Andy Volk
From:
Boston, MA
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Posted 8 Aug 2013 10:19 am |
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I was given the opportunity to hear a pre-release copy of New Zealand lap steeler Thomas Oliver’s new record, Beneath The Weissenborn which documents his collaboration with NZ luthier Tony Francis, who builds stunning recreations of vintage 1920s guitars as well as his own updates of the timeless Weissenborn design.
Oliver’s playing is very visible on the web and he’s has toured with his flagship band quite a bit (The Thomas Oliver Band). With that band, his playing is largely in the rock, blues and roots music genres, having supported marquee artists like Eric Clapton, Joe Cocker, George Thorogood, and Tom Jones.
Beneath The Weissenborn shows another, more introspective folk-roots-new age aspect of his playing. The album was recorded using Tony’s Style 1,2,3 & 4 Weissenborns plus an original teardrop model. The ten tracks showcase the huge dynamic range of these instruments from rich, throbbing bass, to cello-like midrange, and high-end zing. Oliver exploits this dynamic, high fidelity sound by using long sustain and little vibrato.
Besides his excellent phrasing and attention to texture Oliver also makes creative use of the haunting sounds available from playing behind his un-blocked tonebar at the 12th or 7th fret. While Bob Brozman used these as a sound effect, Oliver tends to use the zingy, harmonic-rich sounds more organically as part of a given composition.
Most of the tunes on the record are somewhat introspective and melancholy in affect and sound – at least to my ear - like they’re played in mostly open D, D minor and/or G-based tunings. This leaves out many of the chords and sounds available from a sixth-based tuning but still affords a pretty full palette of colors.
Perhaps the standout cut is Oliver’s arrangement of John Williams Theme from Jurassic Park. I admire his fortitude in tackling a symphonic piece like this as well as his arranging chops in pulling it off so well. This cut shows just how up-to-the-task Weissenborns are for handling many more musical genres than they’re typically used for; it just takes imagination. Segovia was often quoted as describing the guitar as “An orchestra in miniature†and this cut proves that’s definitely an attribute of the Weissenborn guitar as well.
As Oliver says, "I was 7 years old when Jurassic Park was released. I went to see it at the movies about 5 times. Even at the age of 7, I was absolutely enamored by the music. … “The melody stuck in my head for 20 years before I finally owned it myself. And when I bought it recently, it was like being reunited with a long lost friend, and I played it over and over and over again, as loud as I could, thrusting my arms into the air in the middle of my lounge room. Every time I listen to it, still I just can't believe how good it is. It remains my favorite film score ever. “
While there is some use of overdubbing and effects, they’re used with taste and restraint. Belfast, the record’s bonus track mixes the ethereal sound of a wordless choir of voices. All in all, Beneath the Weissenborn is a fitting tribute to this instrument that makes a lot of us crazy and serves as a showcase for the sonic proof in the pudding of Tony’s meticulous builds.
The official CD release is August 23rd but Thomas is now touring in NZ in support of the album. Previews will also be available on iTunes.
https://itunes.apple.com/nz/album/beneath-the-weissenborn/id680464480?ign-mpt=uo%3D4
Jurassic Park Video: http://www.youtube.com/watch?v=D-f9bpMpddA
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