Ted Garber - Live at Strathmore

I’ve got the love/hate thing going on with today’s singer/songwriters. For me, it seems there’s a lot of something going on, but there’s really no substance. Almost like the soul has been sucked out of the songwriter. A lot of ego, a lot of faux sensitivity, a lot of rubbish. By today’s standards, it seems that a singer/songwriter simply needs to know how to or attempt to tap into their sensitive side. Ted Garber takes that standard and crushes it, bringing back the elements of the craft that have been forgotten . . . storytelling that contains vivid imagery, emotional conveyance, pure and honest integrity, and a touch of humor that reminds us that the guy singing is still human. Garber crafted a near perfect album with American Rail, capturing the soulful essence of each tale he told, and handing it over to the listener like a snapshot from every roadside haunt that he visited. Now, with Live at Strathmore, we get the opportunity to hear a brand new set of songs played by a group of world class musicians and the tales have never been more uplifting! 

The Strathmore music program is one of those great programs that can enhance a musician’s songwriting abilities, but I’d rather spend time focusing on the end result . . . the music of Ted Garber. When I heard the rumblings across cyber space that this live album was being crafted, I naturally figured it was going to be a live recording of select tracks from American Rail with a few hidden surprises. What I got was actually the opposite . . . a live recording of hidden surprises and a single re-interpretation of one of American Rail’s gems. Bold, Mr. Garber. Very bold.

Opening with “Sunshine In Your Heart”, we get re-introduced to the soulful, Americana groove that Garber captured on his first release. It’s a little blues-y, very upbeat, and packed with a positive message about cutting the crud from our lives. In classic (yes, classic . . . it’s his fingerprint on the music) Ted Garber fashion, the man crafts lyrics in a way that’s reminiscent of someone like Jim Croce. Clever and witty, never clichéd, and always thoughtful, the lyrics are the strength of the man’s songs. Add that soulful voice and artistic integrity, and listening to Garber croon, you’ll think you’ve known the man all of your life. It’s a real voice, not something mechanized, orchestrated, or produced . . . a voice with such gravity that you can’t help but be pulled closer to it, to understand where this soul actually comes from.  

“Plastic Bag” is the track that probably hits me the hardest on an emotional level. Introspective and powerful, Garber showcases that one doesn’t need a million notes and a million fancy words to convey a message. Stripped down and performed in a jazzier tone than most of his past material, “Plastic Bag” is the song I’ve been toting around of late as a constant reference that I gotta’ remember to check my own nasty baggage at the door if I want to live to my fullest, and I guess . . . you could say this review is a personal thanks to Ted Garber for arming me with yet another weapon on my war against self destruction. Yeah . . . it’s that strong of a tune. Don’t believe me? Buy the record.

For a good hour, Ted Garber entertains a sold out crowd with his fusion of soulful jazz meets blues-y troubadour songs, self described as BluesAmericanaRock. Who am I to disagree? “Achilles’ Heel”, “Sunshine In Fog”, and the heart-warming reinterpretation of “A Lot Like Me” (it’s deep . . . it’s in a fortune cookie) are prime examples of a singer/songwriter who has mastered that balance of tapping the vein of sensitivity without coming across as sappy and trite. Like Van Morrison or the aforementioned Jim Croce, Garber can write a hell of a love song and he sings these songs with a masculinity that gives them an immediacy and power that can’t be ignored. Plus, on this live edition, Garber’s between song banter is priceless and I found myself unapologetically laughing out loud.

“Third Time’s a Charm” features a duet with fellow Strathmore resident Chelsey Green and it’s one of those fun time, happy jazzy romantic songs that is so well crafted and performed that it’s an immediate attention getter. Garber and Green have a natural chemistry on this sultry groove, and the lyrics are so compelling that I find myself taking sides with both characters. Then the trumpet solo . . . sigh . . . it’s a thing of beauty, and by the songs final notes I want to jump to my feet and clap enthusiastically with those in attendance. And then . . . there’s “Don’t Want To Make A Baby, Baby”. Garber enlisted the aid of Philly rapper Jason Ager to pen this hip-hop tinged gem of a funky rocker. It’s an instant classic, filled with humorous and intelligent lyrics about getting down and doing the nasty. It would have been easy to write this one in a crass fashion, but hat’s off to Garber and Ager for injecting a level of class to the tune. Hell . . . the song is so funky that it makes me want to go out and practice my own technique!  

While the songs are naturally the focal point of this performance, Ted Garber’s easy going and fun natured charisma adds an element of familiarity to the recording. You may have just met him, but you’ll think you’ve known him your entire life, and by the end of the performance, you’ll simply love the guy. These tracks are an open door to the intricate weave that makes up the tapestry of the man . . . bright and colorful, full of life, rich in humor, and deep with wisdom. If you don’t find yourself laughing, (maybe even crying), clapping, and cheering along throughout this outstanding set of genre jumping music, then you’re simply dead inside. Live at Strathmore is a slice of true Americana that absolutely can’t be missed!

--Pope 

http://www.tedgarber.com/

http://www.strathmore.org/

John Wesley - Live at Katie Fitzgerald's

John Wesley. There are times that we, as music fans, just stumble on moments of greatness and we really don’t know what else to say than just that. “Listen to this guy. He’s great!” We wish it was that easy to make some stop and listen to a piece of music that has had such a significant impact on our lives. We simply want to share important moments with others in the hope that those moments have a positive influence on the lives of others. And that’s where I’m coming from with John Wesley’s 2006 full length recording Live at Katie Fitzgerald’s. Not that the album has had some profound effect on my life . . . I did rescue a household of cats from a burning house while listening to it, no . . . it’s just one of those albums that I’ve found myself listening to and being moved to smile, laugh, cry, think. Music that has the power to move is worthy of note.

