For the Record: Kathleen Edwards, The Little Willies, Billy Burnette, Rene Pape
Share with others:
Kathleen Edwards 'Voyageur' (Zoe/Rounder)
The Canadian singer-songwriter made a splash in 2003 with the lusty rock debut "Failer," and since then she has eased comfortably into her craft with a pair of safe, sure follow-ups.
Album No. 4 finds her back in a place of creative and emotional tumult, fertile ground for starting an album. In the making of "Voyageur," Ms. Edwards not only divorced her guitarist/husband Colin Cripps, she hooked up romantically with Justin Vernon of Bon Iver, whom she initially reached out to for just a creative spark.
When word came of their collaboration, it was natural to imagine her embracing ethereal autotune-d compositions and electronic textures. There's none of the former, but they do add atmospheric touches to her sturdy Americana rock, particularly to the pulsing single "Change the Sheets," that has her pleading, "Here is the truth, I swear it was fun/go ahead/run, run, run, run ..."
Rather than a typical folk-rock song, "Sidecar" comes with space-rock's blips, buzzes and whistles. And Mr. Vernon clearly takes her spare, melancholy songs like "A Soft Place to Land" and "Going to Hell" into bigger, dreamier territory.
Still, her vivid storytelling and familiar melodic style make this very much a Kathleen Edwards record -- one that is rife with mixed emotions and marital regret. "House of Empty Rooms" almost speaks for itself. "Looking back, it was such a dumb idea," she sings evocatively in "Pink Champagne," "five girls in the same colored dress."
-- Scott Mervis, Post-Gazette
The Little Willies 'For the Good Times' (Milking Bull)
Seven years or so ago, singer-pianist Norah Jones and four Manhattan-based friends -- bassist Lee Alexander (Ms. Jones' longtime producer), singer-guitarist Richard Julian, drummer Dan Rieser and Telecaster guitar virtuoso Jim Campilongo -- created the Little Willies, named for Willie Nelson and reflecting their common love of classic country. Their well-received eponymous 2006 debut album revealed a loose, easygoing approach with nary a hint of imitation.
"For the Good Times" offers another fetching blend of standards and lesser-known tunes, rendered with affection and respect. Mr. Julian adeptly handles the '50s trucker favorite "Diesel Smoke, Dangerous Curves" and Willie Nelson's mid-'60s ballad "Permanently Lonely." He has a ball with Johnny Cash's exuberant "Wide Open Road," recorded at his first Sun session but only released decades later. Mr. Campilongo's approach to country jazz is his own. His concise, witty style, showcased on the instrumental "Tommy Rockwood," blends fiery twang with impeccable taste that dazzles without crossing the line into overkill.
Ms. Jones, whose 2002 debut album included a Hank Williams song, is clearly as comfortable with country as with the originals on her albums. Her light yet respectful approach infuses both passion and joy into every interpretation. It's apparent on her aggressive treatments of the Stanley Brothers' "I Worship You" and Loretta Lynn's catty masterpiece "Fist City." She does likewise with the ballads, delivering "Remember Me" with plaintive dignity.
Her understated treatment of Kris Kristofferson's "For the Good Times" imbues it with an intimacy different from Ray Price's 1970 hit version, and the sultry treatment of Dolly Parton's "Jolene" has already earned Ms. Parton's approval. Similar virtues enhance her duets with Mr. Julian on "Lovesick Blues," the '20s pop tune Hank Williams made his own, Lefty Frizzell's 1950 honky-tonker "If You've Got the Money, I've Got the Time" and "Foul Owl on the Prowl," a cool pop-jazz obscurity from the '60s film "In the Heat of the Night."
There's nothing profound about the Willies nor was that ever their intention. It's five gifted people having the time of their lives. These laid-back interpretations speak not only to their own talents, but to the durability of the country standards they perform.
