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ASPEN — Here are mini-reviews of CDs by artists that are heading for Aspen.
Gary Jules & the Group Rules, “Bird” — produced by Jules (Downupdown Music)
It is with a big grain of salt that I take musicians who are “huge in Europe,” who introduce themselves with a cover tune, or who make their big splash with a song on TV or in a movie. California singer-songwriter Gary Jules is thus triply suspect: His first hit was a cover of Tears for Fears’ “Mad World”; his music has been featured in “Donnie Darko” and on “Grey’s Anatomy”; and after his 2001 album “Trading Snakeoil for Wolftickets” made hardly a dent in the States, it exploded in the U.K. and all over Europe.
But Jules once sent me a bag of Hawaiian coffee after I wrote a story about him, and on that alone, I figure he deserves to have me to overlook all of the above, and give his new CD a listen. I gave the coffee away — not because I don’t accept gifts from grateful interview subjects, but because I don’t drink coffee. I appreciate the gift, though, since it gave me reason to listen to “Bird.” Jules reveals himself as a distinctive song-maker, giving unusually rich textures to tunes that hearken back to ’70s soft rock (especially Cat Stevens). “The Road Beside the Highway,” with touches of blues and a subtly driving rhythm, stands out. But overall, “Bird” is feel-good music with substance.
(Note to Gary: I prefer green tea. And Hickory House ribs.)
Gary Jules performs March 11 at Belly Up Aspen, opening for Donavon Frankenreiter.
• • • •
Jorma Kaukonen, “River of Time” — produced by Larry Campbell (Red House)
Ruthie Foster, “The Truth According to Ruthie Foster” — produced by Chris Goldsmith (Blue Corn Music)
Jorma Kaukonen is no great singer; his voice is one-dimensional and he strains to get out what sound and emotion he can. But he knows how to make a song come alive, especially instrumentally. The all-acoustic, super-rootsy “River of Time,” then, comes off best in its upbeat moments, when Kaukonen and his guitar are having a party with such friends as drummer Levon Helm and Larry Campbell, who produces and shines on a variety of string instruments. A take on Merle Haggard’s “More Than My Old Guitar” swings along on Campbell’s happy fiddle licks; Kaukonen and Campbell hook up for an intricate guitar exchange on “There’s a Bright Side Somewhere.” Vocally, Kaukonen is at his best when fortified by vocalist Teresa Williams, who maybe should have appeared on more than three tracks.
Texas singer Ruthie Foster has taken to titling her albums in the blinging vein of the classic soul artists: She said 2007’s “The Phenomenal Ruthie Foster” was inspired by such albums as “The Electrifying Aretha Franklin” and “The Amazing Nina Simone.” Foster may not be quite as electrifying as Aretha; Foster comes from a folk background, and retains some of that earthiness and restraint. And she’s not as amazing as Simone; in fact, on “Truth,” Foster’s not even as amazing as she herself was on “The Phenomenal” (which featured a truly phenomenal take on Lucinda Williams’ “Fruits of My Labor”).
Call her the pretty good Ruthie Foster on “Truth,” which features guitarist Robben Ford and keyboardist Jim Dickinson. Her voice is persuasive, especially on the slow and simple “Love in the Middle,” and her message of spiritual uplift comes across well. But her efforts at old-school soul, with a big-horn component, sound dated on “Dues Paid in Full.” The truth is, this is not her best.
Jorma Kaukonen and Ruthie Foster appear, with Robben Ford, in the Guitar Blues concert Feb. 25 at the Wheeler Opera House.
• • • •
Turbine, “Reward” —produced by Turbine (Roofland)
New York City quartet Turbine doesn’t lack for influences. On the first song alone, “Don’t Take Money from Strangers,” from their 2007 album “Reward,” there are hints of ’80s pop, Dire Straits, modern jamming, a jazz background, some electronica and a harmonica outro that nods toward Blues Traveler’s John Popper. They wait till the second song, “Roll On,” to reveal their more rootsy side, with elements of alt-country and rural blues. And so on through mellow pop, more Blues Traveler-influenced rock, country rhythms and some psychedelic turntable craziness. Not exactly memorable, but messy in a way that is appropriate for a young band looking for its sound. Turbine plays Monday, Feb. 16, at Belly Up, opening for Galactic.
stewart@aspentimes.com
Gary Jules & the Group Rules, “Bird” — produced by Jules (Downupdown Music)
It is with a big grain of salt that I take musicians who are “huge in Europe,” who introduce themselves with a cover tune, or who make their big splash with a song on TV or in a movie. California singer-songwriter Gary Jules is thus triply suspect: His first hit was a cover of Tears for Fears’ “Mad World”; his music has been featured in “Donnie Darko” and on “Grey’s Anatomy”; and after his 2001 album “Trading Snakeoil for Wolftickets” made hardly a dent in the States, it exploded in the U.K. and all over Europe.
