Amelia Hogan: "Burnished" (2025) CD Review

As long as I can remember, I've been drawn to Irish music, to Celtic music. Something in my blood, I've been told. Perhaps, but this music, I've come to believe, should be in everyone's blood, for it seems to have the ability to connect us, one to another, and all of us to our collective past. Amelia Hogan, who gathered accolades for her 2023 release Taking Flight, has focused on Celtic traditions, and on her new album, Burnished, delivers some wonderful renditions of traditional tunes as well as more contemporary songs (which themselves have a traditional feel), along with one original composition. Joining her on this album are Christa Burch on bodhran and backing vocals, James F. Murphy on rhythm guitar and mandolin, John Weed on fiddle, Lewis Santer on rhythm guitar, Maureen Brennan on Celtic harp, Marla Fibish on mandolin and mandola, Ray Frank on guitar and backing vocals, Richard Mandel on guitar, Skyler Blakeslee on flute and whistles, and Steve O'Neill on bass.

Amelia Hogan opens the album with that original piece, "Rolling In The Gold," a song about California. She sings, "And they come from all over/And hoped that they'll get rich," which is still true, though here she sings of the time of the gold rush. There are so many songs about California, and it's easy to understand why. There has always been a promise held in its land, making it an appealing subject. This song is pretty and uplifting and joyous, reflecting the way many of us view this place. And though it's an original number, it has the vibe of a traditional tune. It features some really nice work on mandolin, and its lyrics provide the album its title. "Made up of a sunburn/And scented tall giants/It’s burnished wildflowers/In each gilded beam/And a tidal pool sparkle/And salt waves I cherish/You’ll have gold aplenty." That's followed by a cover of "Blue Is The Eye," a song by Ye Vagabonds, who included it on Nine Waves. There is a magical feel to this rendition by Amelia Hogan, in part because of the work on flute, in part because of the subject, the mysterious realm of the ocean, and the hope of immigrants who travel across it. It's a beautiful and comforting song. "Lie down and sleep, sleep well my darling/Blue is the eye watches over the sea."

The album changes gears a bit then with "They Call The Wind Maria," a song that comes from Paint Your Wagon, and was written by Alan Jay Lerner and Frederick Loewe. Amelia Hogan delivers a thoughtful, contemplative rendition. There is still that magical feel, heard largely in the work on Celtic harp. And while the previous song was about the sea, this one is about the wind. In both, the elements are personified. Here she begs of the wind, "Maria blow my love to me." Then in "The Snow Hare," she sings, "The hare turns white as the year turns black." We're at the point where even the prior naysayers are finally acknowledging climate change. In this song, a hare is unable to use his white fur as camouflage and so is vulnerable to predators. Amelia gives an incredible vocal performance. Her voice seems to come from the past, from some eternal place, as she looks at this current moment with sadness.

Amelia Hogan gives us a great take on the traditional number "Wayfaring Stranger," her rendition having a somber feel. I suppose the world has always been cruel to those who wander, but these days it seems particularly cold. What has happened to us as a species? That sense is reflected in this striking rendition, in its pace, in its delivery. That's followed by "Patriot Game," written by Dominic Behan. Ardent patriotism has always alarmed me. At one point in my favorite movie, Harold And Maude, Ruth Gordon says, "What sense in borders and nations and patriotism?" Patriotism often leads to unspeakable acts, with the participants feeling secure in the notion that they are right. Yet love of the land itself is something different, as is love of the people upon that land. "This Ireland of ours has for long been half free/Six counties are under John Bull's tyranny/And most of our leaders are greatly to blame/For shirking their part in the patriot's game." Amelia Hogan cuts out the verse that begins, "I don't mind a bit if I shoot down police."

Music is the main passion of my life, but another important element is the work of William Shakespeare. It was through my love of Shakespeare that I came to really appreciate the work of Trevor Peacock, for he had roles in some of the BBC productions of the complete canon, all of which I watched during my initial Shakespeare study many years ago. (I also loved him in The Vicar Of Dibley, starring Dawn French.) It was a while before I realized he also wrote songs, including the big Herman's Hermits hit "Mrs. Brown, You've Got A Lovely Daughter." Holy moly! On this album, Amelia covers his "Little Yellow Roses," a song that both Adam Faith and Jackie De Shannon recorded in the early 1960s, and she delivers a gorgeous and moving rendition. "My father taught me that all men are equal/Whatever color, religion or land/And taught me to fight for the things I believed in/So that's what I did - with a gun in my hand." I wonder if an armed rebellion will become necessary in this country. It's a frightening notion, but perhaps even scarier is us letting the fascists in their red caps dismantle our democracy, which is what they are now doing. By the way, Jackie De Shannon sang different lines in that verse, leaving out the gun. Amelia Hogan's rendition is powerful and haunting. She performs this one solo, her work on shruti being the only accompaniment for her remarkable vocal performance.

