Review: Tabletop People Vol. 1 & 2 - Session Americana

Lost amid all the talk of hootenannies lately is this crucial point: They're not always all that interesting for the audience. Sure, it can be a blast playing music with friends, challenging one another, exploring new music. Sometimes magic happens for musician and listener alike. But sometimes all you're left with is "Jazz Odyssey," of little interest to the people listening. Tabletop People Vol. 1 & 2 (2005) is an album that grew out of a hootenanny and became a CD that many readers and families out there will absolutely love. The core of Session Americana consists of six Boston-area musicians with many other gigs; the band itself is known for their roots-rock jams in increasingly large local venues. They recorded the album in the same way they play their shows -- gathered in a circle, with guests joining in. The band's long experience playing live shines through on the CD -- the music is accomplished but with a looseness that makes the joy (and, occasionally, sadness) stand out. The album starts off with with an invigorating bluegrass take on "Boats Up the River," so propulsive that one of the band members shouts "Don't stop now!" midway through. And they don't, from a rootsy take on Jonathan Richman's "Party in the Woods" (led by former Richman bandmate Asa Brebner) to a gently swinging "Merzidotes" to the best version of "Froggy Went A-Courtin'" on record (emphasizing the "uh-HUH" part gives it a great singalong feel). And that's just the first CD. Yes, in the spirit of Wilco's great Being There album, this 59-minute album is split into two CDs. The second CD is listed as more introspective, a distinction that is somewhat hard to hear (there are introspective tracks on the first CD, too), but the split does make it easier to take just a 30-minute CD break. The second CD includes the languid indie-pop "Floppy Tulips," a rockin' alt-country' "Mr. Rabbit" (which, well, would have fit perfectly on Being There or A.M., musically at least), and the final two songs "Point of No Return" and "Trouble Wheel." These last two are not kids' songs by any stretch of the imagination -- they're the songs you hear at the end of the night when the kids, exhausted from dancing and playing around, are asleep in your lap just before you head home. The album's appropriate for listeners age 2 and up, although there are going to be certain songs that the youngsters won't get -- not inappropriate, just not really geared for 'em. You can hear samples of all the tracks at the album's CD Baby page, but I'd recommend going to both their Myspace page as well as their own album page. Each have the same three (full tracks), but the former also includes "Mr. Rabbit" and the latter also includes "Boats in the River." Fans of Dan Zanes, Dog on Fleas, and Elizabeth Mitchell will especially hold this album dear, but so will a bunch of other listeners. Sometimes hootenannies leave the listener a little flat, but at times they can be graced by magic. Tabletop People Vol. 1 & 2 falls in the latter category. Highly recommended.

Review: LMNO Music (Green) - Enzo Garcia

Over the course of just a few years, San Francisco-based Enzo Garcia has released nine albums of original and occasionally quirky folk reworkings of traditional and original kids' songs. The recently re-released Green is a good example of Garcia's work. One of the primary things I find so appealing about the series is the fact that electronic keyboards, which in many artists' hands is the great bane of children's music, are long absent. Instead, on tracks such as "What Do You Do?," Garcia employs a toy piano. I'm not necessarily a huge toy piano fan, but Garcia's fondness for using instruments you don't typically hear (on albums of any kind) means getting to hear familiar songs in unfamiliar ways. And so on "This Old Man," Garcia is joined by Tom Waits' occasional side man (and budding kids' musician in his own right) Ralph Carney on slide clarinet. Garcia and Carney also team up on a rousing "Drunken Sailor," which spares no lyrics in the tale of the punishments for the inebriated crewmate, Garcia's rolling of the "r's" on "rusty razor" echoing Carney's tenor sax. There's no track on here that's quite as engrossing as "Hold My Hand" on his Pink CD, but the round on the traditional "My Paddle's Keen and Bright" comes close. (I also liked Garcia's "Dee Dee.") Even more than Pink, Green will be most enjoyed if you participate along with the music. The disks were created to accompany Garcia's weekly music classes, and so if you move around (or accompany with shakers and tambourines) the music here, you'll get the most out of the album. The songs here are most appropriate for kids ages 1 through 6. You can hear samples at the album's CD Baby page. Enzo Garcia is right in the middle of the great folk music tradition that encourages music-makers to take traditional tunes and make them their own. On Green, Garcia continues to help families hear old tunes in new ways (and maybe even start to make them their own). It's as good as any Garcia album to introduce you to his music. Recommended. [Note: Bryan at The Pokey Pup notes that they're currently running a special offer where if you buy Green you can get LMNO (Red) for free. Easy-peasy. Click here for more...]

