Article by Dave Briggs
It’s no secret that one of my favorite genres, if not my all-time favorite genre, is jazz. I dig that jazzy sound from its roots in New Orleans Dixieland, on through the big band swing era, into bebop with Bird, cool with Davis, classy with Brubeck, power with Maynard, intensity with Buddy, on into the contemporary era with Wynton, Bergeron, and so many others taking the reins. I love the instrumentalists, the bands, and the vocalists who have each brought their own personal spin to the genre. I’m always on the lookout for someone I haven’t heard yet who will take over my stereo system. But I don’t think there was an artist that took me quite so by surprise than Melody Gardot with her first album, Worrisome Heart.
What a find this one was. I was on the iTunes store one day in the earlier part of last year when I stumbled across Melody’s single (after which the album is named), Worrisome Heart, as a free download. I was pleasantly surprised to find Jazz as free content. After a short download, I gave it a listen and I was astounded. The music was just about the coolest, slinkiest blues one could imagine. The sparse piano reminded me of Gershwin’s Summertime, and there was a brief muted trumpet part that was so unbelievably hip. But this was all before the first minute was up. About 45 seconds in, Miss Gardot started singing, and I absolutely melted. Her voice has been compared to Diana Krall, but Melody’s voice is much subtler. She has also been compared to Norah Jones, but Melody’s voice is much sultrier. I honestly can’t think of a vocal timbre that I have enjoyed more than Melody Gardot’s. As current Jazz vocalists go, she is probably my new favorite, edging out even the incredible Krall and Jones.
Once I finally bought the whole album, I realized that the titular track was no fluke. Worrisome Heart is a brilliant album, full of sultry original jazz, such as the seductive, bass driven Goodnite, the sonorous, free floating Love Me like a River Does, and the sweltering, sizzling Quiet Fire. The whole affair is an incredible experience that can be enjoyed equally well alone or with a fancier.
The only problem is that the album is just over half an hour long, which definitely leaves the audience wanting more. However, it also means there is no filler here. Every track, even the short instrumental Twilight at the end, is meaningful and excellent. In addition, every song is an original, written by Miss Gardot herself. There is absolutely no reason not to buy this album if you’re a jazz fan who wants something new, if you’re looking for an easy introduction into jazz, or if you’re just looking for a female vocalist that differs from what plays on the radio.
Note: Miss Gardot's second album, My One and Only Thrill, is currently available in the United Kingdom and will be released in the United States on April 28. Expect a review sometime after I can get a hold of it.
Saturday, March 28, 2009
Monday, March 16, 2009
Album Review: "Home" by Collective Soul
Note: this review was first published in the March 2006 issue of Scope.
Many rock bands who have tried concert collaborations with orchestras have failed miserably, but Collective Soul’s Home: A Live Concert Recording with the Atlanta Symphony Youth Orchestra is very different. Home is a breathtaking album that features some of Collective Soul’s best work, complimented by amazing orchestral arrangement.
One of the things that have always impressed me about Collective Soul is their ability to create beautiful, emotional ballads as well as straightforward, hard rockers, and yet neither style lacks anything. Sometimes they combine the two styles, and despite what might be the norm, this almost always seems to work. The expressive nature of Collective Soul’s music is highlighted very well by the Atlanta Symphony Youth Orchestra’s professional sound. The first time I heard this album, I was absolutely blown away by the sheer power of it all.
The first song I listened to was one of their bigger hits, December. December is a mid-tempo rock song that features brilliant guitar work and powerful vocals. It was always a first-rate song, but this version has a musical depth that the original never seemed to have. It is true that the vocals don’t sound the same, but that happens with so many concert recordings. December alone could be well worth buying the disc, but there are many more great songs.
Compliment, the next track on the album, is an expressive rock ballad that later combines with hard rock. It starts out with a graceful orchestral movement, followed by a guitar line that can only really be compared to The Who. The vocals that then enter send chills down the spine. Then the guitar becomes heavier, and though it begins to get a hard rock feel, it still seems like a ballad. This is a beautiful song that seems to get the atmosphere of the entire album.
Starting with heavy drums and Aerosmith-like guitar is Precious Declaration. This is definite Collective Soul hard rock, and the burning guitar is complimented quite well by searing orchestral work. While it is clearly not the best song on the album, it is a good song, even for those who don’t like hard rock.
Three tracks later is another one of Collective Soul’s big hits, a ballad called The World I Know. The music is calm, sounding somewhat resigned, and it has a sort of buzzing feel, with the guitar occasionally ringing throughout. The lyrics are sad, but not depressing. I was never really affected by the original cut, but the live version with the orchestra is so much more powerful, I am almost brought to tears when I hear it.
Starting out the second disc is the emotional Crown. The music in this song is almost entirely orchestral. It is also entirely beautiful. The vocals are sad and compelling, and the orchestra is strong and dynamic throughout. This is a hauntingly lovely and passionate piece, and a wonderful opener to disc two.