"Home By Bearna" is a traditional number, and this rendition feels like a delightful dance, with good work on bodhran and fiddle. That's followed by a cover of Gordon Bok's "Bay Of Fundy." Something about this track grabs me, something in its delivery, its pace. There is a haunting aspect, especially in lines like "Cape Breton's bells ring in the swells/They ring for me, they ring for me." Then "Come Away In" offers a sweet and pretty invitation. "Come away, come away in/Welcome into the house/Where we have bread to eat." There is such a light and friendly feel to this song that the world it evokes seems to be without danger or malice. This is the world we all want to live in, I imagine, even as some people are doing much to create a world that is harmful, that is contrary to everything we hear here. This song was written by Karine Polwart. It is followed by "The Laverock Sang," which was written by Brian McNeill, who included it on his 1985 record Unstrung Hero. There is something timeless about this song too, something magical and beautiful, and Skyler Blakeslee delivers some wonderful work.

"Haunted Hunter (Walker In The Snow)" is a traditional number that relates a compelling ghost story. "Not far upon my journey had I gone along the way/When a dusky figure approached me in a capuchon of gray." This stranger become companion, though without speaking. Amelia's voice is given prominence, with some soft accompaniment on guitar and flute. That's followed by another traditional number, "Dh'eirich Mi Moch Maidainn Cheitein," this one with a lighter, more joyful spirit, and sung in Gaelic. The album concludes with "Who Will Watch The Homeplace," a song written by Kate Long, who included it on her 1998 album Pieces Of Heart.  Laurie Lewis had released her own version in 1993 on her True Stories album (where it is titled "Who Will Watch The Home Place"). Amelia Hogan's rendition is delivered a cappella, with Christa Burch and Ray Frank joining her. "Who will fill my empty place/When I am gone from here?" A sadness and a longing run through this track. I've been thinking about death a lot lately, and about the future of humanity. Will people continue to hold dear any of the things that we deem important? I wonder, I wonder.

CD Track List

1. Rolling In The Gold
2. Blue Is The Eye
3. They Call The Wind Maria
4. The Snow Hare
5. Wayfaring Stranger
6. Patriot Game
7. Little Yellow Roses
8. Home By Bearna
9. Bay Of Fundy
10. Come Away In
11. The Laverock Sang
12. Haunted Hunter (Walker In The Snow)
13. Dh'eirich Mi Moch Maidainn Cheitein
14. Who Will Watch The Homeplace

Burnished was released on April 1, 2025.

Matthew Muñeses/Riza Printup: "Pag-Ibig Ko Vol. 1" (2025) CD Review

In 2022, saxophone player and composer Matthew Muñeses released Noli Me Tángere, an album of music inspired by the work of José Rizal, a Filipino writer of the nineteenth century. Now he is continuing his exploration of Filipino music on Pag-Ibig Ko Vol. 1, this time with harpist Riza Printup, who also has Filipino roots. This album focuses on kundiman, Filipino love songs. Two of the pieces from Noli Me Tángere are revisited here, but with different arrangements, and a much different feel, as that earlier album featured a quintet. 

The album's opening track, a cover of the classic Filipino love song "Dahil Sa Iyo," begins with some gentle, pretty work on harp. There is a hint of melancholy, evoking the sort of memory or image that can lead to smiles or tears. Sometimes we just look at that person who has our heart and feel we could burst into tears for the sheer wonder of it all, and the pain of it. Matthew Muñeses' work seems to describe, or capture, the moment perfectly, and maybe says what, at times, we are unable to. The way love can open up something within us, and seemingly outside of us too, showing us the entire world in a better light. Put this album on and hold your loved one close. It is so sad to think it will end one day, that death will separate us forever. There is a delicate beauty to "Nahan" as well, and a warmth, as it begins. It feels like a love that is spoken softly, for that special person is right there. And even if the world around is dark, dismal, disjointed, there is a safe spot here in a lover's arms. Love is what it's all about, after all. Most of the rest is nonsense, to be endured, or ignored if possible. The music seems to suggest, or urge us to relax and let go of the world, at least for a time.

