 |
Frontiers
Jesse Cook
2007/EMI Music Canada
46:29 |
|
It has been three years since Jesse Cook’s last studio project Nomad. Much like its title it seemed to use the world as its stage and foundation for the musical themes that were presented. Though not quite as global, Frontiers once again represents another stellar performance from the flamenco guitarist. Technically brilliant, Cook continues to create and embrace beautiful melodious memoirs that will leave his fans once again delighted in his latest recording.
Prior to Frontiers, Cook also recorded his stellar 2004 live performance Montrealthat was released in 2005 on Narada. According to Cook’s liner notes it was around the time of that performance that both he and his wife retreated to Seville, Spain where they spent a spectacular four months inhaling the culture. Apparently the romantic environment also resulted in them finding out that they would soon be parents for the first time. Once again, Jesse cleared out his schedule and had time to complete the songs you are about to hear.
Frontiers has a more defining European-Mediterranean theme to it, merging celebrative and reflective moments. Wisely, the album is well sequenced opening with the toe tapping “Matisse The Cat” that will leave your flamenco appetite purring for more. Typical of a Jesse Cook song, the melody will immediately bury itself in your memory which is then filled in with intricate details driven by pulsating percussion. This song will be mentioned in the same breath as his other wonders “Rattle And Hum”, “Tempest” and “Mario Takes A Walk” just to name a few. Another soon to be classic is “Havana” which musically parallels the exotic location that it speaks of. The slight twist is what sounds like a combination of string and horn integration that thrusts the song along.
In fact, Frontiers has a little of everything. Cook attempts to repeat the success of the vocal track “Fall At Your Feet” from his Free Fall album. This time around he covers the Bob Dylan classic “It Ain’t Me Babe”, featuring the simple yet pure vocal rendition of Melissa McClelland. Interestingly, it is sequenced right next to the culturally diverse “La Llorona” that spotlights the vocals of Amanda Martinez and Maryem Tollar.
Otherwise, the album focuses on the “voice” of Jesse Cook who along with his band mates roams through a barrage of well structured and thoughtful mid tempo tracks. This is best exemplified by the refreshing “Café Mocha” that also features the melodramatic violin embellishments of Chris Church. In utter contrast, Cook closes out the album with the stripped down “Alone”. Epitomizing its title, the song is simply Cook left alone with his guitar, no more no less. The only downside is that the track is a little short but it will leave a craving for more solitaire moments.
Essentially created back in 2005, Frontiers has been a long time coming and strangely at the time of writing this review it is still limited to a Canadian release via EMI Music Canada. Thus accessibility continues to be difficult and prices hard to swallow although keep in mind this also includes a DVD sampler of his upcoming full length concert. However, Amazon’s Canadian website has the album at a very reasonably price. That difficulty aside, this is a frontier more than worth exploring as Jesse Cook once again presents very clear evidence why he continues to dominate the flamenco guitar genre.
CD available at:
amazon.com
jessecook.com
emimusic.com |
 |
Montreal
Jesse Cook
2005/Narada
63:31
|
|
Jesse Cook's last studio release Nomad, released back in 2003, was two years in the making. The results were phenomenal and the album by this reviewer was described as his most defining moment to date. Montreal is a live recording that in some ways was 10 years in the making considering that it encompasses his entire recording catalog that began back in 1995. And without a doubt, Montreal equals and probably exceeds the achievement of his prior effort making this the new standard not only for Cook but arguably anyone who wishes to document his or her achievements live.
Opening with the atmospheric "Beloved" with eastern chants, surging drums and percussion, the audience is already in a frenzy as Cook arrives on the stage. Merging right into the memorable "Rattle And Burn", the only track taken from his 1998 effort Vertigo, the listener knows that they are in for an indulging concert. Jesse wastes no time in making full use of his axe, plucking his strings at an exceptional speed. The beauty of Cook is that while he is technically brilliant he never replaces his pyrotechnic workouts at the expense of a gorgeous melody. Jump forward and checkout the bouncy but almost folksy feel of "Breeze From Saintes Maries". It is sequenced back to back with the energetic calypso pulsation of "Jumpstart", which includes the percussion repartee of Paul Antonio and Art Avalos. And judging by the response to Cook and company the crowd is already in overdrive and in total syncopation with the performance.
