Local/Singer Songwriter“
Nobody’s Baby
”Leslie Alexander
www.lesliealexander.com

Alexander is almost local, she’s out of British Colombia, which on a good day is close enough to call our own.

The product was recorded by John MacArthur Ellis at Nashcroft Manor in BC.  Alexander is found on vocals, writing, kazoo and piano, Ellis is on acoustic, electric, pedal steel guitars, keys and bass.  Hank Hendrix works on Dobro, mandolin and banjo.  Rob Becker takes up bass on the third track and is also on supporting vocal work.  Mike Schmidt is behind the kit on tracks 1, 2, 5, 7 & 10, while Pat Steward plays drums on tracks, 3, 4, 9.

Alexander pens tunes that are in what I would call an eclectic mood, but she also has a bit of Tom Waits, living somewhere in her conscious or subconscious mind or memory.  I like the way she moves from very alternative tracks to very ‘out there’ tracks that float through effortlessly.  She takes risk, which makes me smile and has no fear about taking a bit of license with the tune, “Nola” with a nod to The Kinks and rock in general.  The production values change effortlessly as does the lyrical content of her tunes.

Alexander is a vocalist and she risks much with her ballads or show tune vibe, but can belt out a straight ahead rock vibe.  She’s her own woman when it comes to the nature of her vocals and writing, I kept listening for this or that influence, I’m sure there are artists that have impressed her, but she gives no quarter or illuminates little beyond her own style or tune.  The production values are complimentary to writing as well as her vocal approach. There are some good players behind each the vocal and tune.

There is a very soft side to Leslie’s work, but there is also a forged edge also.  Some of her tracks seem to be conversations with somebody that did her wrong, but she’s not getting even, she seems to just be telling her truth.  I like the no self-pity approach to the inner and outer workings of life as a woman.  She is very straight ahead with lyrical content, does not pull any punches, which works well for her rock tunes. She uses great imagery to convey her emotional vibe.

“What Did I Do”, the sixth track reveals another side to the lady.  She becomes tender and beckoning with her plea.   This is a very nice track, the production works well and the mix perfectly matches the mood of the piece.  As I have already discovered, Alexander doesn’t rest on her laurels, the next track is more of a rock/bluegrass vibe that is unrelenting in it’s lyric and tale.  Alexander shines on this track vocally and may be one of my top tracks on the project.  Awesome playing going on within this for three minutes and forty-nine seconds.

“Gimme” slows down the train again and another character or side of Alexander is revealed.  Alexander is not afraid to be rough or vulnerable, which to me makes an artist.  She risks on each cut and it pays off in grand dividends for the ear.  The title cut, “Nobody’s Baby” unfolds like an anthem for Alexander, but also for all of her genders side of the road.  Again, the cut is lyrically straight ahead, the production illuminates her emotions well.

This is a very good product from our friend up North; Alexander is hopefully writing and honing the next piece of work to share with us.

[Christopher Brant Anderson]

SingerSongwriter/Instrumental“Night Radio”  (EP)
Simone Dinnerstein & Tif Merritt
www.tiftmerritt.com
www.simonedinnerstein.com

Tift Merritt was born in Houston, Texas, but was transplanted in North Carolina where she was raised and completed her formal education in creative writing. From background checks, her father appears to be the major influence on her music, but that would be a bit simplistic.  With nine albums to her credit the influences covered are diverse and wide.  Merritt seems to have absorbed the best of folk, rock and country and somehow found her own voice within all that data.  She is a player working on piano, keys, guitar, harmonica and her distinctive vocal style.

Simone Dinnerstein is New York based, Julliard trained pianist with a deep classical background, making her mark in that world with her release of Bach’s Goldberg Variations.  She has three other classical releases to her credit and from a bit of background research and from listening it is easy to see why she made such a huge impression in that community of players and listeners.

From research material both artists are very much into collaboration, which in my world means listening to and honoring the tune at hand.  They met in 2008 and have been working on honing a new sound for both of the palettes.  Merritt has the Americana approach with her influences while Dinnerstein brings a sophistication and a beautifully played instrument to their collective table.