"Kundiman Ni Rizal" is one of the pieces that Matthew Muñeses included on Noli Me Tángere. There is a more somber aspect to this one. There is beauty here, of course, but also a sense of obligation and, perhaps because of that obligation, of loss. There is something familiar about the theme. And though there is an intimacy at play, there is something larger at work here, something outside of any couple, forces that affect them. I hear goodbyes within the framework, hoping they are not permanent separations. That is followed by "Minamahal Kita." In this gorgeous expression of love, there is joy, contentment. It is a magical land where love is both of the moment and eternal. May we all live within its realm, a place where fairy tale and reality combine, and be lifted up and embraced by it. Then there is a wonderfully romantic air to "Maalaala Mo Kaya," created mainly by the saxophone early in the track. This is a slow dance that becomes the entire world. How can anything exist outside of such a moment? Though there is always some element of an uncertain future that wants to sneak in and remind us that all of this is fleeting, that it is all so brief. And perhaps that is why music like this speaks to us so strongly. We can play the song over and over, and in doing so extend that moment, and keep the world at bay.

There is something somber in "Nasaan Ka, Irog," a darkness that hovers over us, threatens to consume the beauty, the passion. Yet, partway through, the joy rises up to gently confront this threat, this menace, and we get the feeling that perhaps love will triumph after all. That's followed by "Canto De Maria Clara," the other piece that Matthew Muñeses included on the earlier album and revisits here. There is something perhaps uncertain as this one begins. We are unsure of our path, unsure of the outcome, but something from within guides us, and we trust it, our steps steady. The individual voice, here presented by the saxophone, has power, has beauty, has determination. And the harp encourages magic, makes us believe. What is more magical, more transformative than love? There is a slight pause approximately five and a half minutes in, as if we might have reached the conclusion, but the harp then firmly takes us into that magical realm, makes it real. The album concludes with "Sampaguita," which has a relaxed, tender and pretty sound. It offers both solace and encouragement. It is a beautiful world, after all, the music reminds us. Even within its brevity is beauty.

CD Track List

1. Dahil Sa Iyo
2. Nahan
3. Kundiman Ni Rizal
4. Minamahal Kita
5. Maalaala Mo Kaya
6. Nasaan Ka, Irog?
7. Canto De Maria Clara
8. Sampaguita

Pag-Ibig Ko Vol. 1 is scheduled to be released on April 4, 2025.

Mark Muleman Massey: "Been A Long, Long Time" (2024) CD Review

Mark Muleman Massey is one hell of a good blues singer and songwriter. He was born in Mississippi, and started performing in the northern part of that state in the early 1990s. His latest album, Been A Long, Long Time, which was released in the fall, contains mostly original material written by Massey, Ed Hill and Billy Lawson. Mark Massey plays guitar on these tracks, as does Billy Lawson (Lawson also produced the album). They are joined by Jim Whitehead on keys, Travis Wammack on guitar, Kelvin Holly on guitar, Bob N. Weaver on bass, Roger Starr on drums, and Robert Fossen on harmonica, along with The Webster Street Horns. The Avalon Sisters provide backing vocals.

The album opens with its title track. "It's been a long, long time," Mark Massey repeats at the beginning of the track, and we know he could take that in so many directions. Perhaps you have a few ideas yourself where he might go. And he then sings, "It's been long time coming since I felt this good." And we are relieved, for we are right with him. We want to feel good, are ready for it, are eager for it, and this music is helping in that regard. "Welcome to the neighborhood," he tells us, and it is like this very album is the neighborhood, this first track telling us he's glad we're here. And so are we. For who in this country doesn't have the blues these days? Most of the good stuff is being dismantled by fascists, but we still have the music. This track features some great work on harmonica. That's followed by "Baby's Gone." "Yeah, I've never lost a love like this before, and, fellas, I truly hope you don't feel the pain that I am feeling tonight," Mark tells us in a brief spoken word introduction. And then he delivers a great, soulful vocal performance. "What a crazy world I've been living in now/I must go on, though I don't know how." Of course, any line about this world being crazy speaks pretty strongly to us now. This is a beautiful, moving song, with a classic blues and soul vibe. There is a bit of a Van Morrison feel. "My baby's gone, gone, gone/She's gone for good/I'd tell her I'm sorry on my knees/If I could." I can't imagine how I could face this crazy world if my baby were gone. This is one of my personal favorite tracks.

Mark Massey then picks up the energy with "Can't Tell Me Nothing About The Blues," in which he sings, "I was born in Mississippi/Nearly died there twice/Once at my birth/And the other was shooting dice." Those lines feel true, feel autobiographical. And when he says that we can't tell him about the blues, he means it. We hear it in his voice, in his delivery. That is a voice that knows the blues. He also sings about how he "Spent some time in Parchman," which is true. Apparently when he was nineteen, he went to Parchman Prison, and it was there that he really got into the blues, becoming a member of the Parchman Prison Band. This track contains some good stuff on guitar. It's followed by "Give Me Your Love." There is a wonderful classic sound to this one, and another soulful performance. "Fall in these arms/That have missed you so much." Oh yes! He really knows how to deliver these slower numbers. This is fantastic. "Bring down the wall/That I helped you build." It's never too late, right?

