Little By Little
Tommy Emmanuel
Now that Tommy Emmanuel has cut back his touring schedule from "superhuman" to just "crazy busy" he must have some more time on his hands. Not seeming to know the concept of "vacation" he has headed back into the studio - to record one of his very finest albums yet, a double-CD offering entitled "Little By Little."
Anyone who has seen Tommy live knows what a force of nature he can be. This album has all of the virtuosity that fans would expect, but there is a maturity and depth to this recording that is rarely achieved by any artist. The roster of great guest performers seems to inspire Tommy in all directions, so that his new songs carry a deep resonance far beyond most instrumental music of today, while old favourites are given wonderful new readings. If you are a Tommy Emmanuel fan, you must hear this recording!
The album gets off to a suitably rousing start with Half Way Home, a gently rolling fingerstyle solo written by Tommy and played with his usual perfection. This one is the first indication that he is aiming for atmosphere and feeling rather than a show of blazing speed. Just a beautiful song that you will enjoy listening to over and over.
Of course this is Tommy Emmanuel playing, so we are treated to some fancier fingerpicking in The Jolly Swagman. This one is played with more restraint than Tommy has used in recent years, and it is refreshing to hear what a rollicking good tune it is. And you will be able to name the famous Australian tune to makes an appearance in the middle, rounding out a terrific track.
Locomotivation is another Tommy original and once again he attains a distinct, definitely upbeat mood. How do you combine virtuoso playing with clear presentation of a simple melody? Take a listen and learn from a master.
Tommy co-wrote Haba Na Haba (Instrumental) with Pam Rose, who also sings background vocals on this lovely tune. Bass and percussion work into the mix unobtrusively, and as things get really cooking the vocals enter. Darrell Tibbs adds some outstanding percussion to the track.
Tears For Jerusalem is a sadly moody tune that begins on solo guitar which is then underscored by strings - here the Endless Road Strings augmented by the double bass of Charlie Chadwick. This song has so many delicate shadings of heartfelt moods that it has to be Tommy's most moving song in years.
Things brighten up again with Waiting for a Plane, a happy tune featuring Tommy on both guitar and bass with more great percussion from Darrell Tibbs. The construction and flow of this song show how much Tommy's songwriting has matured. And what an ear for a great melody!
A flurry of harmonics begins The Fingerlakes, another Tommy original and another beautifully-crafted composition full of sparkling playing and lovely melodic invention. This is a track that I love to listen to again and again because it has such a great feeling.
If you have heard Gareth Pearson play then you will know why Tommy nicknamed him The Welsh Tornado. His song of the same name is a tribute to young Gareth, who Tommy has championed for years. This frenetic tune captures the excitement that both Gareth and Tommy are so capable of generating, but the subtle touches are all Tommy. Once again another guitarist has inspired him to reach new heights.
He Ain't Heavy, He's My Brother is a very touching duet played with the dean of fingerstyle arrangers and one of its best-loved players, John Knowles. John has a marvellous touch with ballads and here he brings out a sympathetic resonance in Tommy that makes this performance special indeed.
Tricky timing and chromatic slides start off Mighty Mouse, until it suddenly erupts into a whirlwind of action that nevertheless keeps spinning its melody on top of the storm. The interplay between the different ideas gives this piece its dramatic intensity.
Ruby's Eyes will be familiar to anyone who has heard Tommy play in the past few years, and this performance is the finest of several that I have heard. Tommy's finely nuanced shading of the dynamics gives this one a sense of both depth and breadth with the full emotional impact that this song can make, right up to the exquisite closing chord.
Moon River (Instrumental) brings out Tommy's jazz chops, no doubt inspired by drummer J. D. Blair and bassist Victor Wooten (who was recently picked by readers of Rolling Stone as one of the Top Ten bass players of all time). Mr. Wooten's lovely solo will show you why his talent is so highly regarded by musicians and listeners alike. This trio keeps things simmering throughout this gorgeous rendition of a beloved song. I could really go for a full CD of tunes by these guys!
Having heard so much great music so far I find it amazing that this is only the first CD, and we have another full one to look forward to. And all this at the price of a single CD!
