Review: New Orleans Playground (Putumayo) - Various Artists

NewOrleansPlayground.jpgIt's safe to say that the fine folks at Putumayo Kids aren't putting together a collection called, say, "Phoenix Playground," or even "Chicago Playground." Phoenix has a decent musical history for a city so young, and Chicago's musical history is tremendous, but New Orleans is probably the only American city with a musical background robust enough to provide so many songs to choose from while offering a distinct-enough sound to make the mix-tape at which Putumayo excels sound good. While touching on many strains in New Orleans music, New Orleans Playground (to be released on Tuesday) relies most heavily on the side of rhythm and blues. With a number of classic songs on the collection (most notably Lee Dorsey's "Ya Ya" and Fats Domino's "Whole Lotta Lovin'"), the adults may be forgiven for thinking that they've accidentally turned on the radio and "KOOL 97, Classic Oldies!" (See also Dr. John's bouncy-yet-mellow "Row Row Row Your Boat" and Buckwheat Zydeco's massive reworking of "Skip To My Lou" into "Skip To My Blues" for familiar voices.) But there are enough much less familiar artists and songs to make the collection not feel stale. I particularly liked Charmaine Neville's "Second Line," a fun tribute about New Orleans' brass band tradition. Credit goes to Putumayo for not always picking an obvious artist -- it was nice not to hear a more-famous Neville brother on the collection, and they chose the unknown-to-me Hack Bartholomew for a rendition of "When The Saints Go Marching In." It's too bad, however, that the collection mostly ignores New Orleans' strong jazz tradition -- while it's hinted at on some of the more brassy tracks, this collection needed a jazz track from the birthplace of jazz. If you didn't have the familiar Putumayo illustrations, you wouldn't necessarily know that this collection was targeted at kids (only one or two tracks are really kid-focused), but let's say that kids ages 3 through 9 are most likely to enjoy it. You can hear some samples at Putumayo's album page. This collection is a gentle if incomplete introduction to New Orleans music. Expertly compiled and arranged, both parents and kids will enjoy it. Recommended.

Review: Whoever Shall Have Some Good Peanuts - Sam Hinton

WhoeverShallHave.jpgOriginally released in 1961, Sam Hinton's Whoever Shall Have Some Good Peanuts is a classic beloved by many families. In August, Smithsonian Folkways re-released the album (for the first time on CD) so that a new generation of families could hear these stories in songs. If the only thing Sam Hinton did in his life was direct the Scripps Oceanographic Institution in southern California for about 20 years, that by itself would be a full life. The fact that he's also an accomplished musician (reportedly knowing 5,000 songs) and artist (doing the drawings for the reknowned Rise Up Singing collection) makes me feel, well, that perhaps I could perhaps do a little bit more on the side. Or in my full-time job. Anyway, the 20 tracks showcase Hinton's clear voice -- he nimbly navigates fast songs like "Michael Finnegan" while giving character to somewhat more midtempo tunes like the gently bouncing "Mr. Rabbit" or sweet songs like "The Eagle's Lullaby." And his talent for vocal mimickry is adeptly shown on tracks such as "The Barnyard Song," on which he, yes, imitates many barnyard animals. (Given Hinton's "daytime" job, it's not surprising that many of songs deal with animals and the natural world.) Hinton accompanies himself on guitar; it's unobtrusive, but it's the lyrics and melody that are the stars here. I think kids ages 2 through 7, along with their associated adults, will appreciate these stories in songs the most. You can hear samples of the tracks at the album's Folkways page. I also should note Folkways' typically excellent album package, which in this case features Hinton's excellent notes on the songs along with an introductory essay from Bess Lomax Hawes. Whoeve Shall Have Some Good Peanuts is reminiscent of a Pete Seeger album, sharing a fine voice and a strong folksinging tradition. There is a looseness, however, to the interpretations that also reminds me of Woody Guthrie's kids' albums. If you have any affinity for the albums of those two artists, you will certainly enjoy this album. Recommended.

