Who's more American than Mark Twain? Old Sam Clemens' folk humor runs
as enduringly and steadily through the land as the muddy Mississippi.
Yet, as Gore Vidal pointed out in
New York Review a few weeks ago
amidst his defense of Twain from the Freudian attack of a particularly
"repellent" biographer, Twain lived for 17 years in Europe. A logical
reason cited by Vidal is that his talents received greater recognition
and admiration on the Continent than at home.
The exceptional American musicians who have been experiencing more
receptive climates of appreciation over there and chalking it up to
the marketing structure for creative artists in the U.S. can at least
take heart in the observation that this is nothing new. One of those
exceptional artists, Artie Traum, has just released an intoxicating
collection of compositions, titled
The View From Here, which
interestingly features a decidedly European tint.
The opening piece, co-written with pianist Vinnie Martucci, borrows
its title from Twain's
The Mysterious Stranger. A soothing and
smoothing flight on lifting sound currents which bring the touch of
technology (in Martucci's keyboard string arrangement) to what might
be termed folk jazz, the tune draws the listener gracefully into
position for Traum's masterfully measured acoustic touch. There's an
interwoven sense of healing waters in the fluidity the bass and guitar
lines which suggests that this might be a good recovery ward for the
treatment of Pesky Varmint fans.
A buttery cover of Stevie Wonder's "Superwoman," recorded at
Fattburger Studios in California, introduces the breathy-light
vocalizing of Argentina's Garbiela Anders, with a bit of background
brace from Eugene Ruffolo, as Traum works his fingerboard wonders over
another New Age technological touch; drum programming by Kevin Koch.
One wonders what Django Reinhardt would have made of the term "drum
programming."
"The Passenger," another Traum-Martucci piece, takes a brief hand-off
from Ron Finck's saxophone and shifts gear on bassist Tony Levin's
prowling pivots, enjoying Josh Colow's electric guitar framework.
"Abracadabra" offers Anders' under-your-skin vocal lead up front on
her own composition with the infecting sort of gossamer treatment that
makes the soundtracks of some French film so endearingly distinctive.
Traum's guitar presence dances with the voice in a heady mix over
Peter Bunetta's drums and some spare, delightful percussive edges from
Bashiri Johnson.
Warren Bernhardt joins the cast of 27 sterling guest musicians on
"Ferry To Panarea," a Traum-Colow-Robbie Dupree number. The guests
here are showcased and shine as more than mere accompanists, however
celebrated. Traum's guitar is strikingly featured, rather than having
the songs built around it, and his acoustic steel string and nylon
work anchors a range of variety which beams its own glow. Colow's
electric part is lapped by Finck's laid back sax, which brings it home
for Artie's fade-off.
"Bermuda Triangle" follows as naturally as the next movement of a
finely accented and balanced suite, building with subtle drama and
leading to the curious cross-bred feel of Traum's "Amazon, River of
Dreams," which was covered by The Band on their Jericho album
and comes across in quite a different vein on Josh Colow's lead vocal
here.
Debbie Lan's keyboard string arrangement on the title track brings an
notable character to the pensive blend and exchange of guitar, bass
and drums before we're guided into "Allora Si," sung in Italian
by Anders and Michael Franks. The song is written by Pino Daniele, a
name not as familiar here as U.S. artists are in Europe but, like
Steinar Albrigtsen
(whom?)
[Is this meant to be part of the article?]
is huge in Norway, Daniele is a star in
Italy, where Colow, Traum and other American artists have recently
enjoyed considerable success; a fact to which much of mainstream
America also remains oblivious. All which raises the question of
whether Traum is importing European tones to an American audience or
tailoring his American jazz to an overseas ear.
"Dark Passage," stark, moody and engrossing, if a tad too brief, is
followed by "Horses," a Diego Spitaleri song recorded in Sicily and
highlighting some great piano work by its author, and Monte & Heather,
a superb double guitar study. Eclipse In Ibiza wraps it up with
restrained flourish on a gently stirring whirl dabbed with Debbie's
Lan's hauntingly etched shadow vocal.
Artie Traum, of course, has in the past turned out some classic folk
tracks with brother Happy and continues to work in folky directions.
It's a slight surprise that among all of the guest vocalists, Artie
provides none of his own but his reasoning rests on the nature of the
material. The vocal styles are appropriate to the songs and while
Traum feels he can "get away with" Bob Dylan-type numbers, he
hesitates to dare the formline of this kind of material. He favors
being an instrumentalist and compos ing the sophisticated chord
changes and exploring figures in the genre for improvisation over
singing any day, he says.
The View From Here was delayed by a squabble of the remixing of
one of
its tunes but follows
Letters From Joubee on the same Shanachie label,
which topped the Adult Alternative charts in 1994. Despite that
success, touring remains easier in Europe for all but the most famous
names here and offers a more attentive audience. Whether or not that
fact is central to the European tone of this album, Traum has been to
Italy three times already this year and it's a safe bet they're
waiting with open arms for this release.
Those who program our tastes for what's going to be big, big, big,
have developed some side doors and the notion that efforts such as
this may enter mainstream sensibilities through the movies is not
unthinkable. There's a cinematic quality to much of
View From Here
as it walks a delicate wire of entertaining likability without
engaging full-lobe attention while still delivering the goods on
focus. Traum's ear for vagaries of mood is exquisite, and if you're
not already in love with this masterful pr ogression by the fourth
song in, then you're coping in another zone entirely. A gorgeous,
light and almost flawless exposition of contemporary jazz.
-Gary Alexander
NOTE: The STEINAR ALBRIGTSEN reference might be crosslinked to
the piece on him?
[Gary, the preceeding note was yours]
Artful Traum Release