| | Garnet Rogers Sparrow's Wing CD Garnet Rogers Discography of CDs
Garnet Rogers Sparrow's Wing Songs | 1. | Cricket Dance |
| 2. | Next Turn Of The Wheel |
| 3. | Under The Summer Moonlight |
| 4. | All That Is |
| 5. | Edge Of The Earth |
| 6. | 11:11 |
| 7. | These Broken Hills |
| 8. | Come Again |
| 9. | Stormfront |
| 10. | Threshold |
| 11. | Sparrow's Wing |
| 12. | Under The Summer Moonlight (reprise) |
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Sparrow's Wing Review
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Originally issued in Brazil in 2001, this is Brazilian guitarist Ricardo Silveira's first non-Verve recording in the United States. Though issued in the States two years after its initial release, it retains its freshness and forward-thinking way of looking at popular musical forms as inseparable. Silveira has been influenced not only by his countrymen, but also by American guitarist friends such as Pat Metheny and Bill Frisell. And like such illustrious artists, he has integrated virtually everything he can put his ear to into his sound. Silveira has played with everyone from Milton Nascimento to Gilberto Gil to Dori Caymmi back home as well as Herbie Mann, Flora Purim, and the Grusin brothers in the States. Noite Clara reflects the textural richness of his experience in the neo-flamenco stylings of "Lua No Mar" as the track meets modern groove jazz and bossa nova. Elsewhere, on "Tango Carioca," Silveira turns the Argentinean classical form on its head with ringing Grant Green-styled arpeggios and lilting backbeats. "Bom Partido" is perhaps the first ever jazz-rock samba, and the closing track, "Pa�s Tropical," uses American country figures (� la Bill Frisell's Nashville) inside a Jorge Ben harmony that is pure Afro-Cuban in melody and soul-jazz in groove. This is a graceful, breezy recording that is as rewarding musically ...
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Born in Italy and raised in Paris, Carla Bruni became one of the world's top models before she was 20 years old. Her musical debut, QUELQU'UN M'A DIT, showed she also had a penchant for sultry singer-songwriter fare in the classic French pop style. NO PROMISES, Bruni's sophomore effort, mines similar territory, but takes its lyrics from the works of famous poets such as W.H. Auden, Emily Dickinson, and William Butler Yeats. The music is soft, rhythmic, and intimate, driven by acoustic guitar, and the whisper-sung words add to the French caf�-style ambience.
After the runaway success of her charming, folksy first album, Quelqu'un M'a Dit, Carla Bruni's sophomore effort takes a more difficult route and sees her setting canonical works by such poets as Yeats and Emily Dickinson to music. The lines "Wrapping that foul body up/In as foul a rag" in Yeats' "Those Dancing Days Are Gone" are delivered almost winsomely, where in fact the word "foul" should be allowed to drag, and to weigh down the rest of the line. Metered verse cannot fit this sort of verse-verse-chorus model. Of course, an album must be judged on its musical merits, and the overall mixture of rhythm and pedal steel guitars, with a touch of harmonica here and there, is a serviceable foil to Bruni's smoky voice. Although this impersonal set of disparate poems is often set to incongruous arrangements, the doo wop piano-and-guitar jam on Dickinson's "If You Were Coming in the Fall" is a highlight, lending itself oddly well to Bruni's sauce. [This edition includes a bonus track.] ~ Caspar Salmon
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I have always believed that the enduring appeal of The Byrds’ music has two linked explanations. Beyond all the mid 60s psychedelic, it drew continually on earlier genres such as folk, bluegrass and country, and in so doing, reflected something of America’s experience and history as a nation. These influences were then often combined with rock and pop styles to produce something that was not only thrilling to listen to but also thought provoking and spiritually rewarding. John York, perhaps more than any other of the remaining band members, has continued to pursue this wider mission in his song writing.John describes ‘Claremont Dragon’ as “a bridge from west to east and back again: from then ’til now, from us to them.” This is nowhere more apparent than in “Jennifer Tsai” ...
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