Review: Get Up & Dance! - Gwendolyn and the Good Time Gang

Talk about double lives -- Los Angeles-area-based Gwendolyn Sanford spends some of her time scoring the second season of the Showtime series Weeds, while simultaneously performing music for preschoolers as the uni-monikered Gwendolyn in Gwendolyn and the Good Time Gang. It is very much to Gwendolyn's credit that her second album for kids, Get Up and Dance!, released late last month, is entirely irony-free. Somehow, though, the songs are eager without turning off the parents. For example, kids will enjoy her exhortation to "bounce and bounce and bounce" (ad nauseam) "around" on the leadoff title track, while parents will smile wanly at the recognition of the fact that this, yes, is exactly how their child moves. But somewhere in the course of the song, the music opens up, adding handclaps and becoming sonically interesting (without losing the kids). The rest of the album is like that, too -- the super funky "Eensy Weensy Spider," the disco freeze-dance of "Red Means Stop," and the best song never recorded for Grammar Rock!, "I Can Read." The listing of vegetables "Out in My Garden" is reminiscent -- in a good way -- of their debut album's "My Anatomy." I also appreciate the fact that the album doesn't end with a typical kids-album-closer slow song, but instead with the peppy "Sunny Day." It fits perfectly here. She's having fun performing her songs, which are targeted right at 3- and 4-year-olds, and it shows here (you can almost hear the laughter on a couple of tracks). The band's sound has expanded since their self-titled debut album, and, like their Northern California counterparts The Sippy Cups, are especially mining the sounds of 30 to 40 years ago for inspiration. The band (which includes her Weeds scoring partner Brandon Jay) sounds great. Nowhere to be found are the "characters" from the first CD (which is A-OK by me), though Gwendolyn's high-pitched voice and occasional spoken-word intros may turn off a few exceedingly finicky listeners. The 27-minute album is most appropriate for kids ages 2 through 6. You can hear samples either at Gwendolyn's Listen page or at the album's CDBaby page. Save for a track or two, this is probably not an album you would listen to by yourself. But Get Up & Dance! will be one of those albums you'll be happy to pull out at your kids' request. They'll think it's great, and the energy and enthusiasm on the album will pull you in, too. Definitely recommended.

Review: Elephants Over the Fence - Johnny Keener

The Portland-based artist Johnny Keener released Elephants Over the Fence, but there are strong echoes of South Carolina, Seattle, and Brooklyn in the CD. The South Carolina echo has to do with the musicians on the CD. Backed by Emily Vidal on bass and Jason Greene (their alter ego is Yoyodyne, an adult pop group), Keener generally plays guitar reminiscent of Buddy Holly or Johnny Cash records. Hmmm... a trio reconfiguring itself to play kids music? Where have I heard that before? But there's no complaint as the trio gets a lot of mileage out of the mixture of traditional kids, originals, and offbeat covers here. The Seattle echo is from the leadoff track, "Miss Mary Mack," which, just as on Johnny Bregar's Hootenanny! CD, starts with the voice of a young girl singing the song, though here young Zella sings for a full 30 seconds before the band and a chorus of preschool kids join in. And the Brooklyn echo? None other than Dan Zanes, an obvious inspiration for Keener. While Keener clearly doesn't have the star power of Zanes (there's no Sheryl Crow on this version of "Polly Wolly Doodle"), Keener likes singing with kids and integrates them nicely on a few tracks. The best cut here is the cover of Woody Guthrie's "Bling Blang," which features guitar work by Keener accompanying a swinging piano by Yascha Noonberg. The two originals aren't too bad (I liked "It's Too Hot!," all about going to the local swimming pool), but the two songs that are most intriguing are the covers of Jonathan Richman ("Here Come the Martian Martians") and They Might Be Giants ("Robot Parade"). The Richman cover is pretty good and just goes to show that a compilation of kids artists doing Jonathan Richman songs is long overdue. Keener also acquits himself nicely on the TMBG track, slowing the tempo a bit to a more stately parade-like pace, and adding some robot-like spoken-word interludes. The 25-minute album is most appropriate for kids ages 2 through 7. Tracks may be available soon at Keener's website, but here, with Keener's permission, are two tracks for your immediate enjoyment: Johnny Keener - Polly Wolly Doodle Johnny Keener - It's Too Hot! There is no wheel-reinventing going on here, but Elephants Over the Fence is an enjoyable listen, a smart-sounding CD with a loose energy appealing to kids and parents alike. Recommended.

