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"The follow up album or the second time around, as I have
heard the tale told, is
always The Hardest recording that any artist will ever make. Although nowhere
near Steely Dan's twenty-year hiatus Jamie Bonk may also stake
a claim to the
longest time span between projects (Take Off BEAR, eh Jamie?). With tongue in
cheek I am referring to the time from the completion of the
self titled Jamie Bonk
release to the completion of A Perfect Tomorrow. My friends I am here to tell
you that it was more than worth the wait.
This time around Jamie places the lion's share of his talents
in writing, playing the
classical guitar, additional keyboards, and producing all the
tracks on A Perfect
Tomorrow. During a recent interview session Jamie
and I decided that these could
appropriately be labeled the "Three Faces of Bonk".
The decision to enlist the talents
of Jack Vorvis on drums and percussion and Sonya Mitlewski on
keyboards is the
first glimpse of the growth and wisdom attained by Jamie during
the transformation
to the next plateau for the now legendary Bonk sonic signature. The second
glimpse of growth and wisdom was the mastering process decision. I cannot
share the "trade secrets" but suffice to say it has
a lot to do with the
successfully implemented sound of the entire disc.
It would be most appropriate at this point to share my first
session's listening
experience with A Perfect Tomorrow. Settled in at the
sweet spot of system 1
here is what I noted once I hit play:
Unmistakably JAMIE BONK!!!!
I have listened to it straight through twice now and tried to
take notes but just got
so caught up in the entire sound I forgot about writing any
more notes. I jotted down
a few first impressions through track three. Next thing I knew
track number nine was
starting and I began noting how fantastic "Too Deep For
Tears" was. That was
probably the "blew me away track" from the first playback
of
A Perfect Tomorrow.
"APT" contains Infectious and enthralling music for
the mind, body, and soul.
Liquid nylon melodies envelop the room as ingenious backing
tracks swirl and
wrap themselves around the listening environment. Though
not being one who is
prone to dancing I have been informed that trying to refrain
from the act is not an
option as several of the tracks really do groove. Warm
and round themes unfold
with Jamie's guitar weaving melodic tales as world class percussion
tracks propel
the music in joyous rhythmic emotion.
Hauntingly evocative emotions swell within as the musical journey
of "Pretty Girl"
weaves its spell with its breathtaking sojourn and defines new
realms of instrumental
music. The rhythms of the world and its lyrical melodies
are the medium for Jamie's
melting pot of compositional skills. Every track is chock full
of killer hooks and
swirling, detailed, accompaniment that allows his music to float
and soar,
subdue, and excite while taking the listener on a journey they
will not
soon forget.
There are ambient moments where the rhythms quiet and the lush
backing tracks
take center stage but this is a guitar album and the return
of the melodic playing is
always a source of a warming glow that excites the senses.
I was once told that a great song was one that you remembered
by being able to
whistle the melody. I not only whistle but carry the entire
track line and make up
my own rhythm vocalizations, as only a bass player can, as I
merrily go about my
business after a listen to A Perfect Tomorrow.
There is always anticipation of the largest magnitude following
a run away debut
release. Jamie Bonk appears to have taken the success in stride
as he takes the
next step and plants both feet firmly on a path of a new musical
direction, and
delivers proof positive that he has learned a lot, with his
release of A Perfect
Tomorrow. A veritable Tour D' Force follow up to his, self
titled, debut album
awaits you. I highly recommend you take the journey.
Audiophiles Note:
Here is where the largest step forward has been taken from the
debut release.
There are jaw dropping dynamics, dazzling instrument placement,
and panning
effects implemented with stunning clarity and attention to detail. The recording
is crisp and clean and each instrument resides in its own space
of the studio
sonic staging. There are moments of three dimensional
character as I could
visualize Jamie sitting on a stool with the sound hole of the
guitar placed exactly
at ear level, (system 3), while the rest of the track resided
lower down in the
panoramic left to right soundstage. There is bottom end
on this release,
although it is sampled bass guitar tones, and is played on a
keyboard with
the accompanying thick, pudding, sound as it rolls through the
groove rather
than articulating as a plucked bass guitar would sound. I suppose this adds
to the crisp yet fluid sound of Jamie's guitar but I just can't
help wondering what
a real bass would add to the rhythm and pace of the tracks and
the excellent
percussion timbre's. If you use tubes in your system this
disc will give a fat,
warm, and wooly bottom end.
The listening sessions were performed in the following systems:
(1) Electrocompaniet EMC-1 CD player, Electrocompaniet ECI-3
Integrated,
Magneplanar MG1.6QR, & Sunfire True Subwoofer speakers.
(2) Linn Classik into Stax Electrostatic SRX MkIII, Sennheiser
HD600, & Sony
MDR-7509 Professional headphones.
(3) The Holo-System: Rega Planet 2000, Musical Fidelity A3 CD,
Belles XLM
preamplifier, Belles 200 power amplifier and Altec Lansing 510
A speakers.
( A relatively large system in an extremely small room with
only one small
holographic listening sweet spot)." - BEAR - Ambient Visions - February
2001. |
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