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 DAVID BARRETT |
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CURTIS Blue Electric Cool (If 6 Was 9)
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DR.
MAYBE
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DAVID
BARRETT
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ARMIK
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DAVE
ISAACS
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ROLAND
NIPP
Attention Artists and Record Companies: Have your CD reviewed
in mwe3.com and 20th Century Guitar. Send to P.O. Box 630249, Little
Neck, N.Y. 11363-0249
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Kicking
things off with an opening track described as ‘Herb Alpert meets
Eric Johnson’, Blue Electric Cool is the third solo album
from L.A. guitarist Curtis Fornadley. From the striking CD artwork
to the sharp studio sound, there’s alot of fine guitar ideas on
the 13 track CD. Earlier albums from Curtis—his self-titled ‘99
album and 2001’s Room 137—offered a fine intro to his
melodic jazz-rock instrumentals and his 2004 CD, Blue Electric Cool
continues to perfect his sound. Highlights include the kick-ass “Fire
In Her Eyes”, which sounds like a post-modern, rockin' Ventures
style rave-up, "Acid Exp. #2" evokes a fascinating new Acid
Jazz sound for Curtis, while a Metheny-inspired ‘quiet storm’
sound of smooth instro guitar jazz filters through on several tracks
including the 7+ minute title track. With it’s Bolero-like power
chords, “Spanish Surf” reflects a penchant for the ‘60s
guitar instros while Prince as an inspiration comes knocking in the
humorous “Tasty Burger” and, Al DiMeola too on the breakneck
pace of “Race With Jesus on PCH.” Commenting on his own personal
favorites from the album, the guitarist adds, “Blue Electric
Cool is very diverse; each song has it own sound and vibe. On the
psychedelic side I like "Acid Exp #2". I can listen to that
tune without thinking about the fact that I wrote it and played on it.
On the pure musical show off side, I think "Race with Jesus on
PCH" came out better than I thought it would. "Street Walkin'"
is a favorite because it mixes so many elements seamlessly; great horn
parts, a great grove, with plenty of room for the guitar to shine without
being annoying. A favorite tune from a composition and arrangement perspective
is "Nothing Can Bother Us Now". Cool as ice and true blue,
Blue Electric Cool features Curtis in excellent form on a number
of electric guitars including Fender Custom Classic Strat, Tom Anderson
Strat, Ovation acoustic and Les Paul. Backed up by fine players like
Dave Hill (bass) and Rob Chismar (drums), Blue Electric
Cool reveals fresh musical ideas spin after spin. 
A
sonic masterpiece that creates an aura with some truly staggering guitar-textural
design and eastern mystical bent, the 2004 CD from Dr. Maybe, Kokoro
Ire, arrives in style sounding like a hybrid ‘60s
spy flick genre vibe mixed-up in the exotica blender with some serious
drum and bass trip-hop riffs. Guitarist John Prusinski is masterful
at mixing light and shade and the heady mix of intense electric guitar
and spacy electronics really has its moments. Sometimes the sound is
truly heavy rock riffing but the depth of the more atmospheric moments
carries the heavier moments. Commenting on the making of the Kokoro
Ire album Prusinski adds, “As I was composing, I really thought
of this as a "concept album", the concept being a science
fiction movie that takes place in a future where (as opposed to most
sci-fi movies) the universe is not dominated by descendants of white
middle class Americans (like Star Trek), but by a truly polyglot culture
descended mostly from Asian and Middle Eastern countries, where the
interior spaces of starships look like giant bazaars where each culture
claims its space, so you could be walking (or hovercrafting) through
an area dominated by Persian rug sellers and turn a corner to find a
bunch of Chinese gypsy hardware dealers...and as you move through the
cultural enclaves you're constantly hearing the music shift and overlay
bits and pieces from each heritage. Of course, there would have to be
some plot about someone having stolen something, or kidnapped someone,
and our hero, Dr. Maybe, would be charged with the detective work of
unraveling the plot...I never worried about the details of the story,
just used it as a creative device to get a coherent feel through the
CD.” Fully exploring the realms of modern music, Kokoro Ire
is a real treat for fans of genre-bending, experimental electric
guitar sounds. 
An
amazing album of guitar-based ambience that echoes the majestic ‘70s
works of Fripp & Eno, the 2004 CD from Canadian guitarist David
Barrett is a three part sixty minute masterpiece of dreamy guitar soundscapes.
The moods on The Atomsmasher’s Noisy Trade are glacial and
nocturnal while the shifting musical sands also summons the dark Teutonic
electronica of Edgar Froese and Tangerine Dream. Emerging in the ‘90s
with his solo New Age guitar sound, Barrett exceeds his earlier efforts
with The Atomsmasher’s Noisy Trade. The three part sixty
minute album shines a light on Barrett’s unique ability
to combine experimental film soundtrack sounds into an orchestral, ambient
context. Performed on Gibson guitars and recorded direct, Barrett’s
sonic sojourn is greatly enhanced with a number of digital and vintage
analog effects. 
One
of the most prolific guitarists on the scene today, nylon string virtuoso
Armik released yet another brilliant album in 2004. Quite possibly
Armik’s most impassioned sounding album yet, Cafe Romantico
presents an evocative collection of Nuevo flamenco guitar mixed in with
Latin jazz and range of rumba rhythms. As always, Armik’s technical
mastery of the guitar is quite evident and among the custom flamenco
guitars Armik performs on Cafe Romantico are Conde Hermanos,
Manuel Reyes and Pedro Maldonado guitars. When viewed as body of work,
Armik’s six albums on Bolero combine for a most impressive repertoire
of flamenco style instrumentals. 
Few
guitarists gigging today are as adept at merging classical guitar technique
with the cutting edge frontiers of instrumental rock-jazz as well as
New York based guitarist Dave Isaacs. On Flying,
his second solo album release on his own Shadow Brook Records,
Isaacs employs his various Parker guitars to great effect. Driving and
atmospheric with a keen attention to melody, Dave’s guitar work
on Flying blurs the lines between genres like classic rock, swamp
blues, flamenco swing and even soundtrack instrumental. Having a great
band—with Paul McCartney drummer Steve Holley and Bob
Stander on bass—only adds to the enthusiasm on tap. An excellent
CD for guitar instrumental fans, Flying is a well rounded set
indeed. 
He’s
cited influences as diverse as Jeff Beck, Larry Carlton, Tommy Emmanuel,
Robben Ford, David Gilmour, Mark Knopfler, Alex Lifeson, Brian May and
Stevie Ray Vaughan yet on his 2004 solo album, guitarist Roland Nipp
never wears out his welcome. Crafting guitar instrumentals built to
last is a difficult challenge at best, yet armed with memorable melodies
and deft studio technique, Nipp puts it all into fitting perspective
with the release of By Night. Writing, performing
and producing the entire By Night CD himself, the Vancouver-based
guitar player demonstrates an unerring ear for melodic invention from
start to finish. From the album liner notes, Nipp adds, “Most of
these songs were written and recorded in the evening aftermath of everyday
life, or in the early morning hours when I should have been sleeping.
May these hours be harmonious for you.” Inspired by a keen sense
of high musical drama (there’s that Brian May influence), some
bluesy belting (ala Stevie Ray) and, echoing the tactical studio precision
of fretboard masters such as Jeff Beck, Nipp makes listening to By
Night an audio pleasure worth repeating. A few years back, Nipp
released his solo debut, The Blue Room and he admirably raises
the stakes with the noteworthy guitar sounds of By Night. 