Review: Taxi - David Weinstone (Music for Aardvarks and Other Mammals)

Nearly ten years ago, New York City musician (and parent) David Weinstone, dissatisfied with assorted kids music programs, decides to start one of his own. The result, Music For Aardvarks and Other Mammals, became a popular program in its own right in New York City, even expanding beyond New York City. Over those nearly ten, Weinstone's put together 10 CDs of original material to accompany the classes. This week sees the release of Taxi, one of three compilations of material from the first 10 CDs. (It reflects favorites of both Weinstone and class attendees.) I decided deliberately to listen to Taxi without finding out more about how the songs were used in MFA classes because I think the purpose of these CDs is to introduce the music to a much wider audience -- people like me who've never stepped foot inside a MFA class. So the question becomes, how does this hold up as an album? And the answer is, pretty good. Weinstone is definitely willing to write directly to kids' interests -- getting candy at the end of a doctor's visit in "Lollipop Doc" or the eternal fascination of the belly button in "Belly Button Song". But that wouldn't mean much if he weren't able to wrap those topics in appealing lyrics and a diverse range of musical styles. "Dirt," for example, folds lines such as "I like dirt. / Dirt's what I dig. / I like pokin' around, / with a big old twig" into a loping, brass-band march. "Have You Seen My Nose?" mixes silly lyrics about discovering one's nose (and mouth) with a laid-back Brazilian melody. "Big Boom Whacker" is a nonsensical synth-heavy tune that survives an Ah-nuld reference. My favorite track, "Ruby's Friends," is a folky waltz about pretending. (And I haven't even mentioned the Santana riff.) This isn't to say you can't tell the album's music class origins. Songs such as "Big Old Tree" and "Tango" have class participation and movement written all over them. And the "Hello" and "Goodbye" songs -- required for any kids music class -- are here, too. (They're perfectly fine to listen to.) But they don't overwhelm the album -- you could listen to them having never attended an MFA class and not feel puzzled. I think the album's most appropriate for kids ages 2 through 7. You can hear snippets of all the songs at the album's CDBaby page. While there are no songs here that absolutely stand out as immediate kids' songs classics, Taxi is a strong collection of kid-appropriate and parent-friendly songs. Whether you're hearing these repeatedly between MFA classes or occasionally in the CD changer, you'll probably find them worth your family's time. Recommended.

Review: Bullfrog Jumped (Children's Folksongs from the Byron Arnold Collection) - Various Artists

It's Alan Lomax for the kiddos. Released last year by the Alabama Folklife Association and given a new release this upcoming Tuesday, Bullfrog Jumped is a collection of folksongs sung by mothers, grandmothers, and other women in the summer of 1947, when they were recorded on front porchaes and in kitchens by Byron Arnold, a Professor of Music at the University of Alabama. There are some standards -- "Frog Went A-Counrting" and "Skip To My Lou," for example -- but many of these folksongs were new to me, or at least the melody or lyrics were. There are, for example, three different versions of "All The Pretty Little Horses," none of which quite sound like the wistful lullaby has become more than 50 years later. "Skip To My Lou" has about 10 verses, only 3 or 4 of which I'd heard before. There are some stellar voices on the disk. Vera Hall, whose recording of "Troubled So Hard" was sampled by Moby on Play (and who was definitely familiar to Alan Lomax), has a great song, "Little Lap Dog," here. The voice that made me snap to attention every time I heard it was that of 17-year-old Mozella Longmire, who has 4 tracks on the disk, including "Little Sally Walker" and "Two Little Gentlemen From the Spring." Sixty years later, Mrs. Longmire is still singing in the choir at Mt. Triumph Baptist Church, and it seems to me someone needs to record an album of her singing folksongs. I'd buy it. The songs are most appropriate for kids ages 0 through 6. You can hear four tracks here, two more here, and samples of all the tracks here. With 42 tracks in about 36 minutes, sometimes the snippets of songs are just to short to be of much listening interest heard straight through. The a cappella nature of the album can also become a bit repetitive for an entire disk. But as a sampler and recording of songs familiar and much less so, the recording (which sounds great for a recording 60 years old) and the liner notes (of Smithsonian Folkways quality), should be in every library and preschool.