CD Review: Gao Hong and Friends' 'Pipa Potluck'

Gao Hong and Friends
Pipa Potluck
Innova

Pipa, a Chinese plucked lute, is the central component of the new album, Pipa Potluck, by Gao Hong and several guest musicians. This is where Asian folk meets American roots, bluegrass, and classical music. The instrumental album begins with a rousing bluegrass number, "Cluck Old Hen," which features the banjo of Alison Brown, the fiddle by Matt Combs, and bass by Garry West. "Friendship" is more of a contemplative Arabic concoction with oud, percussion, and of course, the pipa. The pipa and guitar complement each other quite nicely on the excellent "Golden Season." Likewise, the slack key guitar by George Kahumoku, Jr. and the pipa create another friendly and enjoyable medley on "Mosquito Song." The bluegrass and folk stylings come back on "Sally Johnson." The serene "Lutes Around The World" finishes the album with poignant strings and delightful melodies. Fans of strings, lutes, Chinese folk, neo-classical, new age, bluegrass, Arabic, folk, Americana, and world music in general will love to sample Pipa Potluck. Remember to leave room on your plate for additional listens! ~ Matthew Forss

Song Reviews: Alpine Camp's ''Regrets of A Cosmic Mountaineer" and "Seven Miles"

The Alpine Camp
Songs: "Regrets of A Cosmic Mountaineer" and "Seven Miles"
Self-Release

The Alpine Camp is a musical duo that comprises the work of Chris Bell and Charles Etienne. Chris is the primary guitarist and vocalist, while Charles is a pianist and vocalist. The duo brings in Jeff Stella on bass, Shad Wilhelm on drums, Bob Hamilton on banjo, and Jamison Hollister on lap steel. "Regrets of a Cosmic Mountaineer" opens with whining lap steel, uppity piano  melodies, rootsy percussion, and old-time folk elements wrapped around a catchy chorus with fast vocals and banjo stylings caught amid a roots and rock vein. The sub-three-minute track ends with a repetitive vocal line and guitar arrangement in a folksy context without any issues. "Seven Miles"  opens with a contemplative banjo tune with down-tempo drums and percussion amid jazz-standard and blues vocals in a classic R&B set-up. This seems to be executed in a very classic manner with a big nod to Americana tunes coming out in the 1960's and 70's. Though, as a completely original song, it stands alone with a complex categorization somewhere between folk, roots, rock, jazz, blues, and pop standard styles. The diverse stylings are still commendable and enjoyable throughout the above-mentioned tracks. 5 stars (out of 5). ~ Matthew Forss

CD Review: Boulpik's 'Konpa Lakay'

Boulpik
Konpa Lakay
Lusafrica

Boulpik is a Haitian group that resurrects the konpa musical style of the 1950's for a new generation. Konpa is a dance music that incorporates meringue music. This is not your typical meringue music; instead, Boulpik, which means "bullseye," produces a raw, organic, and country sound made from banjos, manoubas, and percussion with vocals. The mood of the music is very joyous and the instrumental arrangements are earthy and and enjoyable to say the least. This may have roots in folk music, but konpa, meringue, and Afro-Caribbean dance elements are the primary influence. The songs are in Haitian Creole and possess and strong nostalgic-tinged repertoire that blends perfectly with contemporary vocals. The tropical-infused, "Je Reviens Chez Nous," highlights the Canadian influence with a ballad not indigenous to Haiti. Overall, Boulpik hits the bullseye with Konpa Lakay. ~ Matthew Forss

CD Review: Carry Illinois' "Siren"

Carry Illinois
Siren
Self-Release

The smoky vocals of band leader, singer/songwriter, and guitarist, Lizzy Lehman, forms a folksy and cohesive mix of tunes  on her debut EP, Siren. The Texas-based band is comprised of Nick Droz on bass, Rudy Villarreal on drums, and Darwin Smith on guitar. The indie-folk vein is a clear one with radio-like vocals on "Nothing To Despise" and the jaunty "Weakest Limb" showcases a little folk angst with contemplative Oasis-like arrangements. The music is embellished with keyboards, banjo, cello, and additional programming. "Siren" begins with an atmospheric arrangement that quickly gives way to an avant-garde folk melody with static-like vocals and methodic melody. "Jackson Square" showcases the banjo and Lizzy's heartfelt vocals. The sauntering melody and folksy rhythm contains a slight blues edge with hints of hope and love throughout. As a whole, the instrumentation is tight and memorable. The vocals are diverse and the lyrics are intelligent. This is inventive folk music with a message. It's simply very, very good. ~ Matthew Forss

