toth plays in a more straight ahead style. The faux-media frenzy that coalesced around all of these artists was capitalized on by some who began re-releasing hard to find folk albums – again occasionally and insipidly called “loner folk.” Tompkins Square isn’t amongst the profiteers. They helped reintroduce Peter Walker to the world and have been steadily releasing albums that touch the past and push the future.

Richard Crandell is still around, picking. Of late, he has released two albums for Tzadik in 2004 and 2007, while In the Flower of Our Youth was re-released on compact disc last year followed by the TSQ vinyl version. This album, finds the guitarist fully formed and basking in the influence of all that is instrumental American folk music. There is a hint of blues, but nothing as overt as in efforts by Fahey. Of course Kottke too is a cornerstone of this music, being given “Minuet for Leo” as a namesake. This is a two way relationship though. On his 1975 album Chewing Pine Kottke turns in a rendition of Crandell’s “Rebecca” that eschews the droning low note and sounds less muscular than the version found here.

It’s odd to describe instrumental guitar music as muscular, but that’s why Crandell is unique. He also manages to summon some pretty dark imagery during “Diagonal” and “Shamrock.” In the later track, notions of Ireland are the assumed genesis of the music, but somewhere Crandell gets lost. He may intend to invoke rolling hills and beer, but in Crandell’s unification of variegated techniques, he accidentally creates something much darker than the title could hint at. It does some bouncing and dancing around, but a menacing undertone is persistent throughout. Given that gloomy notion, it should be understood that a great deal of the music found here is quite playful and if the tunes aren’t enough, listeners can hear Crandell blurt out, “Have a burger. Good night,” during “Assembly Line.”

In the Flower of Our Youth can be rewarding for listeners who enjoy this segment of American music and culture. At times Crandell even comes close to the consistency of his forbearers. But if you don’t own Transfiguration of Blind Joe Death, pick that up first.