Joey Madia, New Mystics Reviews

‘Tis better to have loved and lost than never to have loved at all (Alfred Lord Tennyson, In Memoriam) Given a choice between grief and nothing, I’d choose grief (William Faulkner) I stated in my 2006 review of Craig’s first two CDs—Reverie (recorded in 2004 and produced by Steve Rapson) and Storm Clouds Rising from 2005 
(New Roots Records, www.newrootsrecords.com), produced by Craig and Steve Friedman, that he “seems to have thought a lot about the comings and goings, the joys and sorrows of Love, as any poetic folksinger must.” This bears out in Craig’s newest release, Heart of a Man (2007) produced by Steve Friedman at Melville Park Studio, Boston, MA and put out by New Roots Records (www.newrootsrecords.com). Friedman has done an outstanding job. The recording is very crisp and clear. Each note is distinct and the instruments played by Craig’s talented group of guest musicians are mixed together beautifully, accentuating Craig’s own rich playing and the simplicity and strength of ...

It’s no secret that this 28-year-old musician, poet, and novelist is a favorite at New Mystics. Patrick Porter’s musical and literary talents have grown steadily over the years, from the time 13 years ago when he was playing drums in his father’s band to his latest works (aside from this review, we have several of Patrick’s poems on the site this month, as well as a bio and my review of his first poetry book, Nervous Halo). For the past several years he’s given in to his wanderlust, splitting time between the environs of Denver, Colorado and those of New York City, the journeys always providing a wealth of new material about the people and places Porter sees. His three previous CDs—Lisha Kill, Skylan Mo, and Maybe Waltz, are what he calls the “NY Trilogy.” (You can read my comprehensive review of Lisha Kill at http://www.newmystics.com/New%20Mystics%20Music%20Lisha%20Kill.htm. It contains a lot of background/biographical information in addition to thoughts on all the tracks). My int...

There is knowledge that comes with experience and there is the more refined knowledge, that which we call Wisdom, that comes with experience over time. It has been my great privilege to be able to write this review of two CDs’ worth of music by Craig Sonnenfeld, a Boston-area singer/songwriter whose accomplished musicianship and lyrical wisdom are equally worthy of note. This is my first time reviewing two CDs from the same artist in a single music essay and it has been an experience with a great deal of merit. Perhaps the greatest barometer for measuring an artist is not a single work, but the arc and growth of his or her work over time. With that in mind, I offer the following thoughts on Craig’s two CDs, Reverie, recorded in 2004 and produced by Steve Rapson, and Storm Clouds Rising from 2005 (New Roots Records, www.newrootsrecords.com), produced by Craig and Steve Friedman. In introducing new artists to our readers here at New Mystics, I am often inclined to reference mainstream ...

Claudia Beechman has a way with words. She is a versatile and deeply moving poet as well as being an accomplished vocalist, and in listening to her latest CD, The Grand Legrand, a collection of 11 songs (most of which you will instantly recognize by melody if not by title) composed by the amazing Michel Legrand, one cannot help but realize that it truly is the singer as much as the song. Claudia’s deft use of phrasing and her unique interpretations of the songs’ varied meanings and moods put her in the realm of entertainer (well beyond mere technical proficiency) where the greats like Frank Sinatra, Barbra Streisand, Liza Minnelli, and Michael Crawford reside. Making a song your own is like crafting a poem—awareness and manipulation of sibilance, consonance, and rhythm allow the vocalist to stir the listener’s emotions the way an able writer does. This is where true artistry lies and Claudia Beechman possesses it in no short supply. None of this proficiency and artistry has happened by...

Position has its privileges. As editor of New Mystics, I sometimes have the pleasure of receiving a request from a writer or musician to review their work. In the case of Tom Baust, this is technically the second time I reviewed his work, as he was the arranger and accompanist for Claudia Beechman’s The Grand Legrand, which I reviewed last year. When Tom contacted me about reviewing his 2004 self-arranged collection of nearly 20 standards comprising 15 distinct musical tracts, I did not hesitate to say Yes! Being a musical theatre performer for most of my life, I knew the songs would be a treat and Tom’s work with Claudia had impressed me in no small measure. I was not disappointed. From the song selection, to the wonderful anecdotes in the Liner Notes, to the arrangement and execution of the songs themselves, there is a great deal to enjoy. Before I get to reviewing the songs themselves, let me tell you a little bit about the very talented and hard-working Tom Baust. Tom is a Nati...

(Camera Obscura Records, 2005, CAM071CD, www.cameraobscura.com.au) Patrick Porter is a multifaceted artist in the purest sense, working odd jobs of various and mostly limited duration while he creates his novels, poems, music, and paintings (which often serve as the cover art for his records). Patrick’s work as a poet has garnered a great deal of attention (I reviewed his Nervous Halo a few years ago) and his music is selling very well these days (his Reverb Saved my Life, also available thru Camera Obscura, is a gem). He also has a CD out thru Asaurus Records (www.asaurus.org) called Skylan Mo. He recently traveled Europe in support of his music, producing a blog of his encounters and experiences on his website, www.nervoushalo.com, that was the kind of stripped down beautiful-language literature reminiscent of ole Jack Kerouac. Patrick’s latest effort, Lisha Kill, recorded in Schenectady, New York in the summer of 2003, is at first hard to wrap your ears around, to get comfortable wi...

(PrestoMusiCo, 2004, www.marbletea.com) In a letter to his niece, the great Russian novelist Fyodor Dostoyevsky said: “The chief idea of the novel is to portray the positively good man. There is nothing in the world more difficult to do, and especially now.” Nearly 120 years later, the word “disc” (or record/album for us older, more nostalgic folks) could easily be inserted for “novel.” Now, granted, these are politically, socially, and morally complicated times, and I am a fan of the politically edged records recently released by the likes of Green Day and System of a Down, but I don’t believe for a second that plain-old good-time tunes on the positive tip, produced by a “positively good man” aren’t equally vital. Just the opposite—having fun and looking at things simply (and dare I say, with the eyes of a child) is incredibly important—especially now. So it is with great joy and a lot of excitement that I present this review of Knight Berman Jr.’s five-song EP, I’m Batman, which runs...