As of March 18th I was given the privilege of previewing Jacaranda, Trevor's first new solo album in 23 years (in point of fact my review was written before any other reviews had appeared online). To say I was thrilled beyond measure would be a severe understandment. To say that this album is what I've been waiting for nearly all my life is yet another exercise in the obvious. This is an instant fusion classic: right up there with my other favorites in the genre and that's not just my relative bias talking.
Now I have been cleared to share my review with the public and I hope it does, in some part, convince listeners to give it a chance. It's that good, trust me.
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Jacaranda - Trevor Rabin
(Varese Vintage Records)
For loyal Trevor Rabin fans, the title of his new solo album is the perfect identifier for this much-awaited release as the word is something which has long existed in his vernacular – from the name of his studio to references in his own lyrics - and perhaps an apt simile would be that a lengthy gestation of musical consideration and creation has finally reached full flower. Because we’ve had to wait a very long time indeed and our patience is now amply rewarded. It's been noted in one of the press releases that the jacaranda tree is found in many parts of the world, and just as it has flourished in varying climates, so has Trevor succeeded in a number of musical genres, returning to roost in one not unfamiliar in his history as a working musician.
Jacaranda – as the name also depicts – is steeped in references to Trevor’s homeland. Johannesburg place names, as well as references to native flora, make up a good portion of the track names. These twelve compositions travel – sometimes within the same song – throughout a number of moods and styles, but are all imbued with the voice of a man with a gift for melody and a mastery of the guitar, even as he also shines as always on bass and keyboards. But make no mistake: this IS a jazz record, even as some of the tracks reference other styles and forms. Both trad jazz and fusion are genres which have informed Trevor’s development as a musician and his taste as a listener so it’s a natural progression (albeit one which has taken him over 30 years to fully get around to) in regards to his artistic agenda.
But it strikes me that the primary point of this work – in regards to how it is to be apprehended by listeners – is to remind us what a lyrical and melodic guitar player Trevor is – how it is as equal an expressive voice for him as his singing - and his career has been long defined by his guitar playing as much as any other aspect. Jazz recordings, even as the goal is the presentation of the synergy of the participants, usually place their focus on the featured instrument of the band leader. And given that Trevor is a Band of One (with rhythm section assistance on this recording) the focus is squarely upon guitar: acoustic, electric and dobro. For those who have been missing their Guitar Hero in the course of his sixteen years as an award-winning in-demand film scorer, here is a virtual banquet of guitar to enjoy. But there is also pleasure to hear Trevor rendering his own version of a fusion combo with great layers of bass (both electric and acoustic) as well as piano, organ and synthesizer.
This album also illustrates Trevor’s strengths as a producer and mixer – yet another facet which has been evident throughout his career – but given this effort is all his in regards to those elements, the technical acumen is just as present as the love and care rendered within. The balance and dynamic of textures presented in each track provides a benchmark for his skills and sonic instincts.
This is a work which rewards the casual and the close listener alike: compelling and complex and from the heart. And I do believe you can actually hear him having fun playing this music as a whole, which is the best part of all. This is the sound of a man who can play whatever he likes, whenever he likes, and the record’s inherent honesty is a testament to both his desire and his direction.
“Spider Boogie”
Fleet-fingered fun with dobro and electric guitar. This track was the last recorded - in one take - so what you hear was all in real time (including audience reaction).
“Market Street”
Shifts between progressive-style ornate filigree and jazz fusion voicings; a portion of this may go all the way back to 1992 and an idea Trevor shared on his Master Sessions instructional video.
“Anerley Road”
This begins and ends with a sequence which is long-familiar to loyal fans and visitors to Trevor’s website (as it is the music you hear when you access the front page of the site). This track features a great interplay between Trevor and bass wunderkind Tal Wilkenfeld (her tone is instantly recognizable), anchored by Lou Molino’s tasteful fills.
“Through The Tunnel”
I was played an isolated guitar part from the multitracks in April of 2011 and having listened to the album I believe what I heard a year prior was one of Trevor’s leads from this song. I was blown away by the sheer audacity of it, to hear him just go for it; the analogy which came to mind was “jazz fusion on steroids.”
This is a track sure to satisfy those longing for some wailing from the guitar slinger. Reminiscent in mood of the instrumental “Sludge” (the version which appears on 2003’s Live In LA) it travels continuously between moments of gentle melodicism with layers of piano and guitar, and raucous shredding. The last part through to fade-out is an especially all-out heavy-riffing tour de force, made all the more powerful by the drumming of Vinnie Colaiuta.
“The Branch Office”
Intricate tuneful melding of guitar textures and keyboard counterpoint, with an almost madrigal feel to it which then comes to include a bit of bluegrass and progressive-style interweaving.
“Rescue”
Built on the foundation of the vocal melody from the theme “Rescuing Fischer” in The Guardian (the 2006 film which Trevor scored and a portion of that track was used as the “Main Theme” on the soundtrack album) – featuring the performance of vocalist Liz Constantine - this version takes an almost minimalist approach in regards to the instrumentation, featuring a wash of synthesizer with orchestral accents, bracketed by guitar at either end. The vocal is much more prominent in this version, serving as the centerpiece, and has seemingly less texturing incorporated in the mix. Coming as this does midway in the album, it strikes me as a moment of Trevor centering upon his current chosen identity before going off once more to different destinations.
“Killarney 1 & 2”
A piano-driven change of pace, part one of this track is a rare treat for those fans who’ve always longed to hear Trevor play an entire piece on keyboards. One can hear the young contest-winning prodigy in his playing even now, and as the title is a reference to the neighborhood where Trevor grew up in Parktown (a suburb of Johannesburg), as well as the suburb in Cape Town where Trevor and his wife Shelley were married, it’s a fitting tribute. The second part is a double-time reprise with classical guitar accompaniment; it could be theorized that it's a snapshot of Trevor's musical development, progressing from piano to guitar.
“Storks Bill Geranium Waltz”
A classic jazz mood, quoting such influences as Wes Montgomery and Barney Kessel in tone and texture but the piano adds a bit of chamber music atmosphere.
“Me and My Boy”
The big rock moment (but rendered in fusionesque fashion) many have been wishing to hear (as well as my personally longed-for sophomore effort by Tremander); playfully slinky and muscular, and the inherent spirit of Trevor and Ryan’s interplay reminds me of the guitar and violin duets Trevor played with his father on his SA-era recordings.
“Freethought”
The way this track swings, one might imagine it’s an archival recording of Trevor accidentally wandering into a Dave Brubeck Quartet session from years ago and having a go with the band. But it’s all him (with accompaniment by Lou Molino). The midsection features a whimsical tapestry of acoustic and electric guitar and keyboard textures.
“Zoo Lake”
Gorgeous intro dobro textures on this one, again capturing a trad jazz vibe even as the melody is voiced several different ways, including a rather crunchy electric section. Great stand-up bass tone as well, and a lovely piano coda. Makes me picture Trevor at 19 in the SADF Entertainment Division playing this sort of music in the Officers’ Club on a Saturday night.
“Ganazia”
This strikes me as Trevor’s love letter to his hero John McLaughlin, beautifully and passionately performed. If Trevor had joined The Guitar Trio in 1981, this is the kind of music he would have been playing. This is also the only track which features Trevor singing: just a tiny bit of vocalizing in the bridge.
My favorites: “Anerley Road,” “Killarney 1 & 2,” “Zoo Lake.”
