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On 2003's TINY VOICES, singer/songwriter Joe Henry sets about immersing the listener in a dreamy, anachronistic atmosphere that's both inviting and slightly foreboding. Continuing in the inventive, mood-driven vein that the Los Angeles-based troubadour established in earnest on 1996's TRAMPOLINE, Henry conjures up a woozy jazz vibe throughout much of this record, aided substantially by the agile contributions of reed man Don Byron and trumpeter Ron Miles. Although Henry downplays immediately catchy pop/rock melodies (a la "Trampoline" and "Stop" from past outings) in favor of creating an extended suite-like whole, there are plenty of fine moments to latch onto, particularly the slinky "Animal Skin" and the shuffling title track, which exemplifies Henry's knack for plaintive vocals and darkly romantic lyrics. With its lack of obvious "singles" or high-profile guests, TINY VOICES serves as a more subtle, though no less affecting, companion piece to 2001's SCAR--an album that takes some time to work its quirky magic, but nevertheless casts a wonderfully hypnotic spell.
The follow-up to the universally acclaimed Scar album from songwriter Joe Henry, who gained widespread attention for the work he did on Solomon Burke's Grammy Award winning Don't Give Up On Me album. Twelve brilliant tracks recorded with backing from avant-garde clarinetist Don Byron and trumpeter Ron Miles. Digipak. Anti. 2003.
Recorded at The Sunset Sound Factory, Hollywwood, California and The Jung Hotel, Pasadena, California between December 2002 & January 2003.
Personnel: Joe Henry (vocals, guitar); Niki Haris, Jean McClain (vocals); Chris Bruce, Gregg Arreguin (guitar); Don Byron (clarinet, bass clarinet, tenor saxophone); Ron Miles Quartet (trumpet); Dave Palmer, Patrick Warren (keyboards); Jay Bellerose (drums, percussion); Jim Keltner (drums).
Audio Mixer: S. "Husky" Hoskulds.
Recording information: Sunset Sound Factory, Hollywood, CA (12/02/2002-12/06/2002); The Jung Hotel, Hollywood, CA (12/02/2002-12/06/2002).
Photographers: Melanie Nissen; Seymour Mednick.
Unknown Contributor Role: S. "Husky" Hoskulds.
Personnel: Joe Henry (vocals, guitar); Chris Bruce, Gregg Arreguin (guitar); Don Byron (clarinet, bass clarinet, tenor saxophone); Ron Miles (trumpet); Dave Palmer, Patrick Warren (keyboards); Jennifer Condos (bass); Jay Bellerose (drums, percussion); Jim Keltner (drums); Niki Haris, Jean McClain (background vocals).
Q (11/03, p.110) - 3 stars out of 5 - "...He has steadily evolved a unique signature, increasingly foregrounding jazz and Tom Waits-like, vaudevillian influences..."
Uncut (11/03, p.110) - 3 stars out of 5 - "...Big melodies, soothing rhythms and some neat jazz jerks: Tiny Voices makes a quiet noise that's worth investigating..."
Mojo (Publisher) (10/03, p.110) - 4 stars out of 5 - "...TINY VOICES finds him forging a new strain of the genre: dreamy, weathered and deceptively romantic....This is the album of his remarkable career..." Joe Henry Tiny Voices Songs Tiny Voices Music Review Average Rating: (5 out of 5 stars)  GREAT
What a highlight in music.
The way Byron and Henry combinate vocals and horns is absolutely amazing..GREAT ALBUM
Submitted by richard (ZOETREMEER NETHERLANDS) 
Was This Review Helpful? Yes No More of the same from Joe Henry
...which is to say, more genre-defying bliss from pop's reigning mad chemist. This release continues in the vein of 2001's Scar, at least insofar as it retains that album's creaky, jazz-steeped production ethos. Different personnel lends a slightly different feel, but if you aren't a jazz nerd, you aren't liable to notice that it's Don Byron and not Ornette Coleman handling the horn charts, or that Brad Mehldau isn't playing piano. The songs are too good. Tiny Voices is, like Scar, a bit of a grower--at first listen, much of the album doesn't register beyond the strange-but-cool background music level. But little things leap out at you--the beautifully spare introduction to "Dirty Magazine," the gently descending refrain of "Flag," the ragged optimism of "Leaning," the haunting chorus backgrounds on the title track. Lines jump out at you here and there:
I remember when love was something I craved
But I settled for less and the comfort it gave,
For living his hard when real love begins
And it leaves heavy lines on your animal skin
"Animal Skin"
If I give in to your open arms
Then you can think the worst of me
For pulling out my weakness like a charm
And making sure you'd see
"Sold"
Now I hang my clothes out to dry
Like waves of surrender, they fly.
The whore of this world looks old and played
Still she peeks from the alley
Like a waiting bride's maid
"Flag"
Oh, God loves a sinner
God loves a crook
God loves you frail
And splayed out like a book
"Loves You Madly"
But it isn't until about halfway through the album's last track, "Your Side Of My World," that the album really sucks you in. "There you were, in your high heels and curls," Henry groans, "Coming in big as life, from your side of my world." Minutes later, from out of nowhere, a gospel choir. And it all comes together--this glorious cacophony, blaring forth from a creaking spaceship flown by a drunk alien pilot--and suddenly the album that's been jabbering at you--softly but insistently--reaches out, grabs you by your lapels, and throws you across the room. You are now among the saved.
If I had to make a comparison, simply for the sake of someone who's never listened to Joe Henry before, I'd say "Tom Waits with a decent singing voice and a real appreciation for melody." But really, that doesn't do the music justice. I'll be listening to this for a long time.
Submitted by a reviewer (Livermore, CA)
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