It's a little late, but I'd wanted to do this for a while, and finally got the time. A look back on my musical highlights for 2012. Indulge me!
We kick off this little re-cap of my musical year with The Decemberists “The King Is Dead”. Following up the somewhat gothic, wonderfully over-blown concept album “The Hazards Of Love”, this saw the band honing in on a more simple and direct set of songs. Ably assisted by the wonderful Gillian Welch (more of which later) and Peter Buck of REM (of whose early days the album has strong echoes) this collection included full-on country-rockers such as “Down by the Water”and “Calamity Song”, the indie-rock (with a definite country tinge) of “This Is Why We Fight”, alongside more reflective and gentle numbers (including “January Hymn” an “June Hymn”), before closing with the bitter-sweet “Dear Avery”. A strong collection of great songs, this took a little while to lodge into my consciousness, but once there it was something that was regularly revisited throughout the year.
Second up, and not a million miles away from The Decemberists, is Dawes “Nothing Is Wrong”. Described elsewhere as The Band fronted by Jackson Browne, this would have felt equally at home in 1971 as 2011. Nothing new or ground-breaking here, just a collection of well-executed, tuneful Californian Country Rock. Lyrically it is somewhat naive and formulaic, but with cracking tunes like the opening “Time Spent In Los Angeles”, and an obvious love for the heritage of this obviously American rock music (Fleetwood Mac and Neil Young being other touch-points), there is much to love and enjoy here.
Next up is an album that came as a complete surprise to me. I’d known Glen Campbell from his late-60s singles, including the wonderful “Witchita Lineman” and “By The Time I Get To Phoenix”. But this year he released what he has said will be his last ever album, “Ghost On The Canvas”. Recently diagnosed with Alzheimer's, this is a gorgeous collection of songs which look back over his life in a reflective but celebratory way, aware of the ups and downs he has suffered, but at peace with where he finds himself. A mixture of self-composed songs (with lyrics by producer Julian Raymond, based on conversations with Campbell about his life) and covers of songs donated by the likes of Jacob Dylan, Paul Westerberg and The Dandy Warhols, it also features brief instrumental interludes reminiscent of Beach Boys (whom Glen spent some time playing with). More obviously upbeat and full-bodied than Johnny Cash’s “American” series that he recorded towards the end of his life, this collection shares much with those albums in its reflections on a full life, and a sense of contentment with where he is. A truly life-affirming collection of wonderful songs, this proves that maturity and experience are no anathema to great pop music.
Peter Bruntnell is not well known. That is without doubt, and to be honest I don’t think he cares. But over the last 10 years he has released a steadily consistent set of albums that have moved from an Americana Country Rock to a more English psychedelic folk rock kind-of-thing. His latest, “Black Mountain UFO”, I first heard live at his gig in The Railway Arms in Winchester. Again this is something of a grower that benefits from repeated plays, a more obviously pop-oriented collection of songs than previous efforts. Displaying a penchant for 70s sitcoms (two songs are “Reggie Perrin” and “Penelope Keith Blue”) these songs gradually reveal their depths, with the usual bitter-sweet reflections on life and love.
Gillian Welch has already featured here, via her contribution to The Decemberists album. This year saw her break an 8-year silence to release her new album “The Harrow and The Harvest”. Returning to the more stripped back sound of her early recordings (following the inclusion of a fuller band on her last album, 2003’s “Soul Journey”) this was perhaps a career-best. With long-term collaborator David Rawlings, she has conjured up a deceptively simple collection of songs you swear you’d known all your life. With nothing more than the voices and acoustic guitars of Gillian and David, these wistful songs linger deep in the consciousness, the spaces as important as the sounds. Old-time, deep-south American folk music for the 21st century, the year was capped off with a wonderful, two-and-a-half-hour, four-encore set at Brighton Dome which was just mesmerising.
