Published on Oct 26, 1999
I have always been a sucker for great guitar work, as anyone who
has read this site for some time now is aware of. I’m especially
partial to acoustic guitar work; it takes a true artisan to be able
to wring notes out of an acoustic that one never thought were
humanly possible.
Over the last few years, I’ve been fortunate enough to be able
to listen to the works of some of these masters; names that
immediately pop to mind include Doug Smith, David Pritchard, Pierre
Bensusan and the late Michael Hedges. If you’ve never heard the
work of any of these guitarists, after you’re done reading this,
run out and buy one of their CDs.
Now, you can add another name to that list: Jim Matheos. His
latest album
Away With Words shows the pure beauty of the instrument
without needing to rely on flashy pyrotechnics or riffing that
makes it seem like his hands have no joints. In fact, it’s usually
when Matheos sets up a basic rhythm pattern and allows his
bandmates to build on the work that his playing shines.
It’s an interesting combination that Matheos has put together:
virtuoso bassist Michael Manring (who might be the best unknown
bassist – at least to rock fans – out there today), violinist
Charlie Bisharat and drummer Mark Zonder. What is even more
interesting is that, if I’m reading the liner notes correctly, the
band didn’t record their tracks together.
The use of the violin as a lead instrument in anything other
than classical music is something that takes some getting used to;
the opening track “A Way With Words” doesn’t really show the power
that such a combination can have. It’s only when Manring shows his
absolute mastery of the bass guitar on “Palindrome” that you know
this combination has something great going for it. (And, to
Bisharat’s credit, he does prove his worth often on this
album.)
The real magical song for me starts with “Astronomics,” a track
that is more than just new age; it really has a jazz/rock feel that
would make a group like Weather Report proud. The vibe between
these four musicians is absolutely amazing, and is a lot of fun to
listen to. (Seeing that this disc was released on Metal Blade, a
label not normally associated with this genre, there’s a chance
that some diehard headbangers might pick this up and discover
Matheos and crew.)
Two tracks on
Away With Words seal this album’s place of honor on my
shelves. The highlight for me is “Piscataquog,” a song whose
rhythmic backbone – almost like a lullaby – comforts the listener,
and allows them to float along with the music as it unfolds.
(Although it might sound like it near the end of the track, there
is no harpsichord being played – at least none that’s credited. I
think it’s just further testament to Matheos’s playing.)
The second track is “The Language Of Silence,” whose rhythm
pattern will keep you on your toes and keep you interested
throughout the track. It’s truly an amazing piece of work, and is
one that should not be missed.
Away With Words doesn’t always work this well; I thought
some concepts on “Mumbo Jumbo” could have been better developed,
but that’s just me. Still, any mistakes that Matheos and crew make
are minor, and hardly distract from the big picture here – namely,
that this is an amazing disc that is screaming for your attention.
Listen to its soft scream, and allow it to take you on an
incredible ride.