In just three
albums, Jamie Bonk has developed a unique and expressive "voice"
on his acoustic guitar. His signature sound is instantly recognizable
in the high energy salvo that launches the opening title track
on his new album, My World. While I can't articulate
why Bonk's music is so distinct or what sonic characteristics
his playing exemplifies, it's there nonetheless. Maybe it's
his instrument itself or how he produces and engineers the disc
(which he does himself) or maybe its the relaxed and self-assured
nature of his playing, even when he cuts loose. Whatever the
explanation, I hear it.
As on his first
two releases, Bonk blends a myriad of styles, tempos, and
moods across the album's eleven tracks, such as the cheery
high-octane title track or back-street-alley cat-struttin'-at-midnight
blues/jazz of "This Is It," the breezy smooth jazz-tinged
"Looking In," the soft and romantic ballad "Third Time" (whose
gently sashaying rhythms bring to mind the '50s rock dance
called "The Stroll"), the downtempo and sepia-toned "What
I Never Said" or the closing nod to the more reflective side
of new age guitar music "Waiting for Winter."
Unlike Bonk's
debut, this is not a solo recording. Joining Jamie on the
disc are Sonya Mitlewski on keyboards (and what an addition
she proves herself to be - more on that later), Peter Janson
on steel string guitar on "Waiting for Winter," (which the
talented guitarist from Massachusetts also authored, by the
way) as well as vocalists Ron Scott and Shelley Hamilton on
two and one tracks, respectively. In addition, Jamie adds
drums, percussion and bass via samples and loops acquired
from Spectrasonics and Ethno-Techno. You coulda fooled me
these were drum loops, by the way; I thought they were someone
playing live.
One critique
of the CD I do have is actually a back-handed compliment.
Ms. Mitlewski's keyboard fills, especially on Fender Rhodes
and what I think is a Hammond B3, are so tasty and delightful
that I wish they had been pushed far forward in the mix. Conversely,
I wish the drums (especially the snare loops) had been lowered
in intensity. Mitlewski has such a wonderful touch (listen
to that Hammond on the opening track during the bridge...sweet!)
that to bury it underneath the drums is, to my way of thinking,
shining a light on the ordinary and placing beauty in darkness.
Not that the drum or percussion loops/samples are bad, but
those runs on the keys (whether synth, organ or electric piano)
could be a real highlight.
As for the vocal
songs, "If This Is Love" is a straight-up folk-rock ballad
with somewhat overly earnest lyrics, but it is saved by Bonk's
solid arrangement and Scott's commitment to selling us the
sincerity of the lyrics (obviously, since he wrote the song).
Mitlewski's synth string fills on this track flesh it out
nicely. I preferred Scott's unique take on the Bee Gee's old
hit "Nights on Broadway," which opens with a chugging keyboard
line straight out of Moby's "Extreme Ways" and evolves into
something more urgent and fervent than the Brothers Gibb ever
envisioned! Shelley Hamilton's vocal contribution is on "Centre
Tone" and it of the wordless semi-scat variety in a fast tempo
foot-tappin' tune on which her and Bonk compliment each other
nicely, playing some hide and seek and tag between voice and
guitar.
It goes without
saying that Jamie Bonk's playing is terrific. Even when he
cuts loose with finger-flying magic on the fretboard, he never
spins out of control or loses sight of his musical vision,
which is that the song trumps the artist (meaning that if
he plays his ass off but the song isn't "right," what does
it matter?).
I fell in love
with Jamie Bonk's music thirty seconds into the first song
on his first album and My World certainly hasn't
changed my affection for this soft-spoken Canadian with the
sure hands and the keen ear for hooks and melodies. Hopefully,
next time he will let this poor old reviewer hear Ms. Mitlewski's
keyboards a little better, because she is a stunner, no doubt
about it. Of course, Mr. Bonk is no slouch himself! Recommended?
Need you ask?
Bill Binkelman - Wind
and Wire (September 2004)
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