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JOEL HENRY LITTLE
Spuyten Duyvil
(2019 - MicroCultures - France / Life is a Minestrone Records - USA)

https://microcultures.bandcamp.com/album/spuyten-duyvil

 https://www.youtube.com/watch?v=ET5aLWW6T5o

https://www.youtube.com/watch?v=1_G9Z-8MC-E

A select colorful visionary masterpiece with a batch of languid, pastoral folk ballad, devout storytelling, in an expressive antique atmosphere. With acoustic guitar, gentle horns, quick changes to happy tunes, altered among melancholy, yet elegant and charming to the point of royal courtyard concert prestige, this is pure gold. Especially intimate pieces, the music has such a sentimental theatrical essence, it leaves you feeling in a state of calm. The third link I have above to You Tube, will show you the raw talent of Joel Henry Little, and how he can perform with just a classical guitar, his voice, and a bit of whistling. And that there is no electronic wizardry on his voice in a studio. It's all pure delight. But you can expect wonderful amounts of additional instrumentation on the album.

The title 'Spuyten Duyvil' is reference to an early Dutch settlement in the 17th century, thereabouts, in what now is considered the Northwest Bronx. Although various translations exist, 'Spouting Devil' is the most common, which is speaking about the brute currents of the river there. There is plenty more history but that, and the cover painting, that I understand J. H. Little painted, from a picture courtesy of NYPL: 'The old landmarks of N.Y. Spuyten Duyvel Creek', shows the feel of the music quite well. It  has a dual early music endearment, early baroque, and early 1900's, which is postmarked by Little's voice. His vocals match what you might be listening to on an old Victrola, except his voice is pure and ripe with clarity, as is the instrumentation. The nylon strings, the vintage styling, and the package as a whole is unique. Not only for the sheer beauty of both Joel Henry Little's voice, but the magic he has composed, the mature writing, arranging, and elements of romantic poetic lyrics he created.

I asked him who his influences were and how he came up with the sound, and replied "my favorite artists are Joanna Newsom, Josephine Foster, Richard Dawson, Dirty Projectors, and Stephen Sondheim. Stylistically, I don't know what to tell you, I just do what sounds good to me." He is only 21, and already has two wonderful albums released. His debut was also on the MicroCultures label in France, 'Great Kills Friendship Club' (2017) is also has his daydream like quality of music.

The dimensions of the music glide from bits of relics from varied decades, and old ballad and show tunes, in an almost sacred way, gently bringing back the past. With an evenness from period pieces, to near Minstrels (the Middle Ages kind), some multiple harmony vocals are brought in at times. 'Honor Thyself' (track 9) has a choir effect that gives both high and low range voice. Magnificent! Joel Henry Little composed, arranged, and performed the entire album, with one guest on 'See/Saw' (his mother, Amy Dulsky Little - violin).

However anyone would describe 'Spuyten Duyvil' , the music will transfix you, take you back to a simpler time, before television, like a visit to the carnival when innocence was real, a stroll in the countryside when the air was still fresh and clean, and a mind full of wonderful memories where hope was a part of so many lives. A TOP CHOICE for 2019. VERY HIGHLY RECOMMENDED.

   ©Reviewed by Lee Henderson 5 - 11 - 2019
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ACQUA FRAGILE
Moving Fragments
(2023 - Maracash - Italy)


https://maracashrecords.bandcamp.com/album/moving-fragments


  A group who have the uncanny talent of keeping their classic  sound along with staying up tpo date. This amazing return is from 1970's Italian progressive rock outfit, with frontier man lead vocal Bernardo Lanzetti, who made this band and some PFM albums so specifically brilliant. At this decade, to expect more beauty would be a fantasy, yet it is set before your ears, even with the first notes, this masterpiece of Italian, (and not only Italian) progressive rock that certainly grasps the notion of what the genre of "progressive" was always meant to be. ACQUA FRAGILE create another sweetly classic knockout recording, not with even a heavy breath of past to present effort.  In fact, it sounds and feels more authentic than ever.  Bernardo sounds as if he never aged a week, and all muscians present are at full force, not passing up the chance to make another massively classic album.   An album to put Acqua Fragile at the top of the few chosen progressive rock choices of all time. The first song ('Her Shadlows Torture' 05:52 - editors note:  A misspell on the 'Shadows' which is on Bandcamp at this writing - but is correct as 'Her Shadow's Torture' on physical CD)  hug you and give all relief, as to any possible doubts of a long awaited fourth album by this top notch Italian band. I claim it will leave your heart lay bleeding. Grab the spectral energy and enjoy a glimpse of beautiful cocoon birth.

  Not one song is with sacrifice, even a wink of lamb. In fact, some elements are added to further enchance and stun the audience, such as inclusive female vocals by Rossella Volta. The bulk of the outfit is Piero Canavera (drums, percussion, vocals),  Franz Dondi (bass), Bernardo Lanzetti (lead vocals, guitar, Glovox),  Stefano Pantaleoni (keyboards),  Claudio Tuma (guitars), with special aid by (aforementioned vocalist Rosella Voita) ,  Gigi Cavalli Cocchi - drums (1,6),  Sergio Ponti - drums (4,9), Stef Burns- guitar (2),  Brian Belloni - guitar (4),  Davide Piombino - 7 string guitar (5),  and David Jackson - sax & flute (6). Could you ask for more?   After one listen you cannot want more. Thank Maracash label (Italy) for standing behind so many great Italian artists who have done the blood, sweat, and tears in earlier years, and deserve the attention now.
Although the band name translates to 'Fragile Water', it might be better described as Precious Water at this point and time in our decreasingly cared for world. Perhaps even better, Rare Water. The beauty of this entire recording is apparent, true, sincere, and a step forward. Better than one would dream of, past the point of how all old fans could imagine, and  actually done in the upper atmospheres of what anyone could have dreamed of. Everyone is top notch and most of all, Lanzetti is 100% present, making it another masterpiece.  It is my deep recommendartion for all fans of both classic progressive rock and the new fields of progressive music to give this a direct and full attention (no distractions) listen. RECOMMENDED.
  ©Reviewed by Lee Henderson 1 - 19 - 2024


 

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