Fifteen tracks long, Live at Katie Fitzgerald’s is a stripped down performance of John Wesley alone with his soulful voice and his acoustic guitar . . . and a room full of patrons who I find myself envious of every time I listen to this disc. The first thing to know about John Wesley, if you’re not familiar with the man’s work, is that the guy can craft a tune! Even stripped of all of their studio trickery and exquisite performances by talented musicians, the songs have s richness and soul to them that makes them timeless and placeless. These are songs that can have an immediate impact regardless of where you or what you’re doing. A club full of drunken music fans? Absolutely. In your office, sifting through countless pounds of paperwork? Most certainly. Driving in your car with a group of friends for a night on the town? Yep. And once you’re done doing all that stuff, the songs will remain with you. The melodies, and the lyrics, and the overall vibe will creep back to you when you least expect it, years down the line, and will instantly remind you of where you were, what you were doing, and who you were doing it with. John Wesley has found the power!

Opening the live set with a track off of his most recent album at the time, Shiver, Wesley strums and croons his way through “Pretty Lives.” This song translates very well in the acoustic form. The rhythms are heavy, and with the aid of some technical effects that loop these rhythms, Wesley adds layers of elegant melody over the main riff. Throughout all of this, we’re regaled with a John’s incredible turn of phrase and ever so soulful voice. His ability to shift from rhythm to lead work is impressive, especially considering that he’s got to concentrate on the vocals at the same time. The dude is damn smooth, and his guitar solo on this track is filled with class and is thankfully devoid of superfluous notes. The lyrics echo in my head at many an odd time and I’ve even found myself using them in conversation, which illicit a few raised eyebrows . . . most people that I know recognize that I could never come up with words that conveyed an idea in such a unique fashion.

“Our Hero” is one of those songs that has the power to stop me dead in my day to day. The imagery that Wesley uses is so strong and I can feel the mass of people swirling around me as I stand in New York’s Time Square looking up at the giant Coca-Cola sign, feeling the bitter cold of the East Coast winter wind, and seeing a homeless guy sitting in the square with his memories as his lone companion. But none of these images would be possible if it weren’t for John’s passionate vocal performance. The lyrics are great, but without him singing those words the way that he does, conveying the thoughts in just that special way, those words are empty. This is one of those times that I get chills and feel my eyes moisten a bit. The art of storytelling has a great voice in John Wesley. Seriously. Put him next to Springsteen. Next to Dylan. Petty. Wesley shouldn’t be walking behind these guys. He should be arm locked with these legends, walking stride for stride.

While Wesley performs a few milder tunes in the set, he seems to get my attention the most when he shows his more aggressive side. And I don’t mean the aggressive, I’m-gonna-bust-you-in-the-mouth-type of aggressive, but more like he needs to get our attention and simply conversational tones just won’t do. “Waiting For The Sun To Shine” is a gritty and mean sounding song. The rhythms are heavy and even John’s lead playing has an edge to it. Hell, even his voice has a menacing edge to it . . . still smooth as a shot of Knob Creek, but he comes across as someone desperate. And we all know what desperate people are willing to do. Again, the lyrics provide a compelling tale and the combination of word and voice creates an exhilarating piece of ear candy.

As the album cruises through mellow portions, soulful pieces, and quieter moments, we can hear the wide variety of styles that John Wesley incorporates in his music. “Used Up,” “Ordinary Man,” and “Always Be” all shine, but I can’t help but to get excited when “The King of 17” makes its way to my eardrums. From the first time I heard it on the Shiver album, I fell in love with the track, and to hear it stripped down to the bare musical bones is a thing of marvel and wonder. The tale of a kid trying to follow his heart and the romance of being the sole provider and savior for his single love always puts a smile on my face. Ah, the naivety! It’s such a touching story sung from the protagonists perspective that every guy can relate to . . . regardless of how experienced we all were in the ways of life, we always thought that we were strong enough to carry the burdens of the world, strong enough to be a real man and deliver those we love from evil, to make the one’s we love forget the pain that they’ve endured. The reality of it is none of us are that strong, but the fact that we go out and try our best every time out has to amount for something.

John Wesley is a brilliant singer/ songwriter, conveyor of the Americana, storyteller, composer, performer . . . I can go on. Really. If you’re looking to “discover” the dude’s music, Live at Katie Fitzgerald’s is as good a place as any, mainly because it practically covers his entire discography and gives you a great idea of what the guy is all about. His studio material, as good as it is, tends to have a different feel to it in comparison to this live disc, the studio albums are full of rich texture and layers of sound. Kinda' like the difference between a painted portrait and a candid snapshot. Live at Katie Fitzgerald’s is a snapshot of how the studio albums became what they are, almost as if we’re being given a glimpse of the songwriting process, of the mindset of creating soulful music, and the power of a master songwriter standing naked before countless, scrutinizing eyes.  -  Pope JTE

www.john-wesley.com

www.myspace.com/johnwesleymusic

I couldn't find any of John Wesley's live acoustic performances, but I did stumble on a couple of band performances that are very note worthy. Enjoy!