-- Rich Kienzle, for the Post-Gazette
Billy Burnette Rock & Roll With It (Rock & Roll With It)
Many may know him for his stints in Fleetwood Mac, yet Billy Burnette's most deeply rooted in the '50s Memphis rockabilly scene that spawned Elvis and the Rock and Roll Trio, which included his dad (singer-songwriter Dorsey Burnette) and uncle (singer Johnny Burnette). Mr. Burnette's own career has blended solo work with stints in Mick Fleetwood's Zoo and as a sideman with country singer Roger Miller, Bob Dylan and, more recently, John Fogerty.
As the title implies, "Rock & Roll With It" emphasizes basic, gutbucket rockabilly. Mr. Burnette, who's written hit country songs, wrote or co-wrote all 12 tunes here. The occasional backup vocals come from another Fleetwood Mac alumnus, Bekka Bramlett, the searing lead guitar from Marty Stuart sideman Kenny Vaughan.
"Keep On Keepin' On's" swampy sound seems a nod to Mr. Fogerty's style just as the ballad "Only the River Knows" honors the Roy Orbison sound. The Rock and Roll Trio influence emerges on the title song and "Hot Rod Hillbilly," homage to pioneer NASCAR driver Junior Johnson. Mr. Vaughn's guitar style is his own, yet his ideas occasionally invoke Paul Burlison, the Rock and Roll Trio's famed lead man. Jerry Lee Lewis' spirit permeates "Ready All Ready." Others, "Armed and Dangerous" included, have a more contemporary edge.
Mr. Burnette's arrangements occasionally run long, and the songs aren't meant to be lyrically profound. That said, it's an engaging effort and a more than decent party record.
-- Kienzle
Wagner Scenes from 'Lohengrin,' 'Die Meistersinger,' 'Parsifal,' 'Tannhaeuser,' 'Die Walkuere,' with Rene Pape (Deutsche Grammophon)
three and a half stars
Generally the term "bass-baritone" denotes a singer somewhere between the low bass and high baritone. German singer Rene Pape, however, spans the entire range of both, and he is arguably the best of his ilk in today's world of opera. The lower voices don't get the spotlight as often as sopranos and tenors, but he wowed opera lovers all over the world as Mephistopheles in the Metropolitan Opera's live HD December telecast of Gounod's "Faust" On this stunning CD, he goes through some of the most difficult and most varied roles in the Wagnerian repertory.
With consummate artistry, Mr. Pape colors his voice to accommodate the godlike qualities of Wotan (in "Die Walkuere"), the warm humanity of Hans Sachs (in "Die Meistersinger,"), the heroism of Lohengrin, the simplicity of Parsifal and the lovesick yearnings of Wolfram (in "Tannhaeuser"). For good measure, he adds the brief song of the Night Watchman in "Meistersinger" -- the tiny role he performed in 1995, his first season at the Met; and the soaring high baritone "Song to the Evening Star," from "Tannhaueser."
Most impressive is the lengthy Good Friday scene from Parsifal, in which Mr. Pape intones the music of Gurnemanz with organ-like deep tones and attention to the nuance of every word, while Placido Domingo supports him in Parsifal's lines. Daniel Barenboim is world-renowned as a Wagner conductor, but I find his quirky renditions with the Berlin Staatskapelle -- individual as they are -- at odds with the music we have lived with and grown to love.
-- Robert Croan, Post-Gazette
Also new this week
Ani DiFranco, "Which Side Are You On?": First studio album in more than three years from the indie-folk icon features 11 new songs, plus a radically reworked version of the Pete Seeger title track with Mr. Seeger on board. She's joined by her touring band, plus the likes of Ivan and Cyril Neville, saxophonist Skerik, singer-songwriter Anai¨s Mitchell and guitarist Adam Levy (Norah Jones, Amos Lee).
Martina McBride, "Hits and More": Career-spanning 20-song collection from the country superstar, with three new additions.
The Big Pink, "Future This": Second album from English electro-rock duo of Robbie Furze and Milo Cordell was produced by Paul Epworth (Adele, Florence & The Machine).
First Published January 19, 2012 12:00 am
