NEIL YOUNG & CRAZY HORSE: "Colorado"

Original released on CD Reprise 093624898900

(EU 2019, October 25)

At a time when chaos and unpredictability hold sway in so much of the world, it's hard to fault anyone for wishing for something stable and familiar, even from someone as chronically unpredictable as Neil Young. In 2019, Young announced he was recording again with Crazy Horse, and after a handful of especially eccentric and uneven albums - 2016's "Peace Trail", 2017's "The Visitor", 2018's "Paradox" - the notion of Neil and Crazy Horse cranking up their amps and making some righteous noise sounded like the sort of comfort food many fans had been hungry for. However, in time-honored Neil Young tradition, 2019's "Colorado" is a bit different than what fans might have been expecting. Frank "Poncho" Sampedro, Young's longtime guitar foil in Crazy Horse, opted not to participate in their latest reunion, and Young recruited his occasional collaborator (and longtime Bruce Springsteen sideman) Nils Lofgren to take his place. Where Sampedro had a knack for goading Young into conjuring billows of howling brilliance from his axe, on "Colorado", Lofgren instead gives him a strong, stable framework that allows Neil room to explore yet doesn't push him forward. As a result, this isn't a cathartic blowout in the manner of "Rust Never Sleeps" or "Ragged Glory" but instead harkens back to the focused yet ambling mood of "Everybody Knows This Is Nowhere" and "Harvest", only with songs that are good but by no means exceptional. As with much of his work in the 2010s, Young's lyrics here reflect an autumnal concern with politics, the environment, and mortality, and they're thoughtful and of their moment, but they sound more like blog posts than clearly thought-out messages. While this is hardly unexpected from rock's leading "First Thought Best Thought" man, they're still not up to the standard of his best music; after a while, repeatedly informing us he's an old white guy on "She Showed Me Love" sounds less like self-awareness and more like he's not sure if we know, which we certainly do. That said, if "Colorado" isn't the great soul-satisfying rocker we were dreaming of, the dusty howl of Young's electric guitar work is here in plentiful supply - not at full strength but loud enough to matter (especially on "Shut It Down" and "Help Me Lose My Mind") - Young is properly engaged with his material, and his interplay with Lofgren, bassist Ralph Molina, and drummer Billy Talbot is a reminder of why Crazy Horse has been on hand for so much of his greatest work. At a time when a great album from Neil Young would have been more than welcome, "Colorado" is instead a good one, but it's recognizably the work of a great artist, and that's more than can be said of the last few offerings Young has given us. (Mark Deming in AllMusic)   

LUCIENNE In New York

Original released on CD Warner Classics 190295407100

(US 2019, October 4)

JEFF GOLDBLUM & THE MILDRED SNITZER ORCHESTRA: The Second Album

Original released on CD Decca B0031206-02

(US 2019, November 1) 

A year after issuing his debut album, "The Capitol Studios Sessions", Jeff Goldblum returns to the piano and his band the Mildred Snitzer Orchestra with 2019's "I Shouldn't Be Telling You This". The acclaimed actor brings a level of street cred to his musical endeavors that many celebrity-turned-musicians lack. A longtime jazz pianist, Goldblum actually started out playing gigs years before he embarked on his Hollywood career and has continued to moonlight as a pianist, regularly playing shows around Los Angeles and New York. While he displays a knack for straight-ahead jazz sophistication, it doesn't hurt that he surrounds himself with a bevy of top-notch pros, including Hammond B-3 specialist Joe Bagg who carries a lion's share of the Mildred Snitzer Orchestra's sound throughout the album. Also contributing are bassist Alex Frank, guitarist John Stone, drummer Kenny Elliott, and saxophonists James King and Scott Gilman. Together, they play a brightly attenuated brand of '60s-influenced jazz that brings to mind the groovy hard bop of Horace Silver crossed with the urbane soulfulness of Ramsey Lewis. As on "The Capitol Studios Sessions", here Goldblum also features a handful of guest performers, including indie singer/songwriter Sharon Van Etten, who acquits herself nicely on a dusky version of "Let's Face the Music and Dance." Similarly, Fiona Apple evokes Shirley Bassey's feline swagger on "Don't Worry 'Bout Me." One of Goldblum's more interesting choices on the album is to create unexpected mash-ups, as with his wryly swinging combination of Lee Morgan's "The Sidewinder" and Sonny Bono's "The Beat Goes On" featuring singer Inara George. Also surprisingly effective is his arrangement of Wes Montgomery's "Four on Six" weaved together with Marianne Faithfull's "Broken English" and helmed with Weimar cabaret swagger by singer Anna Calvi. Somewhat less effective is Miley Cyrus' rendition of Ray Henderson and Lew Brown's standard "The Thrill Is Gone" paired with John Lewis' "Django," which while proving Cyrus has more vocal chops than she's often given credit for, trades the song's yearning subtlety for a Broadway-level theatricality that feels forced. Nonetheless, Goldblum's skill at showcasing other performers is clearly a part of his charm, and here it extends beyond pop artists as he brings on San Diego trumpeter Gilbert Castellanos for several tasty solos, spotlights L.A. jazz chanteuse Gina Saputo on an impressive vocalese version of "If I Knew Then," and communes with Grammy-winning vocalist Gregory Porter over a warm reading of "Make Someone Happy." While Goldblum's smiling charisma is the main selling point to "I Shouldn't Be Telling You This", he often takes a backseat, even waiting until the very last song to spotlight his own lyrical vocal skills on the intimately rendered "Little Man, You've Had a Busy Day." It's an admirable choice given the high level of talent displayed by his guests and the Mildred Snitzer Orchestra. That said, Goldblum sounds good, and his fans probably wouldn't mind hearing more of him and less of his friends. (Matt Collar in AllMusic)

