New York singer/songwriter Kevin Delaney has partnered with jazz pianist Rich Shemaria to release their collaborative CD titled High Springs. Delaney brings to the project his background in everything from punk to country bands and has been influenced by “the usual suspects like Dylan, Nick Drake, Neil Young, etc.” Shemaria is both a pianist and arranger/composer who has worked with Micheal Brecker, Natalie Cole, Stevie Wonder, Tom Scott and many others. They call their new album “a unique, genre-bending mix of folk, rock, jazz and classical sounds, combining Delaney’s deeply lyrical songs with Shemaria’s sublime arrangements.”
The duo continues: “We are perhaps an unlikely duo, but have great chemistry. And I believe our sound is unique, combining Kevin’s poetic lyrics and expressive voice with Rich’s sublime orchestrations and keyboards. We also have a stellar cast of supporting musicians, world-class players (and friends) from New York's jazz, rock and classical worlds. We had a great time making this album despite pandemics, tech challenges, etc.” Kevin Delaney sings and plays guitar, with Rich Shemaria handling all keyboards. They are joined by Jerry Devore (upright bass), Josh Bailey (drums), Suzanne Gilman (violin), Gena Taylor (cello), Kaoru Hinata (flute), James O’Connor (trumpet/flugelhorn) and Gilbert DeJean (bassoon). Recording mostly took place in Upper Manhattan apartments using Logic. Piano and organ were played from Native Instruments, while bassoons, flugelhorns, cellos and flutes were recorded live. Josh Bailey’s drums were recorded in a Long Island basement by mixing and mastering engineer Tom Swift. “You Know” features rollicking acoustic guitar atop a piano-based rock song, with creative and death-defying drum fills by Josh Bailey. Delaney has a kind of rangy, twangy voice that fits his songwriting perfectly. Shemaria adds a lively electric piano middle section. “River Road” slows down for more of a soft rock ballad. Delaney’s voice takes a softer, more confessional cast and also features nice harmony overdubs. For the first time I also noticed Jerry Devore’s upright bass playing, which really pulls the music together. Delaney takes a short harmonica solo over what sounds like a strummed and picked acoustic 12-string. The title track “High Springs” has a Miles Davis-like intro by James O’Connor, especially “Sketches of Spain.” The track also features the first appearance of the string section: beautifully arranged and recorded. It really does sound like a full studio orchestra! The strings lead into a folky acoustic song with a Glen Hansard-like vocal. It’s an interesting hybrid of folk song and jazz excursion: it flows beautifully, without ever feeling forced. “Elvis at 19” has a short drum intro like Zeppelin’s “Rock and Roll,” then moves into an Elvis-inspired track with ‘50s piano trills and a snappy boogie woogie beat. Delaney even manages to echo the King’s vocals, along with some hearty rockabilly guitar! “Breakout Masterpiece” is first of all a great title (how many of us hope and dream of making one?). Lyrically it uses the trope of a literal breakout from prison, but I’m betting it’s really about music or a work of art. “Create your own release / it’s your breakout masterpiece.” “Out There” has another stunningly beautiful orchestral intro, this time recalling Stravinsky’s Rite of Spring or Aaron Copland (how often can you say THAT?) which then leads into an acoustic song that borrows the best from Neil Diamond’s folk-pop style. The orchestra returns to add lush backgrounds to this lovely tune, then goes all-in for a fully arranged orchestral coda at the end. Though it starts to feel more like a Broadway show than an album of songs, it’s awesome. “Long Walk to a Slow Train” is another great song title and idea. It’s got a fun, jaunty beat with a mixture of jazz and Americana. I’m guessing that the “long walk” is our very existence, while the “slow train” is the one that boards at the end for parts unknown. “Your Fragile Heart” again begins with an orchestral intro, which I guess is a stylistic trademark for these guys. It’s certainly not something most bands can claim! As before, the orchestra underscores and comments on the acoustic folk tune it’s built on. Delaney delivers emotionally touching vocals and harmonies, though the harps and strings may be a touch heavy (did Phil Spector pay a visit?). The final track “Two Phony Sick Days” is yet one more clever song idea. It’s got a very slow beat and gentle acoustics and piano, and seems to describe those precious moments we’ve all taken to give our jobs the finger and enjoy life at home. It’s the perfect capper to a terrific collection. What really sets this release apart from most is the prominence of acoustic piano and the orchestral sections, and it’s just the start of what makes this collection worth checking out. Great stuff!
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