Candied Pop

This is one of those rare albums that is recommend by a friend at the right time and place so that it syncs perfectly with the particular tilt of your world at the moment. Words Are Dead is one such album and Amy is one such friend as she advocated–actually demanded–that people stop and hear Horse Feather’s latest (you can read her spot on review over at eMusic).

Though the arrangements are sparse, conjuring the brisk chill of late autumn or the hard snap of deep winter, there still remains a quality of lushness and fullness to them. Justin Ringle and Peter Broderick craft music that is best described as the intersection of moody folk and bluegrass. There are elements of Norfolk and Western’s melancholia but rubbed with the saltiness of The Black Twig Pickers resulting in songs that play out like a long sigh but are weighted just enough so that they do not just drift away on the slightest of breezes. “Blood On The Snow” is a perfect example of this with the strings providing a counter melody to the vocals as the roll through the piece. “Honest Doubters” sees the violin come forward to stab home the main melody often competing with the vocals to wrestling them for center stage.

Words Are Dead is truly one of those albums that becomes a seasonal piece, an album that every year you pull out to listen to as you watch the world slow as it heads into Winter’s slumber. It would be more that worth it to head over to their Myspace page you can stream and download four of the tracks from the album. Highly recommended.

One of the challenges that I set before myself was to explore more Jazz, in particular artists that a creating compelling and novel work today. The reason is that I am a hypocrite because of the fact that with regards to Pop musics (Rock, Punk, Electronic, etc) I crave and demand new releases, anything more than a few years old is passed over like day old sushi. However, with Jazz, I am mired in works often no younger than thirty years and that truly is a travesty as there are albums and artists that are making beautiful art who should be listened to. Nils Wogram & Root 70 is one such ensemble.

Nimble and articulate would be good adjectives as would delicate and gentle. Like Mulligan, Wogram takes a seemingly ungainly instrument, in this case a trombone, and transforms it into lyrical dancer that can move with both speed and grace. The opening track to Fahrvergnügen demonstrates his sensitivity and care with approaching his instrument as it features flowing duet with Hayden Chisholm on alto sax. Following is “The Myth” which showcases his sharp precision as he winds his way through tight clean lines.

Wogram, however, is not the only star in the group as Root 70, comprised of Hayden Chisholm on alto sax and bass, Matt Penman on double bass, and Jochen Rückert on drums shows themselves to be in fine form. Rückert’s drumming is crisp with restrained power that bridges nicely between the type of work heard some forty years ago and today’s desire to hear a sound that is more forthright–”Bird’s Trip” highlights his style of playing well. Penman is restrained yet warm as he hold up the bottom end and his solo on Desert is captivating.

Do yourself a favor and grab the two free tracks from the album, “Breathing” and “The Myth“, from his website. Fahrvergnügen is highly recommended, especially if you are like me searching for new sounds in Jazz that still satisfy your cravings for the past.