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World-class guitarist and composer Jamie Bonk does a three-sixty on his new extended play album 5. I say this because his newest album is somewhat removed from his hip, edgy past release My World. 5
is mostly jaunty and flowing guitar as if Jamie decided to take a
breather from his frenetic city life. There is one tune that still
reflects his inner energy, but later on that. In addition, the album
features back up by flugelmeister Jeff Oster and talented pianist Loren
Gold. You may have thought you have never heard of Canadian musician
Jamie Bonk, but chances are you have. He is played on more than 600
radio stations worldwide and if you fly on an airplane you may have
heard his music on the in-flight program.
The tune "Boundless" opens the album and it is what it says. Snappy and
energetic with eyes wide open. The tune is blessed with the echoing
horn of Jeff Oster (True). It is the soundtrack for the train out of
town, the bridge over wide water and the road less traveled. It says to
push at the edges and jump right in. We need more encouragement like
this in our lives.
In Vancouver, Canada just past Maple Ridge and opposite to Surrey is
Port Moody. Once a summer residence of the Salish Indian Nation and a
haven for secret shipbuilding, it is known as the City of the Arts.
Like Jamie's contemporary composition, it suggests you kick back, get
in the flow and loosen up in a big way. "Mindful" sneaks up on you.
What I thought was a grooving tune with a great flow ends up as a
high-energy tune that seems to be a trademark of Bonk's. Outstanding
guitar lead on this one that get downright visceral and gritty.
Jamie uses a bit of sampling on the laid back, smooth jazz tune "Week's
End" and I'm all for it. The music celebrates the special time with
family, friends or both! The best tune on 5
is called "Ripple". Joined by pianist Loren Gold, this is a rollicking
contemporary jazz ditty that rocks the house. You don't have to be
afraid to make waves with this one. Great piano riffs and bluesy guitar
do a one on one and the winner is the listeners.
5 is a great follow up to My World
and it is Jamie's initial foray into the all digital release forum. Get
him on the net, get him on the disc, but get him. Now I can't wait for
10.
RJ Lannan
New Age Reporter
I've
never known what to label Jamie Bonk's guitar-centered ensemble music,
to tell you the truth. The faceless term "adult contemporary music," is
too vanilla to describe Bonk's considerable musical talent. Yet, he's
not what most would consider jazz either, and he certainly is not new
age or ambient. When reviewing his self-titled debut CD, I compared him
to Chris Spheeris (although the latter has a more pronounced
Mediterranean sound to his music). One could throw him in with Craig
Chaquico (certainly Bonk's chops are as good), but where Chaquico has
an (overdone) pop-ish sheen and polish to his music, Bonk tends to
craft music which eschews glitz and emphasizes heart and sincerity.
While the five-track EP features two guests (Jeff Oster on flugelhorn
on the opening "Boundless" and pianist Loren Gold on the closing
"Ripple") this is really Bonk's show as he once again uses samples and
loops for keyboards, drums, and bass. Bonk has always shown good taste
in how he mixes his samples/loops in with his "real" guitar and 5
is no exception, although a few times I wish he had toned down the
snares just a tad, but that's my desire to hear the other elements in a
song more clearly.
"Boundless" is a percolating bouncy song with a lively refrain
featuring Bonk's characteristic "big" sound, aided by Oster's soulful
flugelhorn. The two really cook during the bridge when Oster lets loose
and electronic effects burst onto the scene. "Port Moody" is just that,
moody and more introspective, with a slower trap kit rhythm and wistful
reflective quality to the guitar melody, accented by choral effects.
It's this track where I wish the snare beats had been toned down a bit
to add to the emotional impact of the song. "Week's End" is vintage
Bonk with his sparkling good-natured guitar flavored with jazzy licks
and the best use of drum loops on the CD. Lively percolating
electronics dial up the "fun" factor even more. "Ripple" cranks up the
energy with powerful trap kit drums and zapping laser synth effects
alongside dramatic piano from Gold. This could be a Paul Speer track
the way it crackles and blazes with thunder and flash. The middle of
this cut sounds like Gold channeling Bruce Hornsby and Bonk
ping-ponging some electronics in the background for good measure. I
didn't care as much for "Mindful." Through studio wizardry, Bonk gets
his Godin acoustic guitar to sound like a bad-ass electric axe,
squealing and soaring and crying to the sky for all its worth. Jamie's
playing isn't unskilled, it's just that I don't care for the overt
"rock" sound to the track (I know, I'm getting old, what can I say).
For me, it just doesn't fit in here.
The four songs I enjoyed on 5
are full of tasty licks, toe-tapping beats, hummable tunes, solid
engineering and production (but watch those snares sometimes) and able
accompaniment from legit musical heavies. Even with his rocking out on
"Mindful," I still solidly recommend this EP to not just Bonk's fans
but also anyone who loves energizing acoustic guitar ensemble (with a
semi-jazzy slant).
Bill Binkelman
New Age Reporter
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