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S
inger-songwriter Diana originally grew her songs all the more personal. Though
up around New York but after not strictly autobiographical, they tend to
ANA
discovering that her true ancestry lay echo her own experiences: for instance All
in Tennessee, quickly found a genuine God’s Children, which tells the story of an
affinity with the music of the southern
18-year-old kid on his own in a friendless
States. But Diana’s own song writing
world after a lifetime of foster homes.
only really came of age with her third
Diana invariably conjures an emotional
album My Remembrance Of You (2006),
response and a climate, with which a
a compellingly personal collection that
listener can immediately identify; she
scored highly with its refreshing lack of
Y AMERIC
depicts the protagonist’s bravery in facing
self-indulgence.
a situation.
Since then she’s consolidated her
She also convincingly conveys that
reputation with some high-profile
inescapable, pervasive sense of intense
tour supports, and having two of her
longing, whether for someone loved (the
compositions recorded by other artists:
soldier for his Evangelina left behind,
Joan Baez (Henry Russell’s Last Words) and
COUNTR
or the dying miner Henry Russell for his
Gretchen Peters (If I Had A Gun). Diana’s
wife), for something lost (Oh Appalachia),
own versions of these songs now appear
declining health (Cracked And Broken) or
side by side on Better Times Will Come,
for vengeance (If I Had A Gun).
Diana Jones
whose recording sessions eagerly drew in
guest vocalists Nanci Griffith, Betty Elders
Diana’s perfectly in tune with the idiom
and Mary Gauthier and an impressive roll-
of Appalachian music; she recognises its
call of musicians including string virtuoso
cultural resonances and echoes these both
Duke Levine, three fiddle players (Alicia in the beauteous simplicity of her own
Jo Rabins, Ketch Secor, Matt Combs), and admirably, unobstusive musical settings
rhythm section comprising Paul Kochanski and in her rich drawling voice with its
and Tom Giampietra. sturdy phrasing. You might be reminded
of the untutored backwoods charm of Iris
The low-key arrangements are what
Dement or Gillian Welch, though not in any
one might term minimalist Appalachian
string-band in character. In a way, their
derivative sense. Better Times Will Come is
very restraint mirrors the deceptively
a minor classic: its quietly spellbinding yet
Diana Jones
simple nature of Diana’s lyrics and
almost subliminal nature will penetrate to
BETTER TIMES WILL COME
paradoxically, projecting the emotions
your soul before you realise it.
Proper PRPCD. 43
onto her protagonists, serves to render
David Kidman
LongMan Records
I
t ‘s not usual for a purely classical album to There’s definitely a buzz around Terry Emm
be reviewed in this magazine, but a different at the moment, with Eliza Carthy amongst
logic applies when considering the LongMan his admirers. Emm’s debut album White
label’s intoxicating and varied output. The Butterflies reveals a distinctive voice and style,
label operates in a magical hinterland far which are very much his own. His songs are
away from the commercial headquarters of typified by a sense of yearning and this is
Richard Durrant the music industry and the unifying factor reinforced by Durrant’s subtle arrangements. In
Recuerdos: Guitar Classics
behind all its releases is Richard Durrant. Dove – a wistful song that looks on love from
LongMan049DAVD
Durrant is a renowned concert guitarist, multi afar - the strings stab over the simple guitar
instrumentalist, composer and producer. accompaniment; elsewhere they slide in a way
From the material that springs forth from reminiscent of George Martin. Emm’s plaintive
his studio the ever-growing LongMan fan- voice floats over the mix with a confidence
base is assembling a wondrous playlist: one extraordinary in one so young.
that situates the label’s singer-songwriters
alongside its rambunctious roots artists, and
The Hofners’ Colorama! features the kind of
Durrant’s classical interpretations alongside
music you’d dream of seeing in Chicago’s
his sonic experiments.
famous Maxwell Street, where bands blasted
out jazz and blues on whatever instruments
Durrant’s new album Recuerdos has already they could lay their hands on. Throughout the
Terry Emm
met with critical acclaim, gathering five album, Campbell’s intoxicating slide guitar
White Butterflies
stars in Classic FM magazine. Reviewer John (almost hallucinatory on Daiquiri Dreams)
LongMan051CD
Brunning had to retrieve his socks, “which merges sweetly with Burley’s exuberant
had been knocked off by Richard Durrant’s playing. The singing is captivating throughout,
extraordinary virtuosity”. Durrant has that and on Tight Like That and the zany Ukulele
rare ability to articulate each note perfectly, Lady (a real humdinger) the vocals are sly
both technically and emotionally. It is a gift and knowing. The live sound captured in the
that sets him amongst some of the greats studio brings to mind a sense of togetherness
of instrumental performance. He moves and warmth that perfectly evokes the
effortlessly from a mind-bogglingly brilliant LongMan spirit. Each of these releases will be
version of Albeniz’s Asturias to intricate and eagerly coveted by the ever growing band of
compelling renderings of Scarlatti’s Sonata In LongMan fans.
The Hofners A and Bach’s Prelude In E. Alan Levermore
Colorama
LongMan050CD
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