One of their more recent hits, Better Now, is also featured on this album. The guitar seems to have some more bite, and the orchestra makes it feel fresher. However, I think this version leaves out some of the many enjoyable things about the original, and it falls somewhat short. In addition, the audience sings “the world’s done shakin’ me down” for too long, and, however exciting it may be during the live concert, it gets boring on a sound recording.
The next track is Satellite, a song written by the lead singer for his three-year-old son. It has a very calming and chill feel to it, almost like a lullaby. In the middle of the song, there is a somewhat spacey and warbling guitar solo. The lyrics are comforting and loving, talking about how he will watch over and protect his son. It is very pleasant and quite relaxing.
The last song (excluding the bonus track) is perhaps their most popular song, Shine. The highlight of this piece has always been the unforgettable guitar riffs, and when the orchestra comes in on this version, they are just etched into the mind. This is the song that first made me love music, and this live cut makes it one of the most wonderful songs I know.
Of course, there were other great tracks not mentioned here, such as the ballads Needs, Run, and How Do You Love; Gel, widely praised as their best song; and the bonus studio track, Burn. However, it is impossible to say all that there is to say about this album, so I’ll just say this: Home is worth every penny at any price.
Many rock bands who have tried concert collaborations with orchestras have failed miserably, but Collective Soul’s Home: A Live Concert Recording with the Atlanta Symphony Youth Orchestra is very different. Home is a breathtaking album that features some of Collective Soul’s best work, complimented by amazing orchestral arrangement.
One of the things that have always impressed me about Collective Soul is their ability to create beautiful, emotional ballads as well as straightforward, hard rockers, and yet neither style lacks anything. Sometimes they combine the two styles, and despite what might be the norm, this almost always seems to work. The expressive nature of Collective Soul’s music is highlighted very well by the Atlanta Symphony Youth Orchestra’s professional sound. The first time I heard this album, I was absolutely blown away by the sheer power of it all.
The first song I listened to was one of their bigger hits, December. December is a mid-tempo rock song that features brilliant guitar work and powerful vocals. It was always a first-rate song, but this version has a musical depth that the original never seemed to have. It is true that the vocals don’t sound the same, but that happens with so many concert recordings. December alone could be well worth buying the disc, but there are many more great songs.
Compliment, the next track on the album, is an expressive rock ballad that later combines with hard rock. It starts out with a graceful orchestral movement, followed by a guitar line that can only really be compared to The Who. The vocals that then enter send chills down the spine. Then the guitar becomes heavier, and though it begins to get a hard rock feel, it still seems like a ballad. This is a beautiful song that seems to get the atmosphere of the entire album.
Starting with heavy drums and Aerosmith-like guitar is Precious Declaration. This is definite Collective Soul hard rock, and the burning guitar is complimented quite well by searing orchestral work. While it is clearly not the best song on the album, it is a good song, even for those who don’t like hard rock.
Three tracks later is another one of Collective Soul’s big hits, a ballad called The World I Know. The music is calm, sounding somewhat resigned, and it has a sort of buzzing feel, with the guitar occasionally ringing throughout. The lyrics are sad, but not depressing. I was never really affected by the original cut, but the live version with the orchestra is so much more powerful, I am almost brought to tears when I hear it.
Starting out the second disc is the emotional Crown. The music in this song is almost entirely orchestral. It is also entirely beautiful. The vocals are sad and compelling, and the orchestra is strong and dynamic throughout. This is a hauntingly lovely and passionate piece, and a wonderful opener to disc two.
One of their more recent hits, Better Now, is also featured on this album. The guitar seems to have some more bite, and the orchestra makes it feel fresher. However, I think this version leaves out some of the many enjoyable things about the original, and it falls somewhat short. In addition, the audience sings “the world’s done shakin’ me down” for too long, and, however exciting it may be during the live concert, it gets boring on a sound recording.
The next track is Satellite, a song written by the lead singer for his three-year-old son. It has a very calming and chill feel to it, almost like a lullaby. In the middle of the song, there is a somewhat spacey and warbling guitar solo. The lyrics are comforting and loving, talking about how he will watch over and protect his son. It is very pleasant and quite relaxing.
The last song (excluding the bonus track) is perhaps their most popular song, Shine. The highlight of this piece has always been the unforgettable guitar riffs, and when the orchestra comes in on this version, they are just etched into the mind. This is the song that first made me love music, and this live cut makes it one of the most wonderful songs I know.
Of course, there were other great tracks not mentioned here, such as the ballads Needs, Run, and How Do You Love; Gel, widely praised as their best song; and the bonus studio track, Burn. However, it is impossible to say all that there is to say about this album, so I’ll just say this: Home is worth every penny at any price.
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