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Music Review - Ameranouche Trio - Awake
Ryan Flaherty
New EnglandNew
First review of Ameranouche's new CD "Awake" from Blogcritics.org. Read the review below or visit http://blogcritics.org/music/article/mu ... rio-awake/
Music Review - Ameranouche Trio - Awake
One of the most amazing things about the guitar is the diversity of sounds and music that it can create. As a generation raised on electric and pop music we've been woefully underexposed to just what this instrument is capable of. Even the most causal listen to those performing in the classical or jazz genres would be enough to open one's eyes to its potential. Anyone looking for an approachable, yet interesting and exciting, introduction to one of the guitar's other worlds, should pick up the latest release by the New England based trio Ameranouche, and experience what they have to offer.
Awake is their second CD and it's a sterling example of how a guitar can be exciting without the use of an effects box or feedback. For eleven tracks Richard Sheppard on lead guitar, Ryan Flaherty on rhythm guitar, and Xar Adelberg on stand up bass, pluck, strum, and pick out a mixture of swing, flamenco, and jazz influenced guitar that picks you up right from the first note and doesn't stop moving until the last. Even better is the fact it's obvious they're having fun with what they're doing making it impossible as a listener not to get caught up in their pleasure and excitement.
I have to admit to a rather limited exposure to what's known as Gypsy Jazz, so I'm not in a position to compare Ameranouche's capability of performing that genre with other artists working in a similar vein, or to comment on it within that context. However that doesn't prevent me from being able to appreciate the talent level on display and the fact that they are obviously highly proficient at what they are doing. What I heard when listening to Awake was something that sounded like it had a foot in both the Old and New worlds. The sharp staccato syllables of a flamenco beat blended with the melodic trills of jazz guitar and a grounding bass line are examples of how they draw upon the old to inspire the new in order to create something that sounds familiar, but which still catches you by surprise.
It's very rare to find a trio in popular music that doesn't have one person as its central focus with the other two musicians serving as support. Heck, that's the case with most bands these days no matter how many members; there's a couple of leads and than the rest of them. That's definitely not the case with the Ameranouche Trio. For although Sheppard plays the leads on each song, there is never the impression that he is the lead. In part this could be due to the fact that they have recorded both guitars at the same volume ensuring the listener can always hear both Flaherty and Sheppard, but I think there's something more involved. For it's not just the guitars you can hear clearly at all times, but you're also aware of the job Adelberg is doing with her bass to tie her two flamboyant band mates together.
Listeners, like me, who aren't used to hearing three distinct parts being played at once might find the music on Awake a little disconcerting at first. A normal tendency is to want to latch on to the most prominent sound we hear and follow it while letting everything else fade into the background. Normally that sort of thing is engineered in the studio by the producer, so the "lead" receives most of a listener's attention. In this case though you have two, if not three, different sounds, of which none are dominate, so you can't just follow one of them. However, once you recover from this initial state of confusion, you'll discover something really astounding - you are listening to all three at once as a single entity; a piece of music instead of a collection of solos.
The opening track of the disc, "Ameranouche Swing" is a great example of this for right from the start you are aware of all three musicians. Sheppard is picking out a complex and fiery series of notes that twist and twirl around the steady chop laid down by Flaherety, while Adelberg's bass isn't so much heard as felt running, pulse like, underneath. What I found most refreshing about the band was their ability to change moods from cut to cut without it effecting their intensity. So even though on the third track, "Awake", Sheppard's playing hasn't lost anything in the way of speed or flair, there's something about what Adelberg and Flaherety are doing with the rhythm that give the song a more relaxed, mellow feel. It's a fine example of how well they each complement the others in creating something greater than what each individual is playing.