CD Review: Jayme Stone's 'The Other Side Of The Air'

Jayme Stone
The Other Side Of The Air
Self-Release

Canadian banjoist, composer, and producer, Jayme Stone, brings us a fresh release of globetrotting instrumentals that fit a chamber orchestra with such passion, intensity, and experimentation. This represents not only a classical side, but also an African and American roots conglomeration. Imagine experimental jazz with world fusion and classical undertones directing the entire project. The sparkling banjo tones and blurting horns and vibrant strings keep everything moving along unapologetically. It may be world jazz, world music, world fusion, or neo-classical, but one thing is for sure: the music is top-notch. Anyone looking for plaintive and relaxing tunes that seem to incorporate different ethnic influences will love this jazzy, classical, and unique recording. ~ Matthew Forss

CD Review: Txutxukan's 'Surf The River Lee'

Txutxukan
Surf The River Lee
Wild Boar Music

Hailing from France, Txutxukan (pron: tchoo-tchoo-ken) is a Balkan/Gypsy group named after the Basque phrase for "puttering about" or "doing odd jobs". However, Txutxukan shows no signs of puttering out or about on their latest release, Surf The River Lee. The group is comprised of Dylan Gully on clarinet, sax, kaval, and recorder; Bruno Hollemaert on guitar, bouzouki, accordion, and banjo; Eric Belot on upright bass and electric bass; Joachim Mouflin on percussion, drum kit, and bouzouki; and Joseph Detailleur on accordion. Special guest musician, Stella Rodrigues, plays the gamelan on "El Din." There are a few vocals for added effects. However, the majority of the album is largely instrumental. The instruments come together to form a Klezmer, Gypsy, and Balkan result that is edgy, dance-laden, and always moving. There is a bit of jazz, classical, and avant-garde influences, but nothing is too overt. The sauntering melodies, uppity percussion, and catchy rhythms are breezy, addictive, and richly-textured. Discover Txutxukan today! ~ Matthew Forss 

CD Review: Grand Old Grizzly's Self-Titled Release

Grand Old Grizzly
Grand Old Grizzly
Self-Release

A Texas alt-country act, Grand Old Grizzly presents us with an upbeat, bluegrass, and folk-tinged tunes with clever lyrics and memorable melodies on drums, guitars, keyboards, pedal steel, and bass. Grand Old Grizzly is led by vocalist and guitarist, Will Thomas. But he is joined by Mark Riddell on bass, vocals, keyboards, and percussion; Dustin Welch on banjo; Paul Beebe on drums, vocals, and guitars; and Craig Feazel and Katie Stuckey on pedal steel. The Americana folk sounds are rousing to say the least. There is even a bit of grungy/country-rock on "Tallahassee." The vocals on most of the songs resemble a younger version of Counting Crows-frontman, Adam Duritz. There are pop-centric elements which are bright and energetic, but the vocals are never loud or indiscriminate. The simplistic "I Was Thinkin'" is a dreamy ode on guitar with light instrumental embellishments. "Pretty Little Head" contains a slew of poetic vocals and giddy guitar stylings with pure pop pleasure wrapped around a country-esque backbone. There are eleven songs in all and none of them suffer from any insufficiencies. Grand Old Grizzly is grand music with a heart and soul. ~ Matthew Forss  

CD Review: Jay Ungar & Molly Mason Family Band with Univ. of Mary Washington's Philharmonic Orchestra's 'A Fiddler's Holiday'

Jay Ungar & Molly Mason Family Band
A Fiddler's Holiday
Rounder

The end of the year boasts numerous holidays and celebrations--many of them, musical. Jay Ungar and Molly Mason join the University of Mary Washington Philharmonic Orchestra for an outstanding live performance of over one dozen toe-tapping instrumental tunes that celebrate the holiday season after Thanksgiving. There are no vocals, but some of the song introductions contain background on the songs. The soulful fiddling, folksy-picking, and pensive piano with galloping percussion in the Celtic, European, and Folk-driven genres. There are danceable tunes throughout with little in the way for relaxing. However, some of the tunes are somber and reflective, but the vocals on "Darkest Days, Brightest Nights" are sweet and evocative. Anyone with an interest in live folk recordings with a Celtic edge honoring Christmas, Chanukah, Solstice, etc. will love it. ~ Matthew Forss