The album's first cover is a country number, Hank Williams' "Hey Good Looking," here delivered with a kind of funky blues vibe, which works surprisingly quite well. This track actually had me on my feet, dancing around, the first time I listened to this disc. I imagine the band must get the crowd moving when they play this one in concert. "Hey Good Looking" is followed by another cover, this one a Tom T. Hall song, "That's How I Got To Memphis."  It's another interesting choice to cover, for, again, it's not a blues number, but a country song. Here it is delivered with a good soulful energy. "If you love somebody enough/You go where your heart wants to go/That's how I got to Memphis." I know that feeling. If my sweetheart decides to move out of Los Angeles, I'll be going too. To Boston, to Sicily, even to Memphis, wherever I find she's going.

Mark Massey goes back to original material with "She's Married To The Streets," delivering a delicious mix of blues and soul. "You can't compete/She's married to the streets/She'll make promises that she can't keep/She's married to the streets." He conjures a vivid image of this woman in our minds. I see her stepping through the smoke of twilight and disappearing down an alley. Then we get the album's final cover, "I'm Sorry About That," which was written by Bobby Womack and recorded by Wilson Pickett. Mark Massey delivers an excellent vocal performance, one of passion and regret. His apology is sincere. And this track features the horn section. Here he sings, "They said to be sorry/Is a sure sign of weakness," something that a large number of people in this country sadly now believe, having been misled by a fragile sociopath with narcissistic personality disorder. So I love the little laugh Mark gives at the end of that line, letting us know just how ridiculous, how foolish, that notion is. Oh, if only other people could learn that.

The horns are present on "My Used To Be" too, an original number about not wanting to run into an old flame. That means him not being able to go to any of their old places. So not only is she gone, but she's taken his city with her. "No more strolling down by the park/I don't want to see her in another man's arms." He declares he'd take her back, but by then we already know that. "You see, my used to be, she used to be everything to me." Ah, it is clear she still is. This song serves as a warning, as a lesson to the rest of us. Hold onto that love, friends. That's followed by "Going Back To Memphis." Yes, earlier in the album Mark Massey sang about how he got to Memphis; now he tells us he's going back there. This is a fun number featuring some very cool work on harmonica, as well as some delicious stuff on keys. "I'm going back to Memphis/Where the women know how to rock and roll." The album concludes with "Your Good Stuff," a playful number that has a good funky edge and also includes the horn section. "I ain't gonna miss you/Go on and leave/Take your good stuff with you."

CD Track List

1. Been A Long, Long Time
2. Baby's Gone
3. Can't Tell Me Nothing About The Blues
4. Give Me Your Love
5. Hey Good Looking
6. That's How I Got To Memphis
7. She's Married To The Streets
8. I'm Sorry About That
9. My Used To Be
10. Going Back To Memphis
11. Your Good Stuff

Been A Long, Long Time was released on October 31, 2024.

WDR Big Band: "Bluegrass" (2025) CD Review

While the blending of musical genres might be common these days, musicians are still finding exciting and new combinations of sounds and styles, and in the process offering surprises and fresh looks at material. Such is the case with the album Bluegrass by WDR Big Band, directed by Bob Mintzer. That's right, it's a wonderful combination of bluegrass and big band sounds, featuring violinist Darol Anger and mandolin player and guitarist Mike Marshall, both known for their work with David Grisman (as well as with many other artists). They also both, by the way, provide thoughts on the project in the disc's liner notes. The WDR Big Band is made up of Wim Both on trumpet, Ruud Breuls on trumpet, Andy Haderer on trumpet, Martin Reuthner on trumpet, Ludwig Nuss on trombone, Tim Hepburn on trombone, Andy Hunter on trombone, Mattis Cederberg on trombone, Johan Hörlén on saxophone, Karolina Strassmayer on saxophone, Jeremy Powell on saxophone, Paul Heller on saxophone, Jens Neufang on saxophone, John Goldsby on bass, Dominik Raab on drums, and Billy Test on piano. The band is led by Bob Mintzer, who plays saxophone and electric wind instrument. The album features material written by Marshall and Anger, along with one piece composed by Mintzer and a couple of traditional numbers.