I was taken aback the first time I heard the fourth track, "Into The Free", because the last thing I was expecting on this type of recording was vocals. It's not the only track on the disc with vocals as "Secret Promises", the ninth track, also has singing on it, but as it was the first, it remains the one that sticks out in my mind. As with everything else about this disc their vocal harmonies are spot on. Each of them have voices, that if not the strongest in the world, are suitably melodic for what they are doing. For while they are singing words, it's the additional layers of sound that they create with their voices that really add to the music. Like adding stucco to paint gives a wall additional texture that makes it more interesting to look at and touch, their vocals give their sound extra depth and additional spice that makes it all the more captivating.
Ameranouche Trio is invigorating and exciting music that is a timely reminder of not only how versatile the guitar is but that jazz music can be a lot of fun. There is a joie de vivre about all the music on this CD that makes it almost impossible to listen to without smiling. Brilliantly and lovingly played music is hard to come by these days no matter what the genre which makes this release all the more special. If you've not heard this trio before you're in for a real treat, and if you have you don't need me to tell you how good they are.
Article Author - Richard Marcus
Blog Critics
Music Review - Ameranouche Trio - Awake
One of the most amazing things about the guitar is the diversity of sounds and music that it can create. As a generation raised on electric and pop music we've been woefully underexposed to just what this instrument is capable of. Even the most causal listen to those performing in the classical or jazz genres would be enough to open one's eyes to its potential. Anyone looking for an approachable, yet interesting and exciting, introduction to one of the guitar's other worlds, should pick up the latest release by the New England based trio Ameranouche, and experience what they have to offer.
Awake is their second CD and it's a sterling example of how a guitar can be exciting without the use of an effects box or feedback. For eleven tracks Richard Sheppard on lead guitar, Ryan Flaherty on rhythm guitar, and Xar Adelberg on stand up bass, pluck, strum, and pick out a mixture of swing, flamenco, and jazz influenced guitar that picks you up right from the first note and doesn't stop moving until the last. Even better is the fact it's obvious they're having fun with what they're doing making it impossible as a listener not to get caught up in their pleasure and excitement.
I have to admit to a rather limited exposure to what's known as Gypsy Jazz, so I'm not in a position to compare Ameranouche's capability of performing that genre with other artists working in a similar vein, or to comment on it within that context. However that doesn't prevent me from being able to appreciate the talent level on display and the fact that they are obviously highly proficient at what they are doing. What I heard when listening to Awake was something that sounded like it had a foot in both the Old and New worlds. The sharp staccato syllables of a flamenco beat blended with the melodic trills of jazz guitar and a grounding bass line are examples of how they draw upon the old to inspire the new in order to create something that sounds familiar, but which still catches you by surprise.
It's very rare to find a trio in popular music that doesn't have one person as its central focus with the other two musicians serving as support. Heck, that's the case with most bands these days no matter how many members; there's a couple of leads and than the rest of them. That's definitely not the case with the Ameranouche Trio. For although Sheppard plays the leads on each song, there is never the impression that he is the lead. In part this could be due to the fact that they have recorded both guitars at the same volume ensuring the listener can always hear both Flaherty and Sheppard, but I think there's something more involved. For it's not just the guitars you can hear clearly at all times, but you're also aware of the job Adelberg is doing with her bass to tie her two flamboyant band mates together.
Listeners, like me, who aren't used to hearing three distinct parts being played at once might find the music on Awake a little disconcerting at first. A normal tendency is to want to latch on to the most prominent sound we hear and follow it while letting everything else fade into the background. Normally that sort of thing is engineered in the studio by the producer, so the "lead" receives most of a listener's attention. In this case though you have two, if not three, different sounds, of which none are dominate, so you can't just follow one of them. However, once you recover from this initial state of confusion, you'll discover something really astounding - you are listening to all three at once as a single entity; a piece of music instead of a collection of solos.
The opening track of the disc, "Ameranouche Swing" is a great example of this for right from the start you are aware of all three musicians. Sheppard is picking out a complex and fiery series of notes that twist and twirl around the steady chop laid down by Flaherety, while Adelberg's bass isn't so much heard as felt running, pulse like, underneath. What I found most refreshing about the band was their ability to change moods from cut to cut without it effecting their intensity. So even though on the third track, "Awake", Sheppard's playing hasn't lost anything in the way of speed or flair, there's something about what Adelberg and Flaherety are doing with the rhythm that give the song a more relaxed, mellow feel. It's a fine example of how well they each complement the others in creating something greater than what each individual is playing.