Duke Special is a man of many talents, who has refused to stick to the normal path of pop stardom. With his thick matted dreadlocks, and Kohl eyes he certainly has a distinctive look. Taking a deliberate swerve after his last “normal” collection “I Never Thought This Day Would Come”, recent projects have included purpose-written songs performed live to accompany a Bertol Brecht play, a recording of songs written by Kurt Weill for an unfinished musical, and a homage to 1920s music, based on Paul Auster's silent film star Hector Mann. For me each of those projects had their highlights, but were patchy. Not so this years project, “Under The Dark Cloth”, a specially-commissioned suite of songs for an exhibition at The Metropolitan Museum of Art, New York of of the work of early photographers Alfred Stieglitz, Edward Steichen and Paul Strand. Inspired by individual photographs, co-written mainly with Boo Hewerdine, and recorded with the Irish RTE Orchestra, this is nothing if not ambitious. Yet it works. The lush orchestral backings don’t swamp the songs but bring them gloriously to life. The lyrics take the photographs as a starting point, but then take giant leaps of imagination to conjure up memorable stories and atmospheres. From the crash-and-bang of “Hand Of Man”, to the sly humour of “Washerwoman” and “You Press The Button, We Do The Rest”, the piano-led ballad of “Georgia O’Keefe” and the atmospherics of “Cloudgod”, this is a many-splendoured thing that keeps giving. More info and copies of the photos at http://www.dukespecial.com/underthedarkcloth.
Moving on to jazz, this year has brought forth a host of unexpected surprises. First up is Poland’s Marcin Wasilewski Trio. A piano trio who first came to prominence through their contribution to a series of ECM albums by fellow countryman, trumpeter Tomasz Stanko, the album "Faithful" is full of the trademark ECM characteristics - space, a very distinctive European sound, and exquisite sound recording. Never drifting off into technical showiness, the trio paint a rich textured soundscape that is both thoughtful and emotionally engaging. I’m relatively new to jazz, and still find it somewhat intimidating. But this is a sound that I’ve really grown to love, something that bears repeated listening, and which is starting to make a lot of other music seem simplistic and unengaging for me. More of this stuff, please.
More of the same? Well Julia Hülsmann Trio is certainly in the same vein as Marcin Wasilewski. Another ECM-based piano trio, this time from Germany, “Imprint” is another gentle, understated exercise in piano-trio jazz, full of delicate intricacies, and not succumbing to the more-is-more philosophy of notes-per-bar. Thoughtful, elegant and introspective it maybe, but in a world of superficial gloss and haste that has to be a good thing.
You wait ages for a piano trio to come along, and then you get three in a row! Australia’s Trichotomy are a somewhat different proposition to the last two, though. “The Gentle War”, despite it’s title, is an altogether more boisterous recording. At times playful and energetic (“Chase”), at others lyrical and reflective (“Blues For The Space”), sometimes dissonant and almost aggressive (“Shut Up”), the album covers a spectrum of moods and emotions, yet holds it all together in a consistent whole. Seeing the band perform earlier in the year at Turner Sims highlighted the strong interplay and telepathy between the three musicians, as the songs expanded beyond their recording in a spirit of improvisation an adventure. Looking forward to much more from this talented bunch.
Another European contender is “Skala” by the young Norwegian trumpeter Mathias Eick. Unlike some jazz this is full of tunes and melodies, and draws on influences from pop music (Joni Mitchell, Radiohead, Sting and Elton John are reference points) as much as from jazz. Underpinned by more of a rock back-beat than a jazz swing, these tunes rise and soar, taking the listener on a journey that is at once familiar and yet always revealing new things. An album I am constantly going back to, and which bears continued playing. there is an embarrasment of riches here that makes this a near-perfect recording.
Over the couse of three albums, trumpeter Matthew Halsall has become one of my very favourite artists. His latest album, “On The Go”, continues the theme and mood of the last two, yet manages to move things on as well. A combination of sparse, moody ballads (“Song For Charlile”, “Samantha”) and more up-tempo groovers (“Music For A Dancing Mind”, “The Move”) Halsall has a gorgeous tone to his instrument. Never flashy, this music is rich and timeless. Always subservient to the feel of the music, the vibe, Halsall and his band work seamlessly together to deliver an almost spiritual experience that leaves one refreshed and content.
And so the final selection in this end-of-year review. That honour belongs to Nat Birchall, a saxophonist who plays with Matthew Halsall, and records for his Gondwana label. Birchall is, if I’m honest, not my usual cup of jazz-tea. An heir to John Coltrane and the spiritual jazz movement, his music is less tuneful than I usually like. But there is an emotional connection at the heart of the music on "Sacred Dimension", a deep and yearning spirituality, that cannot fail to connect with me. This is warm and embracing music, music full of life and improvisation that sits atop a solid groove. For weeks this was the music that kept the autumnal chills away on the journey too and from work. A trusted friend that continually refreshes.

