2L April 99 Studio - Two Louies Magazine

Continued from page 10
cal gold, utilizing well-planned arrangements and
magical production choices. They are obvious students
of the crafts of writing and producing Rock
music. They are tapped into the wellspring of genius
at the fountain of inspiration drinking down all that
their minds and souls can possibly hold.
Advance EP— Kaitlyn Ni Donovan
Self-Produced
It’s been five years already since Kaitlyn Ni
Donovan first appeared on the scene, with a penchant
for unique, ethereal song suites and hauntingly beautiful
vocal presentations. Some believed she would
have found wider success by now, with her unusual
style. But Kaitlyn has taken a somewhat longer road.
Regardless. As evidenced by the three advance tracks
included among the four on this EP, she is clearly at
the threshold of achieving the recognition to which
her rare musical gifts had always given so much promise.
Kaitlyn has surrounded herself with a deep pool
of auxiliary talent including, among several others,
guitarist Jonathan Drews and bassist Eric Furlong—
who, between them, have played in a bazillion bands
in their five or so years in the local scene; as well as
production god Tony Lash, whose contribution here
is immeasurable. The result is a gloriously original
sound which might be categorized as falling somewhere
between Sarah McLachlan, the Cocteau Twins,
Loreena McKennit and Portishead in the grand celestial
scheme of musical things. But Kaitlyn’s sound
is singularly her own, derived from her “morphed”
chord progressions on guitar and Celtic influences
on the violin. She is one of a kind.
“Ceiling Tiles” begins with a drum loop, slightly
compressed to resemble Portishead’s style, as grumbling
guitar sounds whir mechanically into the frame.
Kaitlyn enters with gentle acoustic guitar arpeggios,
while amorphous sounds formlessly hover in the
sonic æther. Suddenly a green rain of mournful Celtic
violins cascade upon the scene. A moody electric piano
paces the landscape beneath. As Kaitlyn begins
to sing, the instruments receding into the mist, only
the piano and her guitar to guide her as the drum
loop clocks relentlessly in the spatial distance; her
voice a vaporous honey whisper. This song would be
perfect soundtrack material for Jane Eyre
orWuthering Heights.
Glistening mandolins dance like snowflakes in
Page 24 - TWO LOUIES, April 1999
the moonlight on “Tiny Twigs.” A soaring dove of a
violin glides among the heavens, Kaitlyn’s angelic
voice hushing a sweet lullaby from above. Hypnotically
resonant, similar to portions of Terry Riley’s
minimalist epic In C. Simply beautiful. Acoustic and
electric guitars weave a sonorous brocade on “Awake
In The Sand,” Kait’s delicate voice tripping lightly
across the flimsy fabric. A melancholy cello passes
through the chorus and bridge, as layers of sumptuous
harmonies choir in divine resplendence.
The home recorded “Wingside” hearkens to
Kaitlyn’s beginnings, but demonstrates precisely the
evolution this EP represents. For she has lived up to
the challenge of channeling her extraordinarily phenomenal
propensity for melody. A voice for the new
millennium, exquisitely ephemeral, magically enchanting.
Kaitlyn Ni Donovan may have taken the
long road on her journey to discover the means to
her own musical expression. But with this recording,
there is no doubt that she has indeed at last arrived at
her destination.
I Go Zoom— Mary Kadderly
Mary Margaret Music
Mary Kadderly has sung out in the vibrant local
Jazz scene for many years now, regularly gigging with
pianist Steve Christofferson in a duo format for several
of them. Here they are joined by a stellar sidecrew,
to create a refined Pop sound, with smooth Jazz undertones.
Kadderly can, with facile zeal, sing rings
around 99.9% of her competition. Her easy contralto
effortlessly navigates a wide swath of musical styles—
so diverse, it is difficult to describe exactly from which
“Jerry Hahn’s peerless tone, unmistakable when it
appears in the mix, supports a fluid Jazz-savvy fret
technique that is a complete education for anyone
who might fancy himself to be a guitarist.”
bag she may be actually coming. But every stylistic
guise she dons seems as if it were one she has worn all
her life.