Review in Brief: Now The Day Is Over - The Innocence Mission

NowTheDayIsOver.jpgTake away the cover art of a child sleeping next to their stuffed animal, and there's nothing about The Innocence Mission's 2004 album Now The Day Is Over that would compel its placement in a kids' music section. Having said that, the collection of standards and other songs done in lullaby style was performed with kids in mind. The cover art fits. In a low-key jazz-influenced style, sparsely arranged and usually just with little more than guitar and bass to accompany her, singer-songwriter Karen Peris gives a hushed interpretation to the songs, lending to the dream-like quality of the recording. This semi-conscious quality is a good fit for many of the songs, such as "Stay Awake" or Henry Mancini's classic "Moon River" and extends to Don Peris' instrumental guitar work on Chopin's "Prelude in A" and Beethoven's "Sonata No. 8." The one original, Karen Peris' "My Love Goes With You," is a sweet lullaby, much closer to traditional lullabies than most of the songs on the 30-minute disk. One word of warning, though -- Peris' voice, though beautiful, has a distinct and somewhat nasal quality to it. I think most people will warm to it, but some might not. (Indeed, the songs I enjoyed less were the ones I'd heard hundreds of times before -- "Over the Rainbow" and "What A Wonderful World" -- and didn't think the Peris' distinct voice and rendition improved upon the original. The kids around you, of course, with no such baggage, won't care.) As a lullaby album, it's targeted for kids ages 0 through 5, though there's no reason why you won't put it on yourself when the kids are nowhere around and you need some peaceful music. You can clips at the album's CDBaby page. Now The Day Is Over is filled with a sense of goodness that families can find respite in in the course of -- or at the end of -- a busy day. Recommended.

Review in Brief: Sing Along With Sam - Hullabaloo

SingAlongWithSam.jpgHullabaloo is a two-man band based in the San Diego area, but their sound on their 2006 album Sing Along With Sam made me think they live a bit too far south. I can't shake the idea that these guys have a great album reminiscent of the Bakersfield country sound made famous by Buck Owens and, later, Dwight Yoakam. I wouldn't extend the comparison too far, of course, but their willingness to mix a lot of country in with their folk and rock sounds makes Hullabaloo a bit different from many of the kids and family musicians out there. The album includes a lot of songs about animals, some silly ("Diamonds and Dogs") and some not much so ("Run Bunny Run," the best kids' rocker never written in the late 1950s). The 27-minute album is laced with the band's good humor, with the opening track "Mama Llama" and closing track, the oft-covered "Mama Don't Allow," doing a good job of highlighting that good humor. The downside of the album is that although band members Steve Denyes and Brendan Kremer are talented musicians, it's hard to generate a lot of musical variety with just two musicians, so there's not much to interest the listener on weaker tracks such as "Mary Ann." The album's songs are targeted mostly at kids ages 3 through 7. You can hear samples of some of the songs at the band's music page. With its good-natured attitude and West Coast feel, Sing Along With Sam will especially appeal to families looking for something different from run-of-the-mill kids' pop or folk. As for me, I think Hullabaloo should head north to Bakersfield and see if Buck Owens' backing band is interested in helping out on a track or two on their next CD.