CD 2 gets off to a rousing start with Jack Magic, a somewhat bluesy tune that sounds to me like a tribute to Jerry Reed, and a very worthy one at that. Reminiscent of Jerry Reed's unique style are Tommy's excursions into unexpected tonal areas and surprising twists and turns. Great fun.
Papa George is another Tommy original with all of his trademark touches and yet another finely honed melody. The great music just keeps coming.
Haba Na Haba is the vocal version of this wonderful song, sung with great feeling by Pam Rose in duet with Tommy. The band is the "dream team" of Mssrs. Blair, TIbbs, and Wooten, with Anthony Snape adding background vocals. This is the song you will go away singing, an infectious tune beautifully sung.
I found Carole King's Tapestry a surprising choice - at least until I heard this version that Tommy plays with Doyle Dykes. Both players are at their most melodious, shifting through keys as easily as they slip between melody and accompaniment. Another great version of a classic song that builds slowly but surely to a wonderful climax. Two real pros, one great duet.
Tommy takes the pace down a bit with his excursion into fine blues with Mountains of Illinois, written by Nashville studio ace Pat Bergeson, presumably in honour of his original home state. Need I say that Tommy does Pat proud?
Ever since I first heard him play it I have loved John Knowles' arrangement of The Tennessee Waltz, and his duet with Tommy seems to take its inspiration from that version but soon takes it into new territory. And what a trip it is. These two play in such sync that at times they sound like a single guitar - and a BIG one. I have never heard a lovelier performance of this song.
If you are like me you have heard Tommy play Countrywide over a dozen times, and maybe you have noticed it get faster and faster as the years have gone by. If so, you are in for a treat as Tommy takes it back to the original tempo. This allows the melody to sing as it so clearly does, and the many colours of the backing give it a real magic. And if you haven't heard this song yet, you will love it.
Moon River (Vocal) is sung with quiet passion by Rick Price, over some really fine comping by Tommy. From his CD and tour with Frank Vignola, we know that Tommy can more than hold his own in jazz, and his playing here including his solo are the perfect touches to a great song.
I must admit that I was surprised that Tommy had guest vocalists sing lead on the first two vocal tracks. His singing has improved greatly over the years, and I still have a vivid memory of his electrifying vocal performance of House of the Rising Sun and Nine Pound Hammer at CAAS a few years ago that had the entire hall on their feet shouting and clapping. So I was very pleased to hear Tommy's voice take the lead on Willie's Shades, in duet with Anthony Snapes and backed by Pam Rose and Pete Abbot. The singers are all great on this one, with Anthony Snapes giving a fabulous, impassioned vocal that will send shivers down your spine. A special bonus is Tommy's lead breaks on his Telecaster. If you haven't heard him play an electric (or even if you have) this is a treat not to be missed.
After that tour de force Tommy settles the mood with Chet Atkins' lovely song Smokey Mountain Lullabye. You can hear the love and respect that Tommy has for his mentor in every note of this transcendent performance. Chet would be proud.
Always one to go out with a bang, Tommy presents us with a new version of Guitar Boogie, once again with J. D. Blair, Darrell Tibbs, and Victor Wooten. These four really rock the place as the funky introduction leads into straight-ahead boogie. Then we are off into the land of jazz as Tommy's Django-inflected solo inspires him to scat along with his playing. Victor Wooten comes flying in with a bass solo that takes off from Tommy's lead and draws a happy laugh and a respectful "yeah!" from Tommy. Bass and guitar continue to egg each other on in a terrific and virtuosic dialogue even as Tommy renews his scatting. Then we are back to pure boogie for a rousing finish. This one will get your blood pumping.
After this Tommy certainly deserves a curtain call, and he obliges us with an "encore" - a thoughtful, meditative performance of his song The Trails. This one slowly builds from a quiet intensity to a loud outburst before resuming its meditative mood. It slowly gathers steam again, this time seeming to push through the outburst to a newly-earned calm that restores the original mood. This time the peace is here to stay, and that is what Tommy leaves us with after this outstanding album.
Hats off to producer Kim Person, not only for capturing all of the beautiful tone of Tommy's incredible collection of guitars, but also for delivering what is probably the best-sequenced album that Tommy has put out. This combined with first-rate guest artists and some of Tommy's very finest performances make this a must-have CD for anyone who loves the guitar.
Buy it!