Six tracks fill this EP with a wide diversification of material. Two of the tunes are Merrits, “Still Not Home” & “Colors”.  There is a traditional cover of “Wayfaring Stranger” as well as “Night” a Patty Griffin tune.  Johnny Nash’s, “I Can See Clearly Now” is covered as well as Lady Day’s (Billy Holiday), “Don’t Explain”, which was arranged by the wonderful Nina Simone.

Merritt’s first track commences with a lone guitar riff as well as a stark, clear, distinct vocal clearly showcasing her roots in Americana.  With the second track the duo sets in for the upcoming tracks.  What I like in Tift’s vocals is a vulnerability that she is willing to share with her listening audience.  Dinnerstein’s piano gently embellishes her approach and lyric.  Simone listens and adds to, never distracting from the tenderness or the tale, which is a much underrated attribute in music these days.  The inter play between the vocal, guitar and piano is a delicate balance that is glaring in the tender ballad of “Colors”.  “Wayfaring Stranger” is again handled with care as it gently appears with Merritt’s vocal and guitar.  This track appears to be a solo cut, if Dinnerstein is working on the track her pads are almost invisible.  Griffin’s tune is the first to highlight the piano and vocal, which works beautifully.  Patty Griffin must be proud of the representation and care given to her work.

Nash’s tune is lightly approached with guitar and vocal.  As Dinnerstein enters with her piano the tune transforms from a pop anthem to a wonderfully balanced piece somewhere between folk and a tune played in a dimly lit club somewhere between the second or last tune of a set. I like the smoky feel it gains with the piano.

If these two artists continue to hone and listen to their hearts and risk with material like this cut, there could be a long career ahead for both artists with this vehicle.

[Christopher Brant Anderson]

Singer/Songwriter “In This Present Form”
Jon McAuliffe


McAuliffe is a veteran writer and player from the East coast.  Jon has worked the road and publishing companies since the mid 1960’s and like any working musician has been involved in many bands, either fronting or as a supporting player. The consistent fact is that McAuliffe is a songwriter.

Details or PR are in short supply for the product, but it does not diminish the music held within.  “Gotta Get Back to Memphis”, the second track following the first track quickly illuminates the years of influence McAuliffe has drank in during his years working in the industry.  The lyric and delivery vocally are significant signs of a man that has honed his skills.  The guitar work he displays are precise and another obvious account of time in on the craft.

McAuliffe has a rock vibe, but influences in country, folk and jazz are apparent in the work as well.  At his best, Jon McAuliffe is a great story teller.  His writing is crafted around amazing arrangements of some great players.  I’m not sure who he’s using within the ensemble, but another apparent factor is that he has drawn deep from his well of players over the years and brought the best to this project.  The work was carefully produced by Seth Connelly, Connelly took care in his production and mix values to insure the singer’s stories and vocals were always shinning through.

“Tear Down Every Wall”, track five has a great gospel feel to it and again highlights McAuliffe’s talents as a writer and vocalist.  There is an economy in the writers use of the language coupled with the production that is lost on many of the younger artists I hear these days, but time has been McAuliffe’s friend. Whatever his influences are or have been, he takes from the best of them and rolls his work into an authentic style that is pretty amazing for an indie artist.  His use of country, folk and rock to embellish his lyrical approach to his subject matter is amazing. His other great assets are his steady vocals and willingness to risk.  He can range from straight ahead rock tunes to very tender ballads.

“In This Present Form” is in the present, but illuminates a professional who has forged his own destiny in the industry and  takes no back seat or thought to what is currently an industry  that looks toward the very young to exploit for a decade and move on to the next cash cow.  Jon McAuliffe has been doing this thing awhile and will continue to walk his own road musically, which is a very good thing.

The product is a great listen and some of the best singer/songwriter chops I have had the pleasure to review.

[Christopher Brant Anderson]