And talk about a sterling backup band! All nine
songs overflow with big name players, including
Christofferson on a variety of keyboards, drummer
Jeff Minnieweather and Joey Seifers on electric and
standup bass. Dan Faehnle alternates lead guitar
chores with the legendary Jerry Hahn whom, in every
instance, gives rise to a profound sense of wonder
and astonishment at his marvelously subdued and
constrained approach to the instrument. His peerless
tone, unmistakable when it appears in the mix,
supports a fluid Jazz-savvy fret technique that is a
complete education for anyone who might fancy himself
to be a guitarist. This guy is a master.
As if that were not enough honey in the mead,
Valerie Day adds percussion to a number tracks, while
guitarslinger Trooper Tim Ellis makes several appearances
in an auxiliary role, fleshing out zesty rhythms
on acoustic guitar in some parts, comping faithfully
on electric in others. Trumpeter Paul Mazzio and
saxman Lee Wuthernow sweeten a number of cuts.
Even violinist Skip Parente sits in on a tune.
A few of the songs are well-enough crafted to
seem like standards or, at the very least, standardsto-be.
Kadderly had a hand in the writing of all the
songs, creating a varied palate of melodies for the intelligent
poetry of lyricists Todd Schultz and Brett
Bender, as well as for a several of her own verses.
Schultz, especially, distinguishes himself in his two
lyric contributions, with an actual and distinctive style
of writing that is literary in its construction, intellectually
incisive and emotionally perceptive.
For the most part though, the aural focus is on
the stalwart musicianship that drips from every tune.
Christofferson kicks off the title track with swinging
boogie piano licks, as Kadderly delivers a light lyric
with a smooth and assured vocal with a great sense
timing and energy. “Someday Sometime” is a pretty
ballad, a little predictable lyrically, but with a sophisticated
arrangement that calls to mind some of Jim
Webb’s most memorable songs.
“Sea Of Love” funks things up in a mellow way:
kind of like a toned down version of Steely Dan’s
“Parker’s Band,” Christofferson’s Hammond chattering
and purring in the foreground. Hahn fires off a
staccato onslaught of well-aimed notes in a brilliant
solo that touches all the bases in the process of hitting
it out of the park.
“It’s Not Over Yet” couples Day’s spicy bongos
with Minnieweather’s hip-hoppy drum patterns
against Seifers’ satisfying standup bass— as Mary
throws down a space age vocal melody over Faehnle’s
Wes Montgomery flavored guitar voicings. Schultz’
clever lyric adds to the sensually charged atmosphere,
creating a rich tension in its own right. “Can You Feel
It” play’s on the traditional Bo Diddly rhythm, adding
New Orlean’s juju with Christofferson’s chunky
Hammond and stride colorations on piano.
The piece de resistance of the set is the is the
marvelous torch ballad “Love Is Losing,” where Hahn
is allowed to showcase his incredible skills. Over a
quiet Jazz trio scenario: Minnieweather massaging his
snare with gentle brushstrokes; solid underpinning
by Seifers on standup bass, Hahn layers ghostly chords
behind Kadderly’s smoldering vocal. She wraps her
voice around a supple marriage of her classic melody
and Schultz’ inspired lyric: “Fact or fiction/You decide/So
we’re in love/Somehow that’s not enough/You
were so real/Now you dodge and conceal/Dead love
is cruel/I’m a memory fool/Love is losing, it’s the end
of the ride.” Hahn’s flawless timing and graceful phrasing
is as supple as fine leather. Trumpeter Mazzio casts
a lovely Jazz-blue light upon his wonderful solo,
stretching each note with confident luxuriousness.
To front a collection of pros such as these requires
that a singer have a lot of fortitude and considerable
chops— just to keep the listener’s attention
from straying too far into the background: to explore
the awe-inspiring instrumental terrain. Mary
Kadderly never fails to remain at the center of the
session displaying versatility and appeal at every turn.
This album is a tremendous showcase for her quite
significant skills. She meets every musicalchallenge
with complete style and class.
LL