WOLFGANG AMADEUS MOZART: "Requiem"

The "Requiem in D minor, K. 626", is a requiem mass by Wolfgang Amadeus Mozart (1756–1791). Mozart composed part of the "Requiem" in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the piece for a requiem service to commemorate the anniversary of his wife's death on 14 February. (in Wikipedia)

CHANTAL CHAMBERLAND: "Temptation"

Original released on CD evosound 719M

(HONG KONG 2019, September 13)

"Temptation" is a stellar example of creative courage. Given her large and loyal international audience, powerhouse Canadian jazz vocalist Chantal Chamberland could easily have played it safe by delivering an album of Songbook standards sure to please the following she has built over the last two decades.Instead, a rigorous search for new and oft-unconventional material resulted in a generous collection of 13 songs for which the description 'eclectic' is an understatement. Her seventh full-length release, "Temptation" moves from Blues, Jazz, to Bossa and features such classics as "I Put A Spell On You" and "I Want A Little Sugar In My Bowl" nestling alongside tunes written or made famous by artists as diverse as Tom Waits, Bill Withers, Justin Timberlake and Michael Jackson, Rodriguez, Cher, U2, and modern rock band Snow Patrol. Chamberland makes this seemingly unlikely song selection work by breathing vibrant new life into every single one, assisted by the inventive arrangement and production choices she makes and the stellar accompaniment of her carefully chosen cast of A-list players. The diverse material, all focused on different facets of love, showcases her impressive range as a vocal stylist. While always avoiding vocal gymnastics, Chamberland moves from quiet and intimate to sultry, sensual and soulful with seamless ease. The result is a "Temptation" you will gladly and inevitably succumb to. French-Canadian singer Chantal Chamberland strikes a perfect balance between the soul of the classic singer/songwriter and the dynamic verve of a jazz chanteuse. Chantal Chamberland's sensuous, smoky voice is her trademark instrument. "Temptation" is a dish best served chilled. Relaxed mood during wine o'clock. Extraordinary company with a snifter of XO. Play on shuffle while soaking in some bubbles. (in Discogs)

THE WHO Last Album

Original released on CD Polydor 7743036

(EU 2019, December 6)