I was taken aback the first time I heard the fourth track, "Into The Free", because the last thing I was expecting on this type of recording was vocals. It's not the only track on the disc with vocals as "Secret Promises", the ninth track, also has singing on it, but as it was the first, it remains the one that sticks out in my mind. As with everything else about this disc their vocal harmonies are spot on. Each of them have voices, that if not the strongest in the world, are suitably melodic for what they are doing. For while they are singing words, it's the additional layers of sound that they create with their voices that really add to the music. Like adding stucco to paint gives a wall additional texture that makes it more interesting to look at and touch, their vocals give their sound extra depth and additional spice that makes it all the more captivating.
Ameranouche Trio is invigorating and exciting music that is a timely reminder of not only how versatile the guitar is but that jazz music can be a lot of fun. There is a joie de vivre about all the music on this CD that makes it almost impossible to listen to without smiling. Brilliantly and lovingly played music is hard to come by these days no matter what the genre which makes this release all the more special. If you've not heard this trio before you're in for a real treat, and if you have you don't need me to tell you how good they are.
Article Author - Richard Marcus
Blog Critics
Comments
Written by Matt Kanner of "The Wire"
Wednesday, 06 May 2009
‘Awake’
by Ameranouche Trio
You don’t have to wait long to get a taste of Ameranouche Trio’s acoustic string prowess on the band’s latest CD. Opening with the peppy jazz of “Ameranouche Swing,” guitarist/composer Richard Sheppard burns up the frets on his acoustic guitar, spitting out rapid-fire notes that conjure the ghost of Django Reinhardt and echo the rich traditions of European gypsy jazz.
The acoustic jazz power trio of Sheppard on lead guitar, Ryan Flaherty on rhythm guitar and Xar Adelberg on bass then strum their way into a Flamenco-style reboot of the 1957 French classic “La Foule.” It’s the only non-original composition among the album’s 11 tracks, and it demonstrates both the band’s respect for tradition and its ear for inventiveness.
Formed in 2004, Ameranouche received considerable acclaim for its debut album, “Homage A Manouche,” and enjoyed a highlight last year when the band opened for Sonny Rollins and Herbie Hancock at the 2008 JVC Newport Jazz Festival. The trio has tour dates in support of the new CD booked through the summer in New Hampshire and across the East Coast.
Sheppard, whose professional career has included performances with the likes of Taj Mahal, Rick Danko and Hot Tuna, among others, is the veteran leader here, and his dizzying abilities on guitar bring to mind the acoustic work of masters like Al DiMeola and Paco De Lucia. But Flaherty’s mesh of rhythm chops and Adelberg’s thumping upright bass work are equally vital to the whole.
Visit www.ameranouche.com or www.myspace.com/ameranouche.
Article location: http://www.wirenh.com/Music/Spin_Down/A ... 63552.html
regards,
Jack
The album's vocal tunes are captivating for many reasons, chief among them is the inclusion of melodic lines which avoid traditional hooks and defy typical songwriting form - there is a Jobim-esque quality to some of this music, a haunting character that invites repeated listenings.
The thing that comes to the forefront in listening to this CD is just how much different stuff Shepp can play; he can play very long without repeating his ideas -an accomplishment, I think, of considerable value and hard - very hard - for most players to achieve: in short, no two of these improvisations sound alike, and some of his playing accesses this very cool "outside" place at times. The big surprise for me is to discover just how much he has slowed things down - less concerned with maintaining high speed than with coaxing melodic ideas (I am listening to a jazzy piece right now that is actually conversational in texture, slow enough to sing along with). Ryan's rhythm contributions are likewise impressive and provide, together with Xar, a foundation that acts as both cohesional glue and forward-propelling momentum. In total, very impressive and this album occupies an interesting place in relation to the genre.
