Red Letter Year
years since her last record is something really unusual for an artist like
Ani DiFranco. To tell the truth, silence had not been complete: a "Best
Of", the double CD Canon (2007), had been released, acting as a career
summation of sorts; while the recent DVD-V recorded in concert, Live In
Babeville, had introduced her new group; but what about a brand-new album?
there had been new facts of great importance in her life. A new partner,
Mike Napolitano, whose technical contribution to her previous album had
been of great relevance for its artistic success (Napolitano co-produced,
recorded, and mixed Red Letter Year). Also, the birth of her daughter.
goes without saying that more than a few US reviewers could not escape
the temptation to see the new album in light of her recent biography, citing
the songs' lyrics, a certain "relaxed" vocal approach, and the
whole mood of the album - decidedly less tense, and a lot more "communicative"
than in the past, with a few moments that one could easily define as being
"commercial" - to Ani DiFranco's new happy status.
is fine by me. But I'll also mention the Carpal Tunnel Syndrome DiFranco
talked about three years ago as an element that has been crucial in shaping
the new album. Sure, technical things don't seem to matter much anymore
to most people who write about music, especially when the artist in question
is a woman who can be easily reduced to the familiar "girl with guitar" stereotype.
But Ani DiFranco has been a guitar player whose accents and rests have
been of crucial importance to all musicians playing with her.
just think about Keith Richards's guitar, so closely followed by Charlie
Watts's drums, and the whole group. In a sense that's so different, yet
in a way quite similar, let's think about the Who's rhythm section playing
"around" Pete Townshend's guitar. Let's now factor the other important
point here: the personal way vocals and guitar interact for somebody backing
him/herself (think: Curtis Mayfield, Jimi Hendrix, and all those blues- and
folk-singers), and the "call and response" approach that's so individual
to those musicians.
these elements that act as the common trait that links such disparate albums
as Evolve (2003, her last with her old group),
the solo (overdubbed) Educated Guess (2004), the almost "cow punk" and
"alt. country", with band and producer, Knuckle Down (2005), and
Reprieve (2006), a duo with excellent bass player Todd Sickafoose. While
on Red Letter Year the guitar plays an important role, but mostly acts as
"backing" element, or as a colour, sometimes even being absent.
brings us to the question, Where's One?, and Who Plays One? Which sees
DiFranco change quite a bit her vocal approach, and her phrasing, which
are now a lot more "normal" and "commercial" (here
"accessible") than they have been in the past. You can tell it's
her, but she's different now. So I definitely expect that for many fans listening
to Red Letter Year could be quite a surprise. Fact is, with this album Ani
DiFranco has changed quite radically. Whether for the better or for the worse
- and whether the new album will reveal to be a transitional one, or a dead-end
street - only time will tell.
obviously find those main characters from her previous album. Having already
mentioned Napolitano and DiFranco, I'll say that I was quite surprised
to find an excellent double bass player like Sickafoose often playing the
electric bass, whose notes here are quite often not really easy to hear;
but this is a production choice (whether it's a good one is something one
will have to decide for oneself), where bass and drums are often a "presence".
We have the other members of her new trio, drummer Allison Miller and percussionist
(marimba, vibraphone, tubular bells, etc.) Mike Dillon. There are also
some guest, here I'll mention CC Adcock on electric guitar, Richard Comeaux
on pedal steel, and Animal Prufrock on piano. The most unusual ingredient
here is maybe a string quartet (Jenny Scheinman, violin; Megan Gould, violin;
Jessica Troy, viola; Marika Hughes, cello), whose work (arranged by Sickafoose,
recorded by Tony Maimone), appearing on many tracks, though clearly audible,
works more as a kind of colour and texture, and not as a co-protagonist.
Letter Year opens the album just like if things were the same as before:
an acoustic guitar in the right channel, the winds of the Rebirth Brass
Band in the left channel, it starts as a typical DiFranco ballad; but soon
the electric bass and the compressed drums, vocals treated with unusual
echoes, the piano (played by Sickafoose) playing those arpeggios that in
the past the acoustic guitar played, the marimba, the string quartet, all
tell of a different story. There's a nice bridge working as a "splice",
with winds and a
"grainy" recorded sound.
electric guitar starts Alla This, the first track on the album that really
sounds "different". Just like on other tracks here, vocals are
not really loud, apparent loudness being the fruit of equalization. The
rhythm section here has a "modern" sound, strings here being
"epic-sounding", like in a movie soundtrack.
is a nice ballad with acoustic guitar and vibes, then come the rhythm section,
the electric guitar and the pedal steel. Nice vocal performance by DiFranco.
Underneath is a "commercial ballad" that could be a hit (and
so, one of those songs that are often played at weddings) when sung by
"conventionally pleasing" vocalist such as Sheryl Crow or Jewel.
To me it sounds like a kind of "modern Nashville", with its classic
melodic development, and those sounds, which would not sound out of place
on an album by Fiona Apple, or Sarah McLachlan.
Tight is a "jazzy", "old-style", ballad featuring acoustic
guitar, double bass, pedal steel, and vibes, a good track.
join forces (percussion, vocals, "symphonic" strings, etc.) on
Emancipated Minor, which reminded me a lot of Prince. It's a nice track,
but to me it sounds a bit tired, those climates having already been investigated
by DiFranco in the past.
Luck is another ballad, which makes use of a changing arrangement, which
(maybe unwisely) stresses its sounding as a composite of different songs.
Guitar-synth, rhythm section, string quartet playing pizzicato, vibes,
percussion, and a very elegant rimshot.
one of her previous albums it could have been a "spoken" piece,
here The Atom has a kind of "raga rock" arrangement, with the
double bass played arco producing harmonics, vibes, string quartet, tympani,
and vocals occupying center stage (of course).
bass, drums, and keyboards (a Wurlitzer electric piano and a synth, both
played by DiFranco) are featured on Round A Pole, a "jazzy" track
that here sounds just as "out of place" as Blue Motel Room sounded
on Hejira. Quite peculiar vocals, hitting high notes.
Gear is almost a bossa which get a kind of "campfire" atmosphere
by the presence of the ukelele. Electric bass, drums, pedal steel, and
synth are featured, with a nice vocal performance.
a mood that's almost like a miniature version of In A Silent Way, Star
Matter features Jon Hassell's trumpet, double bass, guitar, and vocals.
closing, a happy-sounding jam, New Orleans-style, performed by the Rebirth
Brass Band, with nice tuba and snare drum, communicating contagious happiness.
© Beppe Colli 2008
CloudsandClocks.net | Oct. 23, 2008