Showing posts with label joan baez. Show all posts
Showing posts with label joan baez. Show all posts

Paradise Review

Paradise
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Paradise ReviewA new recording by Judy Collins is always cause for celebration. Her latest "Paradise," consisting of ten selections, is no exception. The title of the CD comes from the last cut "Gauguin" by Jimmy Webb. "I'm going to go down to Paradise." This song is one of my least favorites although it may grow on me when I listen to it more. "Dens of Yarrow" is the kind of song that Judy recorded when she first started singing. What is amazing is that you would swear that she recorded it 50 years ago and not in 2010. On that one she plays the Roland keyboard. A little of that usually goes a long way with me but her accompaniment works here. "Kingdom Come" is the only song that Ms. Collins wrote. It is a tribute to the brave firefighters and others who lost their lives on 9/11. "They will not be forgotten."
"There is nothing wrong with Judy's rendition of the famous "Over the Rainbow" except she is the wrong Judy singing it. That song will always be Ms. Garland's unless you hear the incomparable version by Israel Kamakawiwo'ole which will blow you out of the Pacific Ocean. "Weight of the World" is a fine but terribly sad song about a son and brother-- his sister tells the story-- going off to a war in a desert (It was the first time I saw my father cry.) We know of course that the dad cried on at least one other occasion when the military send her brother home in the dead of winter and the flag on the hometown football field flew at half-mast. (The Dixie Chicks sing a similar song "Travelin" Soldier" on their "Home" CD.)
My three favorite selections on the CD are "Ghost Riders in the Sky," "Last Thing on My Mind," and "Diamonds and Rust." Ms. Collins in "Ghost Riders" has a great backup chorus consisting of Denver Collins, Joe Hurley, Bob Neuwirth, Tom Paxton, Paul Rolnick and Jimmy Webb. She recorded Tom Paxton's "The Last Thing on My Mind" years ago and re-records it here with an old boy friend Stephen Stills of Crosby, Stills and Nash and sometimes Young who almost as many years ago wrote "Suite Judy Blue Eyes" in praise of Ms. Collins. It is great to hear their gentle harmonies on this one of my favorite songs--"Didn't mean to be unkind/you know that was the last thing on my mind." Stills plays 12-string guitar; Judy is on guitar on this arrangement. But the grand prize goes to "Diamonds and Rust," the song Joan Baez wrote and recorded for Bob Dylan. Here we have two of the great women's voices of the folk era-- if not the two best-- singing in what appears to be close harmony in a delicate and haunting arrangement of this beautiful song. They are accompanied by Russell Walden on piano and the Nashville Rhythm Section that provide perfect accompaniment for this perfect duet. The enduring appeal of "Diamonds and Rust" has to be its universality: the remembrance of a love so long ago, a love in which you gave more than you received and you still have feelings for the person you loved.
I wish we had been given the lyrics to the songs and that Ms. Collins had used another photograph for this CD even though she is still very beautiful and Annie Leibovitz, who according to the notes took the picture, is of course considered by some critics to be the best celebrity photographer alive. Russell Walden plays piano on many of the cuts and Larry Campbell picks the 12-string guitar on really fine instrumentals. Judy's silvery voice of course still captivates, still moves the listener, still shines just as it has throughout her long glorious career.Paradise Overview

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Bowery Songs Review

Bowery Songs
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Bowery Songs ReviewThere was disagreement among Amazon reviewers over the last studio album, Dark Chords On A Big Guitar (I loved it, some loathed it, without too many listeners feeling something in between). Bowery Songs should bring older and newer Joan Baez fans closer together, although I, personally, did not need yet another recording of "Joe Hill" or "Deportee," whose tunes I find tired and uninteresting (I'm one of those older Baez fans who happens to appreciate Joan's experimentations with more modern sounds). That having been said, I saw one of the shows from the tour that resulted in the recording of this CD, and it was one of JB's finest hours, combining the old and the new with grace, style, and wit; Joan's latest band is arguably the best group she has ever performed in concert with. Yes, there are some songs from Dark Chords..., but Greg Brown's "Rexroth's Daughter" may be even better than the studio version, and ditto Natalie Merchant's "Motherland" (with some fine electric guitar work). The sound is crystal clear and the band seems enthusiastically engaged, as Joan rises to the occasion. Steve Earle's "Christmas In Washington" is reprised as well.
The rest of the album includes songs spanning Joan's entire career. A reworking of the old folk chestnut "Jackaroe" is fun (nice bass work by Graham Maby, as on much of this album). "Carrickfergus," first heard on Joan's 1989 Speaking of Dreams album, is gorgeous, although more subdued here. I would have expected yet another recording of "Silver Dagger" to bore me, but wait -- there's a twist: the added banjo and the slowed tempo give the thing a new dimension (I wonder if Joan took a cue from Dolly Parton's spectacular, although much faster, bluegrass version on her The Grass Is Blue CD). Dylan fans may be annoyed by Joan's prettified rendition of "It's All Over Now Baby Blue," but I've always liked much of the Dylan catalog as performed by Joan, because whatever she lacks in grit she makes up for in the revelation of Dylan's beautiful tunes (revisit the JB album Any Day Now, if you haven't, recently) -- I admire Dylan's lyrics, but his own singing often obscures the fact that he has written some great melodies. This is emphasized, as well, in a refreshed arrangement of "Farewell Angelina," one of Joan's most oft-recorded numbers.
Finally, the two stand out tracks on Bowery Songs are among four never before recorded by Joan: Dylan's "Seven Curses," an adaptation of a much older folk song, and the traditional "Dink's Song." The former is performed with only Joan's own, superb guitar picking, and she sounds great singing this memorable melody. The latter also has a simple acoustic guitar arrangement but also features a chilling electric slide guitar noodling around behind, which gives the piece added atmosphere. Joan's voice may have aged, but here it is like a fine, vintage wine, full of flavor, and an echo of sunnier days. These two songs are, alone, worth the price of the CD, especially if you are already a Joan Baez fan.
Bowery Songs OverviewOver four decades after her landmark live album, In Concert, Joan Baez returns with Bowery Songs--a new live album that captures her November 6, 2004, performance at the Bowery Ballroom in New York City. USA Today has called Baez "the matriarch of modern folk music" and Bowery Songs celebrates her career and legacy with both classic and previously unreleased material. It features four previously unrecorded songs: Bob Dylan's "Seven Curses," Steve Earle's "Jerusalem," the hymn-like "Finlandia," and the traditional "Dink's Song." Baez is supported on the album by her recent touring band, George Javori, Duke McVinnie, Erik Della Penna, and Graham Maby. The Washington Post recently said of Baez's live performances, "... still familiar after decades... she commanded newer compositions with grace and agility."