But Jules once sent me a bag of Hawaiian coffee after I wrote a story about him, and on that alone, I figure he deserves to have me to overlook all of the above, and give his new CD a listen. I gave the coffee away — not because I don’t accept gifts from grateful interview subjects, but because I don’t drink coffee. I appreciate the gift, though, since it gave me reason to listen to “Bird.” Jules reveals himself as a distinctive song-maker, giving unusually rich textures to tunes that hearken back to ’70s soft rock (especially Cat Stevens). “The Road Beside the Highway,” with touches of blues and a subtly driving rhythm, stands out. But overall, “Bird” is feel-good music with substance.
(Note to Gary: I prefer green tea. And Hickory House ribs.)
Gary Jules performs March 11 at Belly Up Aspen, opening for Donavon Frankenreiter.
• • • •
Jorma Kaukonen, “River of Time” — produced by Larry Campbell (Red House)
Ruthie Foster, “The Truth According to Ruthie Foster” — produced by Chris Goldsmith (Blue Corn Music)
Jorma Kaukonen is no great singer; his voice is one-dimensional and he strains to get out what sound and emotion he can. But he knows how to make a song come alive, especially instrumentally. The all-acoustic, super-rootsy “River of Time,” then, comes off best in its upbeat moments, when Kaukonen and his guitar are having a party with such friends as drummer Levon Helm and Larry Campbell, who produces and shines on a variety of string instruments. A take on Merle Haggard’s “More Than My Old Guitar” swings along on Campbell’s happy fiddle licks; Kaukonen and Campbell hook up for an intricate guitar exchange on “There’s a Bright Side Somewhere.” Vocally, Kaukonen is at his best when fortified by vocalist Teresa Williams, who maybe should have appeared on more than three tracks.
Texas singer Ruthie Foster has taken to titling her albums in the blinging vein of the classic soul artists: She said 2007’s “The Phenomenal Ruthie Foster” was inspired by such albums as “The Electrifying Aretha Franklin” and “The Amazing Nina Simone.” Foster may not be quite as electrifying as Aretha; Foster comes from a folk background, and retains some of that earthiness and restraint. And she’s not as amazing as Simone; in fact, on “Truth,” Foster’s not even as amazing as she herself was on “The Phenomenal” (which featured a truly phenomenal take on Lucinda Williams’ “Fruits of My Labor”).
Call her the pretty good Ruthie Foster on “Truth,” which features guitarist Robben Ford and keyboardist Jim Dickinson. Her voice is persuasive, especially on the slow and simple “Love in the Middle,” and her message of spiritual uplift comes across well. But her efforts at old-school soul, with a big-horn component, sound dated on “Dues Paid in Full.” The truth is, this is not her best.
Jorma Kaukonen and Ruthie Foster appear, with Robben Ford, in the Guitar Blues concert Feb. 25 at the Wheeler Opera House.
• • • •
Turbine, “Reward” —produced by Turbine (Roofland)
New York City quartet Turbine doesn’t lack for influences. On the first song alone, “Don’t Take Money from Strangers,” from their 2007 album “Reward,” there are hints of ’80s pop, Dire Straits, modern jamming, a jazz background, some electronica and a harmonica outro that nods toward Blues Traveler’s John Popper. They wait till the second song, “Roll On,” to reveal their more rootsy side, with elements of alt-country and rural blues. And so on through mellow pop, more Blues Traveler-influenced rock, country rhythms and some psychedelic turntable craziness. Not exactly memorable, but messy in a way that is appropriate for a young band looking for its sound. Turbine plays Monday, Feb. 16, at Belly Up, opening for Galactic.
stewart@aspentimes.com