The album's opening track, "Slip And Slide," begins with a classic burst of big band energy. Then Mike Marshall makes his presence known, and the adventure begins. He delivers some really nice work on mandolin here. He also wrote this one, and it was included (in a very different setting) on the Darol Anger & Mike Marshall album Woodshop. This track also features a wonderful, warm lead on saxophone by Karolina Strassmayer. It really builds in energy in that section. Darol Anger delivers some beautiful stuff as well. But it is Mike Marshall at the heart of this one, moving it forward in bright colors. The combination of big band and bluegrass elements is compelling and unusual without feeling at all forced or disjointed.

The band then tackles some traditional music, combining "Elzic's Farwell" and "Yew Piney Mountain." This one is fun from the start, with a delicious bluegrass vibe delivered with the power of a big band. Smiles all around, I imagine; certainly on the faces of those who are listening. "Ezlic's Farewell" is a piece that Mike Marshall recorded for Third Journey, an album he did with Caterina Lichtenberg. And "Yew Piney Mountain" was included on the Mike Marshall And Darol Anger With Väsen album. On this track, we are treated to excellent leads by Johan Hörlén on saxophone and Ruud Breuls on trumpet. There is a good deal of joy in that groove by Dominik Raab on drums and John Goldsby on bass. And I love when Darol Anger's violin takes charge in the second half. There is a fantastic energy here at moments, so be prepared for your body to demand you dance. This is an outstanding track. It is followed with another traditional piece, "Down In The Willow Garden," which opens in softer, gentler territory, with promises of something blooming within, the violin offering something soothing, like taking us back to a home perhaps more of our imagination than memory, but one we all wish for, where we are all welcome. I also love that work on piano supporting Darol's lead. This track also features a great lead by Bob Mintzer on tenor saxophone, like sunlight dancing upon that home and its surrounding land. There are some cool moments too, perhaps as evening comes and this place becomes a jazz club. That saxophone work is so good, and I'm digging that supporting bass line. The track then ends gently. This is a song that Mike Marshall and Darol Anger previously included on The Duo Live At Home And On The Range.

"Green Lawn" was written by Bob Mintzer, his sole composition on this album. As he mentions in his portion of the liner notes, this track represents his "virgin foray into the bluegrass realm." The big band elements are still emphasized here, though there is plenty of room for Mike Marshall to deliver some great work on mandolin. Then, a couple of minutes in, it takes on a good dance rhythm. There is so much joy here. Darol Anger has a chance to exchange licks, and thoughts, with Mike Marshall in the second half of the track, and there are great swells of energy from the band. We then get the first of two tracks composed by Darol Anger, "Emy In The Woods," which Marshall and Anger had previously recorded for Da Capo. It has a kind of playful opening, and Darol delivers some really good work almost immediately, introducing the tune's theme. This is a totally enjoyable number. And check out Andy Hunter's lead on trombone, taking that theme into somewhat different territory. Bob Mintzer provides some delightful work on EWI. And toward the end, Mike Marshall delivers an excellent lead on guitar. Throughout the various leads, the music here never strays too far from its center. That is followed by the second composition by Darol Anger, "Replace It All," which begins with a cool percussion section, then comes alive with great bursts from the brass section. There is a good energy to this track, and the beat is an important element here. The violin lead has an appealing edge to it, getting loose. That is when this track takes on the feel of a delicious jam, soon featuring some wonderful work by Jeremy Powell on tenor saxophone. This is one of my personal favorites, in part because of that jam.

The album's last three tracks are all written by Mike Marshall. The first of the three, "In The Lion's Den," has some strong work on mandolin from its start. There is a pleasant vibe to this track, one that leaves you feeling good and kind of relaxed, even as the music builds in power at moments. Paul Heller delivers a strong lead on tenor saxophone. Then "Dexter" begins in firm bluegrass territory, with the big band adding some great touches early on before then pulling things more into its world. At that point, we are treated to a wonderful lead by Billy Test on piano, with a fairly strong groove beneath it. Bob Mintzer takes over on saxophone, driving things forwards with a good deal of both power and joy, taking us along on the ride. The band jams on the groove for a bit, leading to some great stuff on violin. This is another piece that was previously included on Da Capo. The album concludes with "Borealis," which begins beautifully with Mike Marshall on guitar and grows from there. This is one of those pieces of music that remind you how extraordinary it is to be alive at all and to appreciate the many wonders and beauties around us, and even our own motion. What a perfect way to wrap up the album. Now turn off your cell phone or laptop and go outside.

CD Track List

1. Slide And Slide
2. Elzic's Farewell/Yew Piney Mountain
3. Down In The Willow Garden
4. Green Lawn
5. Emy In The Woods
6. Replace It All
7. In The Lion's Den
8. Dexter
9. Borealis

Bluegrass was released on February 28, 2025.