Unconventional surely, but in the manner that some of the best jazz musicians exude unconventional musical instincts - call it originality. Nice work Ameranouche!
The album's vocal tunes are captivating for many reasons, chief among them is the inclusion of melodic lines which avoid traditional hooks and defy typical songwriting form - there is a Jobim-esque quality to some of this music, a haunting character that invites repeated listenings.
The thing that comes to the forefront in listening to this CD is just how much different stuff Shepp can play; he can play very long without repeating his ideas -an accomplishment, I think, of considerable value and hard - very hard - for most players to achieve: in short, no two of these improvisations sound alike, and some of his playing accesses this very cool "outside" place at times. The big surprise for me is to discover just how much he has slowed things down - less concerned with maintaining high speed than with coaxing melodic ideas (I am listening to a jazzy piece right now that is actually conversational in texture, slow enough to sing along with). Ryan's rhythm contributions are likewise impressive and provide, together with Xar, a foundation that acts as both cohesional glue and forward-propelling momentum. In total, very impressive and this album occupies an interesting place in relation to the genre.
Unconventional surely, but in the manner that some of the best jazz musicians exude unconventional musical instincts - call it originality. Nice work Ameranouche!
Here is another review that came in fresh today:
CD REVIEW: Ameranouche Trio's "Awake"
By Christopher Hislop
Portsmouth Herald
When I heard Ameranouche Trio's (then Ameranouche!!!) dazzling debut "Homage A' Manouche," I couldn't believe my ears. I couldn't believe that this band existed. And they were from New Hampshire no less...; Unbelievable. I remember the day well,as I had a review due for this very magazine, and didn't know where to begin. I was in shock. On my way to Woodstock, NY with an old pal (Tristan, everyone's favorite local bartender), I was furiously taking in the liner notes, when whoosh! Straight out the window...; He laughed, I nearly cried. I love liner notes. And desperately needed to know more about this group.
Anyhow, Ameranouche Trio is back again, and I'm safe in the confines of my living room, where the windows are adorned with screens (albeit poorly fitted screens). Their much-anticipated follow-up album, "Awake," does not disappoint. In fact, if possible, it displays growth in the band's compositional ability, and even showcases the use of vocals (gasp!) in a couple instances. The gypsy jazz and flamenco stylings still "cook" as hot as they did on the debut disc, but, as mentioned, they've taken it to another level.
The group consists of Richard "Shepp" Sheppard (solo guitar, vocals), Ryan Flaherty (rhythm guitar, vocals), and Xar Adelberg (upright bass, vocals). Xar replaces former bassist Ben Wood who died tragically shortly after the release of the debut album.
Ameranouche Trio is technically tight and made up of seriously gifted musicians who make the room swing in a single ferocious fret burning fury, which is clearly evident in "Awake's" opening number "Ameranouche Swing." It happens quickly so brace yourself. But rest assured, it doesn't hurt. It feels so good. In a genre that's seen somewhat of a cult revival of sorts over the last few years, Ameranouche Trio is clearly at the top of the heap.
What I enjoy most about Ameranouche's music is the time travel you take when you sit down to digest it. It's unlike contemporary music in that it feels very organic. It feels and sounds like the band is right there in the room with you just jamming for your listening and entertainment delight. The tunes offering vocals —"Into the Free," and "Secret Promises" — have the same quality. I don't know how they recorded it, but man, it sounds from another time period indeed. It sounds from the time of Django and Stephane who "awakened" the people to their music way back in the '30s and '40s.
A real highlight on the disc is the sixth cut, entitled "Ben's Waltz," in honor of their fallen band-mate. They slow it down a touch on the track, and really let the feeling of the moment bleed through the strings of their instruments. It's very touching and seemingly fragile, much like life itself.
"Awake" is a glorious recording and highly recommended to people who love music and are interested in exploring a modern day approach to a piece of our cultural past. You may struggle to comprehend the fact that this music does in fact exist today. Awake, and find it. You won't be sorry.