CD Review: Brad Hammonds Group's 'Greene Street'

Brad Hammonds Group
Greene Street
Self-Release

The effervescent world folk music of guitarist Brad Hammonds adds another dimension to the world of music with his fellow bandmates. The folk guitarist composes instrumental guitar jams that are accompanied by cello, banjo, mandolin, bass, and percussion. The lightning fast acoustic picking is top-notch and readily processed by all who listen to it's twinkling melodies. The folk percussion and Brad's 12 and 6-string guitars add a little Appalachian splendor to the mix. The ten tracks represent a lush collection of emotive compositions are fun to listen to and each one reveals something new with every listen. Fans of Ben Bowen King, Bob Brozman, European/Celtic traditions, and instrumental guitar-folk music will love it. ~ Matthew Forss

CD Review: Lac La Belle's 'Bring On The Light'

Lac La Belle
Bring On The Light
Double Lot

The music of Appalachia is not particularly well-known in the state of Michigan, but Lac La Belle is set to change all that. Jennie Knaggs is the primary vocalist, but she also plays the accordion, ghost fiddle (spooky!), guitar, mandolin, and ukulele. Nick Schillace is also a vocalist, but plays the 12-string guitar, 5 and 6-string banjo, and resonator guitar. The thirteen songs represent heartfelt, lyrical displays of good'ol folk music with splendid picking, plucking, and strumming. Jennie's vocals are sweet, smooth, and crystal clear throughout. Jennie's vocals are reminiscent of Shawn Colvin's earlier days. The mostly instrumental "New Memories of Oklahoma" contains a good dose of plucking splendor that shines with Appalachian nostalgia and Jennie's folksy vocals. The guitar-driven "Housebreaker" contains Nick's vocals, alongside the banjo. The rousing blues and rock-tinged "I Am A Hammer" is littered with folk leanings and Appalachian charm with Nick's old timey voice. Fans of Appalachian folk music, Americana, and old time music will love the music of Lac La Belle. ~ Matthew Forss

CD Review: Various Artists' 'The Mountain Music Project: A Musical Odyssey from Appalachia to Himalaya'

Various Artists
The Mountain Music Project: A Musical Odyssey from Appalachia to Himalaya
Self-Release

The Mountain Music Project... successfully attempts to bridge two distinct cultures--Appalachia and Himalaya--together, despite the seemingly distinct cultural attributes of both cultures. The folk and string traditions of Appalachia are not particularly different from that of the Himalayas. The Appalachian side is represented by Grammy Award-winning Tim O'Brien and Curtis Burch. In addition, Tara Linhardt, Tony Trischka, Abigail Washburn, Mark Schatz, Riley Baugus, Aaron Olwell, Matthew Olwell, and Paul Brown round out the Appalachian repertoire. On the Himalayan side, Buddhiman Gandharba, Manjo Gandharba, Jagat B. Gandharba, Ganesh Gandhari represent folk musicians proficient on the madal, sarangi, arbaj, and bansuri flute. Some of the Nepalese instruments are joined with the guitar, banjo, mandolin, mandola, and Irish flute. ~ Matthew Forss 

CD Review: Souad Massi's 'O Houria'

Souad Massi
O Houria (Liberty)
Wrasse Records

Algerian-born and France-based, Souad Massi, releases yet another superb release of French-tinged pop music. Steeped in French music traditions, O Houria represents an infectious and mature album that does not contain one weak track. The magnificent musicianship by the vocalist and guitarist is especially evidenced on the catchy opener "Samira Meskina", country-influenced "Une Lettre A...Si H'med", the folksy "Tout Ce Que J'aime", the laid-back ballad "Khabar Kana", the piano ballad and duet with Paul Weller on "Let Me Be In Peace", and the bluesy "Enta Ouzahrek". Souad sings in French, English, and Arabic. As a whole, the music is catchy, but not too loud or vocally-forced. The relatively reserved instrumental sounds originate from the bass, piano, guitars, drums, banjo, ukulele, bouzouki, mandolin, oud, and accordion. In essence, the suave and sensual Souad Massi delivers on all accords. ~ Matthew Forss