"Still Strings" by Antoine Dufour and Tommy Gauthier

Still Strings is an EXTRAORDINARY CD! Antoine Dufour and Tommy Gauthier have created one of the most original and most enjoyable CD's that I have heard in years. These guys have it all: they play extremely well, they write great songs, and their ensemble playing is just magic.

This is one of those rare musical experiences that defies categorization. There are elements of jazz, folk, classical, rock, blues, progressive rock, country, and Celtic that are all blended into a purely unique form of expression. It is so refreshing to hear musicians with complete command of instrumental techniques who use those techniques in the service of their compositions. And I have to call these tracks compositions because Mssrs. Dufour and Gauthier have such a wonderful grasp of form, far beyond standard song forms.

So full and rich is the music that you might not realize that there are only two people playing. Antoine Dufour plays guitar and harp guitar, while Tommy Gauthier plays violin, mandolin, and bouzouki. The textures that they produce with these instruments are stunning. This music is so unique that I am sure that my descriptions cannot convey its range of emotion and beauty; you have to hear it.

The CD gets off to a flying start with Swing in a Round. The opening riff is incredibly cool and funky. You can practically hear the resin flying off the bow, and the guitar lends another great backup line in both bass and rhythm. Mssrs. Dufour and Gauthier then take us on an amazing trip through keys and styles, with bits of jazz, classical, country, blues, and even a few fractured Celtic phrases. Tommy Gauthier shifts from bow to pizzicato effortlessly in mid-flight while Antoine Dufour moves just as deftly on the guitar. What a start!

Tango agricole is no less exciting, mixing flamenco-esque elements with tango and a smattering of Gypsy Jazz. The ensemble work here is flawless, with violin and guitar playing tight unisons. In the middle of a soaring passage Tommy Gauthier will pause ethereally on a single note before the duo plunges back into the fray. This track shows the incredible grasp of form that makes these tracks stand out as compositions. The return of the first theme is both unexpected and yet a completely welcome rounding off of the whole. Tommy Gauthier's bravura playing is incredible enough on its own, but backed with Antoine Dufour's strong accompaniments the whole truly transcends its parts.

All compositions are by Dufour and Gauthier (or by one with the other arranging their own part) with the sole exception of the Don Ross tune Catherine. This is a very soulful rendition that shows a real reverence for the work of Mr. Ross. Both players show off a myriad of techniques, all in the service of this lovely melody. Antoine Dufour makes the most of his rhythmic "slapping" technique which fans will recognize from his recent solo CD "Existence".

Apres le beau temps... la pluie was written by Tommy Gauthier so it is a bit surprising that this version starts off with a guitar solo, but it does give Antoine Dufour a chance to show his melodic solo side in a fine rendition. And then the mandolin enters in a torrent of notes that lift this track into the stratosphere. Then we STOP ... and a short count-in takes us into new country ... a complete change of pace that winds down to an unexpected final chord.

Breakdown Ross is another tip of the hat to Don Ross, this one containing one of his riffs that forms the basis of this formidable duet for guitar and bouzouki. For a while it seems that this will be a simple song form, but of course Dufour and Gauthier have more tricks up their sleeves, and the track sidesteps into a very funky take on the riff that even adds a little scat singing into the mix.

Mellow Deep Art begins with another of the great guitar riffs that just seem to drip from Antoine Dufour's fingers. This is soon joined by Tommy Gauthier's heart-wrenchingly beautiful violin phrases that include swooning slides of double-stops. At first you might think the title ironic, but one listen to this track will convince you of their sincerity. Yet another composition that will stay with you long after the CD is finished playing. Tommy Gauthier's playing brings to mind that of Stephane Grappelli, more for the depth of emotion that he can convey and his deftness of touch than in the actual sound.

Solitude plunges us into the depths of the bass strings on Antoine Dufour's harp guitar contrasting with the high harmonics, while the smooth line of the violin floats atop the choppier accompaniment. This is a marvellous depiction of two separate solitudes occupying the same space. So beautiful is the violin melody and so integral its eventual disintegration that it is a surprise to find that M. Dufour wrote this one, although of course M. Gauthier did the violin arrangement. And what an ending!

6/8 d'la Belle begins with some jaunty unison work between bouzouki and guitar before they go their separate ways. The 6/8 of the title gives this work a nice sway and flow which is sometimes deliberately defeated to move the piece along in more interesting directions. The duo's mastery of varying a theme is on full display yet again.

String Fusion begins with yet another great guitar riff before some very tense chords emerge on the bouzouki, muted. What a sound! This one really gets rocking - hard to believe there are just two acoustic instruments playing! We are treated to more twists and turns through some of the best territory that might be jazz, maybe blues, even some prog rock in there - all purely original and incredibly GOOD! This is great stuff.

Intenso is an appropriate name for the intense track that closes the CD. As if summing up the entire album this one track showcases all of the pyrotechnics of both Antoine Dufour and Tommy Gauthier, swinging between moods of intense motion to serene flights of gorgeous melody, all with an intensity of emotion rarely found in music of any kind. If this one does not get your body moving, you are dead. And the ending is, of course, just perfect.