Meanwhile, the moody introduction of "Luna Llena" swindles the crowd into a quiet moment. Starting off slowly the composition culminates with a guitar solo that will only have you wondering "How did he do that?" Affixed with the sultry violin work of Chris Church, this track will leave you gasping for air. Fortunately, the remainder of the album continues this trend, giving the listening very little time to take that big deep breath, as Cook and the band continue to drown you in a sea of exhilarating performances.
Speaking of temperamental moments, there is also "Closer To Madness" that clocks in well over seven minutes. Once again the eastern themes are prominent making for one of the many ecstatic moments on Montreal. It is also a good time for Cook to introduce the band that deserves the accolades considering the obvious group effort that is present. But none are more prevalent than those found on the magical moment of "Mario Takes A Walk" which also includes the bombastic percussion and drum work of the Samba Squad. The thunderous drums are so huge it takes on attributes of a carnival atmosphere.
Meanwhile, the album closes out with one full vocal track "Fall At Your Feet" that feature Danny Wilde of The Rembrandts. Danny was not available for the concert so his vocals were added after the fact courtesy of technological wonders Speaking of the production aspect, the album as per all of his past endeavors, is tasked to Cook. Clearly his gifts are not just limited to performing and composing, as the quality of the production is exceptional.
With a total of five studio albums to his name, Cook has an impressive body of work that requires an equally impressive live document to commemorate such past achievements. Montreal not only completes this task but it begs the question of why you would not want to be part of a true live experience of the blistering and exotic music of Jesse Cook. This will be one oversight that this reviewer will need to correct as soon as possible.
CD available at:
amazon.com
jessecook.com
narada.com |
| |
Nomad
Jesse Cook
2003/Narada World
46:00
|
|
According to the liner notes Nomad was two years in the making and the wall of sound that you are about to hear makes every living moment of that creative period worthwhile. But it is not just the production values that are superb, as the compositions are equally inspiring. Despite Jesse Cook's outstanding recording career to date, Nomad is his most defining moment. An outlandish statement perhaps, but nevertheless utterly true.
In the past, Cook's flamenco guitar has always carried a strong international flavor. This time, the world stage plays a more vanguard role versus the supporting influence like in the past. Recorded in Cairo, Madrid, London, Toronto and Los Angeles, there is no doubting that the international production settings spill over into the music. One of the most obvious fruits of this endeavor is the moody prelude imaginatively entitled "Prelude." It has some of the most exotic violin work heard in a long time. The musical introduction is further embellished with an assortment of percussion work from Hossam Ramzy that pulsates to a crescendo, setting the entire tone of the album. Nor does it hurt to walk straight into the pounding "Qadukka-l-Mayyas" that also features the Egyptian String Ensemble. The foreign vocal-chanting arrangement of Maryem Tollar only adds to the exotica.
The artist's past two albums have showcased a vocal track, however, this time around there is a slew of vocal arrangements to be found. Thus, instrumental purists be aware, but do not let this discourage your exploration. The more commercially appealing songs are the happy "Early On Tuesday" and the melancholy "Down Like Rain" that feature the BoDeans and the Rembrandts' Danny Wilde, respectively. The less commercial efforts are the aforementioned "Qadukka-l-Mayyas" and the even more bizarre concluding track, "Toca Orilla."
However, the best vocal effort (or for that matter, the best track on the entire album) comes courtesy of the performance from Flora Purim on the flowing "Maybe." The CD booklet describes it as Brazilian samba meeting rumba flamenco. Frankly, from a genre point of view, categorizing it is almost impossible. Yet emotionally, perhaps a bundle of joy that transporting you to sunny places with lush green palm trees dancing in a soft tropical breeze, resting upon blue skies, bordered by equally blue warm water and white beaches may assist you.
Still, this leaves us with a healthy portion of instrumental workouts. The most obvious choice would be the title track "Nomad" that includes a wandering array of sounds embroidered by the kitchen sink (no pun intended). In contrast, there is the poignant "Surrender" that will please many of the more rooted Jesse Cook fans. Meanwhile, the ponderous approach of "Surrender" is contrasted by the pulsating "Leila," which once again features the ambitious Hossam Ramzy on percussion.
While taken by surprise with the onslaught of vocal deliveries, the album shows a fine balance in the spoken and unspoken words. Jesse Cook has become the master of the flamenco guitar positioned on a world stage of musical expressions. Delivering like no other musician in this field, the twists and turns of genres and mood swings articulate a wide range of emotions that makes this project a majestic and moving musical experience.
CD available at:
amazon.com
jessecook.com
narada.com
|
|