It's not billed that way but given the Who's productivity since their initial split in 1982, it's difficult not to view 2019's "Who" as the band's final album. It's only their second album in 37 years, and if it takes them another 13 years to complete a third - that's the length of time separating "Who" from 2006's "Endless Wire" - both Pete Townshend and Roger Daltrey will be well into their eighties, a seemingly unlikely age for new work by rockers. Then again, the Who have long outlived Townshend's youthful desire to die before he gets old, a fact he began to contend with during the mid-'70s, when he chronicled his middle-aged disappointment on "Who by Numbers". "Who" doesn't sound much like "Who by Numbers". Keith Moon and John Entwistle are long gone, Daltrey's voice has been sanded away to a gravelly rumble, and Townshend found himself rejuvenated by playing with bassist Pino Palladino and drummer Zak Starkey. A different rhythm section along with the aftermath of aging does mean "Who" feels polished and precise, but if the group has swapped kinetic energy for professionalism, they're not exactly settled. Much of the credit should go to Townshend, who continues to wrestle with emotions and ideas that are just outside his grasp, setting his struggle to music equal parts muscle and mark. There are a few new wrinkles, such as the smooth, soulful "I'll Be Back," the album's most romantic moment. It's one that's needed. Elsewhere, Townshend attempts to find his place in a world in turmoil, coming to terms that he's fine with the passing of time, but that doesn't prevent him from throwing barbs. Daltrey responds in kind, treating the songs with care and respect. Age has diminished his range but increased his sensitivity, a combination that benefits "Who", since he handles vulnerable moments like "Break the News" with sensitivity and mines "All This Music Must Fade" and "I Don't Wanna Get Wise," discovering their undercurrent of defiance. After all these years, it becomes clear that the relationship between Daltrey and Townshend - the singer serving as the songwriter's best interpreter and editor - is at the core of the Who, which is why "Who" feels like a Who album: The two still bring out the best in each other. (Stephen Erlewine in AllMusic)

"Echo In The Canyon" (OST)

Original released on CD BMG 538493922

(US 2019, August 9)

With the documentary featuring Jakob Dylan, the son of Bob Dylan, the film explores and revolves around the the beginnings of the Laurel Canyon music scene back in the mid 60’s, where many of the nations best loved artists honed their craft, developed their style and painted a new hypnotic vision for the world. In the documentary, Jakob Dylan surfaces new and never heard before personal encounters and stories behind the bands, their sound and how the music of that time and place continues to inspire others today. "Echo in the Canyon" is both a documentary and a musical soundtrack laying out candid conversations and performances with the likes of Brian Wilson, Ringo Starr, Michelle Phillips, Eric Clapton, Stephen Stills, David Crosby, Graham Nash, Roger McGuinn, John Sebastian, Lou Adler and Jackson Browne, as well as contemporary musicians that were influenced by those emancipated dreamy sounds, artists such as Tom Petty in his very last film interview, along with Beck, Fiona Apple, Cat Power, Regina Spektor, Jade Castrinos and Norah Jones. Several of todays most popular artists lay out their take on some of these wondrous classics, including Fiona Apple covering the Beach Boys’ “In My Room,” Regina Spektor laying out her take of “Learning to Fly” by the Buffalo Springfield, and of course the collection would not be complete with a a rendition of the blistering Monkees’ single “She.” All of the material captured here is rather laid back in its nature, encompassing a sort of easy going Rick Nelson attitude meshed with a orchestral Phil Spector ‘Wall of Sound’, where these songs move and interplay with each other smoothly, not so much evoking or designed to reenact those actual hits, more to shine a new light, both instrumentally and vocally, breathing new life into these classic manifestations that so readily captured the attention of the world during those heady days and nights.  All of the songs are rather short, reflecting the AM radio nature of some of the best and most powerful songwriting and dynamic music from that time. Laurel Canyon was more than a spot in the California hills, it was a community of musicians and artists who inspired and pushed each other to be more than they individually ever dreamed they could become. It was also party central with mysterious neighbors that included the CIA, various manufacturers of LSD, drug smugglers, recording studios and hangers-on, all of whom coaxed this amazing time into being. (streetmouse in RateYourMusic) 

ANTONIO PORTANET: Eternamente Lorca"

Edição original em CD Alain Vachier Music AVM 025

(PORTUGAL 2019, Março 29)

Depois de muitos anos Antonio Portanet voltou a viver em Portugal e voltamos a reencontrar-nos. A lembrança dos concertos e dos LPs editados em 1978 ("Muertes") e 1983 ("Noche de Cuatro Lunas") estava presente e por isso o desafio de voltar a cantar em Portugal e não só... realizaram-se alguns concertos, mas fazia falta algo... Gravar um álbum! Organizaram-se as agendas de Pedro Jóia, Norton Daiello, Vicky Marques, David Leão e nasceu o álbum “Eternamente Lorca” com a poesia de Federico Garcia Lorca e música de Antonio Portanet. 