By now you have realized that this review is an unqualified rave, and my only fear is that I have not done justice to this incredible CD. I cannot remember when I have been so overwhelmed by an album!

To sum up, this is one of the finest CD's of acoustic music to come out of Canada EVER. I'll go further and say that it is one of the finest CD's of an acoustic duo ANYWHERE, EVER.

You can hear some of these amazing tracks at Candyrat Records (http://www.candyrat.com/). You can also buy the CD there.

BUY THIS CD! You will be DELIGHTED!

"Looking Up" by Frank Vignola

If you have read my review of Vignola Plays Gershwin you already know that Frank Vignola is one of my very favorite jazz guitar players. Well imagine my surprise when Frank told me this recently: "I don't call myself a jazz guitar player." Why not? "Because if I call myself a jazz guitar to player ... I think people get turned off. They think: 'I'm not gonna like that.' They're going to think: 'I'm going to get bored, because the last time I heard a jazz guitar record or went to see a performance, I really didn't enjoy it.' "

This comes from an interview that I did with Frank Vignola at the Chet Atkins Appreciation Society convention in Nashville in July. So if not a jazz guitarist, what does he consider himself? "I just try to consider myself an 'acoustic guitar virtuoso' or some stupid name like that as opposed to a jazz guitarist."

There is certainly no doubt that Frank Vignola is a guitar virtuoso, and his range extends far beyond jazz. On his latest CD Looking Up, he includes gypsy jazz, ballad, folk, pop, rock, and classical music as well as some jazz standards. What holds these diverse styles together is the melodic sensibility and outstanding ensemble work of Frank Vignola with Gary Mazzaroppi and Vinny Raniolo. This is a stellar group that handles any type of music with flair and aplomb.

The CD gets off to a flying start with Gypsymania, a torrid flight through the gypsy jazz idiom that begins with a sonic tip of the hat to one of Mr. Vignola's mentors, Les Paul (who passed away in August of 2009). Although this song proceeds at what seems a super-human tempo it is a real foot-tapper.

Changing up the pace is Killing Me Softly, a beautiful reading of the huge hit for Roberta Flack. Few jazz players might want to play such a straightforward arrangement of this song, even with this version's slightly flamenco cadence. What Frank Vignola knows is that his listeners love the melody, and this entire arrangement sets off the melody in several wonderful ways. I witnessed the power of this style in Nashville when at two words from Frank ("You sing") the entire audience sang along for the final verse! Who says that people don't listen to words? These folks knew them all and did a fine job with the tune too!

Then we are off to the aural world of folk music with the traditional tune Shady Grove. This grove has a strong groove moving it along, with some fine imitative counterpoint to give it some heft and the banjo of Jamie Mansfield to add that extra folk touch. At times it sounds like a dozen or more playing, so much music can these four produce.

Sounds of Silence is a nice surprise to find next. Once again a simple but effective presentation starts off, this time in harmonics. The harmony gradually becomes more lush and the melody follows suit, exploring all of its possibilities.

With Night in Tunisia we are finally in solid jazz standard territory. What a workout this trio gives Dizzy Gillespie's famous tune! This is one of the standout tracks of the whole CD. Just fine music. Listen for Frank's muted guitar under Gary's fine bass solo, while Vinny fades his chords into just high-pitched 'plinks'. Just one of several magic moments here.

Our 'acoustic guitar virtuoso' continues with yet another jazz standard, Tears by Django Reinhardt. The pace is slower and more contemplative but again melody reigns supreme. While Django's spirit pervades the song the guitar is pure Vignola, as he again explores the implications and possibilities of the tune.

I would never have expected to hear this group play Walking on the Moon, but then again this version is quite unlike the original by The Police. There is a lightness and delicacy that suits the song and its lyrics. The lightly skipping bass and light rhythm chording provide the perfect background for more exploration of melody.

At this point you may be convinced that these three have a rare breadth of inspiration, but would you be ready for an excerpt from J. S. Bach's Partita #2 for violin? Vignola's phrasing is flawless, as is his technique. After the opening solo, he hits a big chord and the rest of the trio enters, at first highlighting downbeats but soon taking full part in harmonizing the melody.

Once again things change up, this time into Chick Corea's Got a Match? The transition from Bach is made flawless by the matching accompaniments in both pieces. The trio feels a bit freer to swing in this one and swing they do!

Don't think you have heard it all yet, because next comes an amazing set of excerpts from Bizet's most famous opera in the Carmen Medley. Bizet had a true gift for writing memorable melodies and catchy tunes, and the trio does them full justice in this impressive medley. How can a trio substitute for a full orchestra and opera cast? Well, listen for yourself and prepare to be most pleasantly surprised. A melody lover's dream.

The CD ends with Mozart's Turkish March, a tour de force that not much can really follow. Yes, you do know this tune and you will recognize it right away. And if it sounds fast, you should see Frank Vignola play it live! The fingerboard of his guitar is smoking as he takes us right back to the sonic world that began the CD. What what a trip it is.

The CD should be out by early October. You can listen to Gypsymania and buy the CD at FrankVignola.com