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Journey to the New World Review

Journey to the New World
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Journey to the New World ReviewThis is a review by John Hodges from the Juilliard Journal Online.
Joan Baez was one of guitarist Sharon Isbin's childhood heroes, so perhaps it was inevitable that they would eventually collaborate, and the joyous results are at the heart of a new Sony CD, Journey to the New World. Baez adds haunting vocals on "Wayfaring Stranger," which, thanks to arranger Carlos Barbosa-Lima, deftly steers away from treacle. She returns later in breathy, beautiful form for Isbin's transcription of John Jacob Niles's "Go 'Way From My Window." Both make fine bookends to the Joan Baez Suite (2002) by John Duarte, who died in 2004. It's a shame he didn't live to hear this recording. Using roughly 12 of Baez's songs, Duarte crafted a moody yet mellow tribute that shows off Isbin's expertise. A high point comes in the bittersweet "Where Have All the Flowers Gone": some arresting chord changes herald the traditional "Taps."
Isbin, who founded and chairs Juilliard's guitar department, begins the CD with four Renaissance duets, originally for lute and arranged for her playing both parts. Most impressive is the melodic invention of John Johnson's "Greensleeves," and I was struck by the haunting, anonymously attributed begins the CD with four Renaissance duets, originally for lute and arranged for her playing both parts. Most impressive is the melodic invention of John Johnson's "Greensleeves," and I was struck by the haunting, anonymously attributed "Le Rossignol." The generous disc also includes Andrew York's brief Andecy, a popular valentine to folk music of the British Isles.
The program ends with Mark O'Connor's Strings & Threads Suite, originally for violin solo, but here arranged for guitar and violin (the latter raptly played by O'Connor). Sections such as "Road to Appalachia" and "Texas Dance Hall Blues" are typical of its homey, exuberant channeling of folk tunes from Ireland and the United States. Throughout the program, Isbin's warmth, vitality, and casual virtuosity infuse each track. Those who know Isbin only from her Bach, Rodrigo, or Villa-Lobos may be surprised by her naturalness in this repertoire. The recording engineers, Tim Martyn and Dann Michael Thompson, capture every pluck in vivid detail.Journey to the New World Overview

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Dark Chords on a Big Guitar Review

Dark Chords on a Big Guitar
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Dark Chords on a Big Guitar ReviewI must say that I was extremely sceptical when I heard that Joan Baez was going to release a new album. I knew that she had lost some of her vocal range, and modern productions have a tendency to diminish the impact of records by veteran artists.
However, while Baez's voice is not the same as it was in the 60s or 70s, it is much lower, huskier, and ultimately warmer and more accessible than ever before. The production, while definitely modern, fortunately never gets in the way of the material.
The album's strongest suit, however, is the songs themselves. Baez has always had a knack for finding great material from other artists, and all ten songs here are fantastic. She did not include any of her own compositions (she claims to have given up writing songs), but that is hardly missed at all. The writing, despite being the work of many different pens, is uniformly dark and ominous. However, many tracks are simultaneously sultry and exciting, which makes for a fine listen both the first time around and after repeated listenings. There is a folk-rock core to the songs, but over this is an interesting mixture of blues, jazz, and occasionally a fairly hard (for Baez) rock sound. This is one of her best albums, and certainly her most consistent. Not even Diamonds and Rust or Any Day Now had this depth of emotion or unity of texture.
Perhaps the most effective review I can give this album is this: I hope Baez puts out another album like this, and soon. Thanks, Joan!Dark Chords on a Big Guitar Overview

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