Wind
and
Wire
- Ken Bonfield
- Ivy Lane Music
- 15 Oakes Ave.
- Magnolia, MA 01930
Guitarist Bonfield and
violinist Ebel are joined by two of my favorite "session
artists" (Ty Burhoe on percussion and Michael Manring on
fretless bass) on Dancing With Shadows, an album
which (per the liner notes) is meant to approximate what
it's like to hear the musicians play live (the album was
recorded live to two tracks). If this recording is any
indication, I'm sorry I haven't been lucky enough to hear
them play in concert. Dancing with Shadows represents
great acoustic music, played with sensitivity, skill and
real emotion by consummate professionals. It's a sure fire
essential for acoustic guitar or violin fans, as well as
those who enjoy the interplay that exists only in ensembles
who have a high degree of tightness. 'Cause these guys are
tight with a capital "T." The songs on the CD are a
combination of new material and selections from previous
releases (e.g. Bonfield's Homecoming and the duo's
previous Kadotume). There is a range of tempos and
moods, from the opening "Mirage" which begins softly and
eventually becomes a churning fiery blending of all four
players, to the lovely restraint yet sweet interplay between
Ken and Joe on "Taos," to the forlorn and vaguely mysterious
"Centerline," to "Segovia's Bad Day" and its bluesy bass
opening and its almost tragic-sounding violin line, and
ending with the title track, a quiet haunting tune that is
among the best cuts on this great CD. I've been a fan of Ken's
music since his 1996 recording, Mystic Morning. I
consider him to be one of the best acoustic guitarists
playing today. I discovered Joe's expert violin playing on
his earlier album with Ken, Kadotume and I'd also pit
Joe against any of the violinists in modern contemporary
music (as opposed to classical, since I know so few of
those, although I'd wager he'd teach a few of them some
tricks too). Throw in Burhoe and Manring (are there two more
sought after accompanists in contemporary instrumental music
these days? I think not) and you have an almost iron-clad
guarantee of fantastic acoustic music. Evocative, rich with
subtlety and nuance, yet also containing moments of power
and passion, Dancing with Shadows is damn near
perfect. I sure can't find fault with it. Music that is
sophisticated yet uncomplicated, inviting yet not
commercial, dramatic yet never maudlin, it's everything that
acoustic instrumental should be and seldom is. Highly
recommended, obviously. review by
Bill Binkelman
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Ken Bonfield is one of my favorite acoustic instrumentalists. He is as fine a guitarist as there is recording today. His compositions are laced with a warmth and friendliness that, in some ways, belies his considerable dexterity and abundant technique. Homecoming, his last project, was one of the best CDs during the year that it was released (I think it was 1998). Now, on his latest treat for our ears, Kadotume, he teams with a real firebrand in violinist Joe Ebel. And boy, do they play up a storm! This CD is a blast and a half! Yow! The title song starts things off in an uptempo frame of mind, bringing to mind racing across the countryside on a sunny day without a care in the world. Yet on the second song, Ken shows his usual knack for mixing it up. "Sunday Morning" is a subdued and gentle number, showcasing a delicate interplay between Joe and Ken. The song is gently nostalgic and almost endearing in the way it conjures up images of afternoons on the porch. I'm thrilled to see how seamlessly Joe fits in with Ken's strength, i.e. Ken's ability to bring a sophistication and musical virtuosity to melodies that evoke rural America. The violin and guitar lightly dance together, playing off each other's sensibilities like old friends. The rest of the album is one delight after another. Lovers of acoustic music should find themselves hitting the repeat buttons often on their CD players, I'd imagine. Songs range in tempo and feel from the spooky/funky "Cat's Pause" to the all-too-brief playful "Church St." to the mournful "Something Pretty For You." Every cut reveals this album's strengths - namely, the incredible symmetry between Ken and Joe. Even the "has-to-be-heard-to-be-believed" tribute to Jimmy Page, "Dazed and Confused" (violin-feedback anyone?) is a wonder of perfect interplay. I'm not surprised that Ken's latest album is this good. But I gotta say that, being unfamiliar with the man, I think that Joe Ebel is a helluva violinist. Bringing the two together represents the marriage to two stellar talents. It seems unlikely that they could play badly if they tried. However, what finally proves to be Kadotume's biggest plus is how seamlessly they share the spotlight. Rarely do two musicians give and take so selflessly, always to the betterment of the music. In fact, the only comparison I can make is to Eric Tingstad and Nancy Rumbel, who are perhaps the quintessential duo. But who knows? Maybe in ten years I'll be saying the same thing about these two guys. With the kind of start they have here, anything is possible! Highly recommended for acoustic music fans, especially those with an affinity for rural music. review by Bill Binkelman |
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Ken Bonfield, who last gave us the wonderful Mystic Morning, returns two years later with another great recording of his gentle acoustic guitar instrumentals, Homecoming. Once again, I find that Ken has a masterful command of both his instrument and the many moods his compositions and playing can affect. If you like acoustic music, anchored by guitar, this really is one you should consider buying. There are few players with the grace, style, and careful restraint of this artist. Ken assembled some great talent to play on this disc, including the bassist who seems to be everywhere at once, Michael Manring. Also adding his considerable talent to the recording is violinist Jerry Goodman (he adds a very nice feel to "Floating," imparting the song with a touch of wistfulness). Finally, we have the very able Grant Geissman on classical guitar and Efrain Toro on percussion. Ken stretches out on this recording stylistically. On "Mirage" there are subtle echoes of mystery and some glimmerings of desert landscapes (although, per Ken's liner notes, he was thinking more along the lines of "Imagine Black Sabbath 'Unplugged' sans Ozzie.") Well, maybe so. But I think the fiery rhythms and picking bring to mind caravans and nomadic tribes. On other songs, Ken plays like a slightly-more accessible Will Ackerman, meaning that while the songs are impressionistic in style, their arrangement is less sparse and the melodies less ambiguous (which is just my opinion, obviously). "Centerline" has a very dark sounding E-bow (courtesy of Michael Manring) that lends the song an edge normally missing from acoustic guitar ensembles. While I do not usually like cover tunes, I'll have to admit that Ken's cover of Duane Allman's instrumental "Little Martha" is a great piece of gentle rockin' music, featuring more out front artistry from Ken than is usual. All of the songs on Homecoming are winners for me. I never skip around on this CD and I doubt you will either. The consistency of Ken's (and the other musicians') playing is counterbalanced by the subtle (and sometimes not so) variation in mood and speed of the songs. All in all, as I said about Mystic Morning in issue three, you probably won't find a more pleasant acoustic listening experience this year. Ken proves that lightning (in this case, a more gentle lightning) does strike twice. review by Bill Binkelman |