J.J. CALE Latest Album

Original released on CD Because BEC5543727

(FRANCE 2019, April 26)

With each album, J.J. Cale just proves how good of a guitar player he is and how much influence he has had on other contemporaries like Mark Knopfler and Daniel  Lanois. A few tracks here almost sound like Knopfler playing. The first few tracks are nice country blues. If we try, is a cool acoustic track, probably the best here. "Tell Daddy" is a dreamy number, played with brushes and piano. "Maria" is almost a Lanois sounding track from his Wynona album. "Don't Call Me Joe" is another dreamy number to wrap up the album. For a set of unreleased stuff this comes over as a pretty decent Cale album in its own right even at the points when its clearly just a solo demo, which is measure of the sheer consistency of the mans artistry. Damn I really miss this guy. His take on the blues was pretty unique. (in RateYourMusic)

The LEONARD COHEN Phostumous Album

Original released on CD Sony 19075978662

(EU 2019, November 22)

When Leonard Cohen sang "I was born like this, I had no choice/I was born with the gift of a golden voice" in his song "Tower of Song" in 1988, most people took it as a self-deprecating joke. No one regarded him as one of the great vocalists of his generation when he released his first albums in the late '60s, given the dour, sometimes flat tone of his delivery. Conventional wisdom has it that his albums succeeded not because of his singing but despite it. But a funny thing happened: as the man grew older and his instrument turned rougher and craggier, he learned to make it more eloquent than before, and he was giving some of his best and most seductive performances in the last decade of his life. In 2016, as Cohen was sitting side by side with mortality, he recorded a final batch of songs, nine of which appeared on his last album, "You Want It Darker", issued just three weeks before his death in November 2016. Three years on, Leonard's son Adam Cohen, a singer and songwriter in his own right, has married nine more vocal performances from his father's last months to backing tracks, and the result is this album "Thanks for the Dance". Several notable artists contributed their talents to this project - among them Jennifer Warnes, Beck, and Leslie Feist - yet it's Leonard Cohen's vocals and lyrics that dominate the spotlight, and with his voice reduced to a dry, throaty whisper, he manages to make some of the most compelling music of his life. In his frailty, Cohen finds a strength that's little short of miraculous, suggesting the musings of a prophet as he speak-sings these messages of darkness and light in the spaces between love and the ultimate finality. Adam Cohen has done a superb job with this material; the arrangements created after the fact sound like they were always meant to serve these songs, and they add a weight and dynamics that never distract from his father's words, some of which ("Puppets" and "It's Torn") recall the themes of his work of the early '70s, but mostly reflect the sweet, bitter wisdom that comes in life's final act. At a bit under 30 minutes, "Thanks for the Dance" might not seem to be a major statement at first glance, but it's a missive that carries startling power, and it's clearly not built from scraps and leftovers, but assembled with a love that's equal to the knowledge Cohen put into it. This adds more documentation to the wholly unexpected and satisfying final act of a truly great songwriter, and it deserves your attention. (Mark Deming in AllMusic)

"Once Upon A Time In Hollywood" (OST)

Original released on CD Columbia 19075972862

(US 2019, July 26)

The BOSS Is Back Again!

Original released on CD Columbia 19075941972

(US 2019, June 14)

"Western Stars" is a title that suggests wide-open, cinematic vistas, music made for the outer reaches of a widescreen. Such sweeping ambition isn't necessarily alien to Bruce Springsteen, a rocker who designed his self-styled 1975 breakthrough as a larger-than-life hybrid of AM pop and FM album rock profundity - a daring fusion that eventually favored the latter, perhaps because it was easier for the E-Street Band to fill arenas with cranked amps and big riffs. "Western Stars" contains none of that rabble rousing. Springsteen plays and writes with a gentle touch on this 2019 album, his empathy evident in his series of story songs and character portraits and in his embrace of another aspect of AM radio that he previously avoided: orchestrated arrangements so rich and enveloping they can sound softly trippy. Taking his cues from the lush hits Jimmy Webb wrote for Glen Campbell, Springsteen never opts for music that is as opulently ornate as his inspirations. His words are a little too direct, for one, a combination of cannily sturdy clichés tempered by startling turns of phrase that pulls songs into perspective. The clichés are intentional. All of its allusions to the culture of the '60s and early '70s - the swirling strings, the songs of wanderlust, the wink to Leiber & Stoller in the title of "Sleepy Joe's Café," a nod to Danny O'Keefe's "Good Time Charlie's Got the Blues" on "Hello Sunshine" - conjure a collective memory of a time when hippie ideals faded in the dawn of the '70s. This isn't a piece of nostalgia on Springsteen's part, though. These references deepen a collection of songs that are sweet, sad, and searching, songs that feel finely etched on their own terms but gather a deep, lasting resonance when collected on this enchanting album. (Stephen Erlewine in AllMusic)