Review: When I Get Little - Dog on Fleas

WhenIGetLittle.jpgHow to describe New York-based Dog On Fleas?Hmmmm...The band itself has used the phrase "Brigitte Bardot will serve you from John Cage's hat" to help describe the Dog on Fleas "recipe."It's a not inaccurate description of the band's attitude, but doesn't really give you any indication of what they sound like.So that's where I'll give it a shot. On their 2006 release When I Get Little, their fourth album, Dog on Fleas play blues, country, jazz, folk, and zydeco -- among other styles -- with a loose feel reminiscent of Dan Zanes, Elizabeth Mitchell, and Woody Guthrie.The five-member band are a talented group of musicians, but the resulting sound on the album is not overproduced, giving it room to breathe and sway.They come at songs from odd angles and most of those angles work."Come On Down" has a loping New Orleans jazz feel and sounds very much like it could have been recorded strolling down a New Orleans street."Green Grass of Summer" is a sweet retro-sounding folk-pop tune that would've sounded great on AM radio 35 years ago.(Heck, it would sound great on AM radio today.)And "Big Black Snake" is an instant folk classic that's remiscent of Woody Guthrie songs given a Billy Bragg/Wilco "Mermaid Avenue" treatment, except instead of Bragg's raggedy voice we get the clear voice of Debbie Lan. Thirteen of the fifteen tracks on the 42-minute album are originals (most written by member Dean Jones) and none of them are traditional kids' songs.They're definitely in the traditional of family folk, and even songs about more kid-centric topics are given a twist -- the Cajun stylings and French lyrics for a song about French toast ("Mon Pain Perdu"), for example.The low-key feeling of peace and goodwill throughout the album is helped in no small part by the lyrical components on songs such as "Peace Will Come" and the ska-inflected "What's Behind the Wall."By no means are the messages of peace hammered home, but they're definitely there. As with the best family folk albums, the music is appropriate for all ages, but kids ages 3 through 9 will probably appreciate it the most -- they'll be the ones most willing to dance along, too.Listen to samples here. So how would I describe Dog on Fleas and When I Get Little?How about simply as "good and fun music for listeners of any age."Fans of Dan Zanes' music should especially check out this album, but unless you require your music pitch-corrected to within an inch of its life, you'll find it a vibrant and joyous experience.Highly recommended.

Review: Bright Spaces 2 - Various Artists (Dan Zanes)

BrightSpaces2.jpgThere are two basic approaches to putting together a genre-specific compilation of music, approaches which for brevity's and wit's sake, I call Putumayo vs. Rough Guides. The former approach may not necessarily be an exhaustive look at a genre, but it sure results in a pleasant thirty-to-sixty-minute mix of music to someone unfamiliar with the genre. The latter approach is as much history lesson as mixtape and while you might not listen to it often, unless your expertise is such that you might have been asked to compile one of these yourself, you're bound to find something new and something really fabulous. Bright Spaces 2 is Dan Zanes' Rough Guide to Family Folk Music. Zanes compiled this 2006 collection, released last week, on behalf of the Bright Horizons Foundation. The Foundation sponsors the "Bright Spaces" program, which puts playrooms in shelters for children in crisis situations. He calls this collection a "musical scrapbook," and like many a scrapbook, it's a collection of snapshots (in this case, songs) that have significance to Zanes. His scrapbook might not be your scrapbook, but he's certainly taken a lot of pictures of family folk music. Zanes pulls from artists young and old, famous and not. And unless your collection of family folk music is, oh, a thousand albums full, many of the tracks are likely to be new to you. Boston's Session Americana turns in a fabulously languid version of "Merzidotes," which is followed by "L'cha Dodi," a 16th century Jewish tune recorded by Craig Taubman. The Deighton Family, a real "family band" for whom Zanes has had many a good word, leads off the album with a happy "When You're Smilin'." And Zanes re-records his hit "Jump Up" with New York band Astrograss, putting a more muscular bluegrassy accompaniment to his tune -- I wouldn't buy the album just for that version, but it's good in its own right and different than the original. There are probably few tunes you already have in your collection -- Elizabeth Mitchell's version of "Little Sack of Sugar" and the Garcia/Grisman rendition of "Hopalong Peter" are the two most likely. If there's any downside to the collection is that it lacks some of the musical diversity that makes Zanes' own albums such adventures to listen to. The songs here fit more in the folk music mold, and if that's not your bag, you may be underwhelmed. As an album of family folk music, it's really appropriate for all ages, though the tiniest ones may not be too interested. Call it ages 2 through 10. You can purchase the album at Amazon as well as on this page. You can hear the Astrograss/Dan Zanes track here. In calling this the "Rough Guide to Family Folk Music," I've probably understated the mixtape qualities of Bright Spaces 2. There are good and excellent tracks collected here, and, if you have any affinity for Zanes' music-making, will without a doubt send you spinning off in at least one new direction you've not gone before. Recommended.