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 POWERSSOUND: BOB POWERS reviews new music from Sweden's GROUPA, DEN FULE and NORDIC ROOTS; jazzman CHRIS POTTER; bassist JOHN PATITUCCI; singer MICHAEL VEITCH; singer/songwriter JOHN MARIAN; folksinger DAVID MASSENGILL and; folk rocker BO RAMSEY.
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The Swedish band Groupa, formed in 1980, plays a hybrid brand of modern folk. The Minneapolis record company NorthSide has just released a compilation of 15 years of Groupa's best. "Groupa/15 years" (NSD6015) contains roughly 70 minutes of music that takes a solid tradition as its base, then adds elements of jazz to create an ethereal sound that gets better with each playing. The band has a following in Europe, touring relentlessly, appearing at major European festivals. There's been a tour in India, too.
Groupa has won two Swedish Grammy awards, and listening to this album, with its deft rhythms and enchanting almost-Irish fiddling, should please many audiences.
In a similar vein, mining the Swedish folk tradition and adding jazz phrasing is a somewhat outrageous group called Den Fule (pronounced den foo leh). Their new album, "Quake" (NorthSide NSD6001) takes a harder edge, bringing moments of R&B, pop-rock, and judicious touches of jazz together in a combination that will make the hair on the back of one's neck bristle with excitement.
Den Fule can be loud and they can sound traditional. Mostly, they rock with a ferocious edge that should elicit an accelerated heartbeat. "Quake" consists of cuts from the band's two Swedish releases, the 1993 "Lugumleik" and 1995's "Skalv." There are a few vocals in Swedish, but since many rock bands, lyrics are indecipherable, that shouldn't bother adventurous listeners.
Finally, also from Sweden comes "Nordic Roots" (NorthSide NSD1016), which assembles 20 cuts from a variety of traditional bands, including the aforementioned Den Fule. Unfortunately there's a sameness to much of the album, one song sounded much like another. However, the CD does prove there's a thriving folk tradition being maintained in the area.
Potter, a Chicago lad who grew up listening to his parents, records by Miles Davis and Dave Brubeck, formally began his musical career when pianist Marian McPartland asked him to participate in her 1993 album, "In My Life." The new album "Vertigo" is his sixth under his own name. It showcases a performer of prodigious talents, comfortable in straight-ahead compositions, formidable in dissonant bop tunes, and confident in every phase of his work.
Tenor great Joe Lovano joins the fun on three tracks. Backing Potter is an excellent bunch of talents: Kurt Rosenwinkel on guitar, Scott Colley on bass, and Billy Drummond at the drum kit. "Vertigo" contains 63 minutes of exciting music, creative, adventurous, and unafraid.
Meanwhile, bassist John Patitucci shows off his impressive chops with "Now" (Concord CCD-4806-2), which contains 70 minutes of jazz that will remind listeners of Patitucci's contributions to Chick Corea's band.
Eight of the ten cuts are Patitucci originals, most missing in melody and up front in meandering, meaningless doodling. The group of musicians backing Patitucci includes such stellar performers as tenor man Chris Potter on five tracks and Michael Brecker taking the tenor role on two cuts. The veteran John Scofield does his excellent guitar work and Bill Stewart is the drummer.
The album's highlights are McCoy Tyner's "Search for Peace," and a satisfactory account of Coltrane's "Giant Steps." Patitucci unquestionably is one of the dominant forces in today's jazz, but "Vertigo" stumbles in its relentless emphasis on the more extreme and tuneless varieties of composition.
The CD encapsulates elements of country, blues, folk and jazz into a package that,s winning and never less than pleasing. Marian, who grew up around the islands in Georgia Strait, now works principally on Canada's western coast and at folk festivals in British Columbia. His talents are major and he deserves a quick dip into major venues. His backup group on the album includes some of Canada,s leading musicians. Best of all is Marian's songwriting, which is sincere, funny, and most of all musical.
"Runnin' Down the Devil" should find a home with anyone who likes good music performed well.
Just sample these lyrics from the title song: "She walks through the door/Weary she signs like the setting sun/Then she flops to the floor/Let the choring be left undone/Now's the time to unbend/And practice her mantra Zen."
The album's great music is complemented by two spoken-word letters which describe old times in a small town versus life in New York City, and another in which a visit is paid to Mark Twain's hometown during 1963.
As a writer, Massengill displays a winning way with words and tells compelling stories. His voice is the best delivery vehicle for such strong material. This is definitely a Class A effort. Hark ye promptly to your local record emporium and pick up a copy!
"In the Woods" is a good album, blessed by excellent material and a good backup group of players. Ramsey may win you over, giving him points for his writing that far outweigh his so-so efforts as a singer. The delightful Lucinda Williams provides a superb harmony vocal for "Desert Flower." Too bad she wasn't employed for other tracks.
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"Powerssound" creator Bob Powers solicits all independent record companies to submit their best efforts. Contact the music critic at rpowers@ee.net for directions on sending promotional copies. Bob would also appreciate hearing from readers. Comments, criticisms, plaudits and brickbats are welcomed.
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If you want to compliment, condemn, or argue with Bob Powers, his e-mail address is: rpowers@ee.net.
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