The album opens with “Quiet Girl,” a song written by pianist Billy Childs, who included it on his 1988 album Take For Example This. That album was put out by Windham Hill, which should give you a fairly clear idea of the tone. Again, this album begins by creating a spot for us to catch our breath, to relax, this track pushing away apprehension and uncertainty. And soon we feel welcomed, embraced. This piece is a wonderful start to the album. The duo then gives us a more popular number, The Beatles’ “Yesterday,” one of the most recorded pop songs of all time, and a song that seems particularly fitting when we think of this country’s troubles, which look “as though they’re here to stay.” They explore the song’s bounds, finding some new avenues, beginning fairly early on with the guitar work. We feel at ease, relaxed, and the lyrics soon disappear from our thoughts as we take the ride with these musicians, as they show us new things about this song. Of course we return to that main theme before the end, feeling like perhaps we never strayed all that far after all, for it all flows so naturally.
Their rendition of “Remembering The Rain,” composed by Bill Evans, begins gently, beautifully. We could be out in the light rain, but as I listen I get images of being inside a warm cabin as that light rain falls outside. It is a time without obligations, when we have the ability to slow things down and appreciate the beauty of the world, and even of our own place in it. And that’s what this music does; it slows everything outside down so that we can see the good in it all. That’s not always easy, particularly at this time of year, and particularly in this troubling year. As you might guess, the piano work really sets the tone for this track. This is one of my personal favorites. Then “Nobody Knows” has a darker tone as it starts. There is more of a sense of urgency here. Gone, at least for the moment, are the soothing vibes. The turmoil seems to come from within, needing an outlet, needing expression. And as it is expressed, it lightens, it releases its hold, and a beauty emerges. Perhaps this teaches us that even our troubles can be turned into a dance of sorts, and setting them in such a context can’t help but bring us a certain cheer. The music reaches out rather than inward, and thus so do we, finding a willing partner in whatever storm engulfs us. There is some tremendous playing here. This one was written by Michel Legrand, and interestingly he included an instrumental rendition on an album titled After The Rain.
“Blue Ballad” is the album’s only original piece, a composition by David Lenker. As it begins, we enter a large empty room that might normally be filled with people, with dancing, with joviality, but is now ours alone, the lights dimmed. It is our imagination that is left to people this place with either memories or hopes, and those become just as real as any folks who might enter. We soon become immersed in this new world of the place, its action, its tones, its colors, and we feel its beauty. This track, as I mentioned earlier, is one of the highlights of the disc. It is followed by “Pools,” which was written by pianist Don Grolnick, who included it on his 1985 album Hearts And Numbers. David Lenker and Vicente Solsona give us a lively rendition featuring some particularly good work on guitar. There is a sense of excitement to the playing, with great peaks and cool valleys, places we want to spend some time. They seem to be having fun here.
They deliver a rendition of “Willow Weep For Me” that immediately announces itself as coming from the Land of the Cool. Seriously, it is bluesy, sexy, delightful and oh-so-cool, with a strong sense of rhythm. It’s the kind of thing you just want to become a part of, the kind of thing you hope won’t end too soon. And while they do stretch out here, and this track, at ten minutes, is the longest of the album, I still find myself wanting more. David Lenker and Vicente Solsona find some interesting places to take this one, never losing that cool vibe. I’m certain I won’t be alone in loving what these two do with this song, which was written by Ann Ronnell. That is followed by another cool track, Thelonious Monk’s “Think Of One,” a piece that Monk included on his 1956 self-titled record, as well on Criss-Cross, which came out in 1963. David Lenker and Vicent Solsona deliver a really good rendition. It’s not long before it feels that the track has taken you by the hand, or waist, and you find yourself on a dance floor created by the music itself, so that each step you take is just exactly right, for the music won’t let you err. The world and all its troubles have long since disappeared. The music has taken over, which, of course, is precisely what we wanted.
Their rendition of Antonio Carlos Jobim’s “Aguas De Marco,” here titled “Aguas De Marzo,” has a warm and friendly vibe, like an arm around our shoulder, not guiding us, but accompanying us, as we figure this whole thing out together, or discover what we might. The music seems eager to try new things, take turns in different directions. Everything feels fresh here. There is a joy you can feel moving around you like a breeze. I especially love the piano on this track. The album then concludes with “Un Ramito De Violetas,” written by Evangelina Sobredo Galanes, also known as Eva Sobredo, also known as Cecilia. This track has a powerful beauty, particularly in the piano work. This is a piece that moves and breathes, makes demands upon us and also has plenty to give. What a delightful ending to a remarkable album.
CD Track List
- Quiet Girl
- Yesterday
- Remembering The Rain
- Nobody Knows
- Blue Ballad
- Pools
- Willow Weep For Me
- Think Of One
- Aguas De Marzo
- Un Ramito De Violetas
A Few Remarks was released on September 4, 2024.
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