ENOCH TRAIN, "Set Sail" (Joyspring Records) ****
VARIOUS ARTISTS, "Welcome to Brigham"*** 1/2
JULIE DE AZEVEDO, "Hello Sky" (Highway Records)*** 1/2
NORTHERN VOICES, "Redemption Road" (Shadow Mountain) ****
A lot of exciting things are happening on the local music scene. Here are some new offerings by, for the most part, proven performers who measure up:
ENOCH TRAIN calls itself an "instrumental-contemporary-acoustic-American-folk" ensemble. That's as good a description as any for this group, whose broad range of talent and interpretation defies any narrow pigeonholing. Essentially, what the band members do, says group leader Clive Romney, is explore both the roots and the branches of early folk hymns. They look at where these songs came from — and then take them places the songs have never been before.
The results, as evidenced by their latest album, "Set Sail," is a joyful sound that is both elegant and dignified, but also a lot of fun. There is both respect and love for the songs in their arrangements, as well as delight for what they are able to do with, as they say, "eight musicians, 90 instruments and hundreds of years of folk hymn heritage."
In addition to Romney, Enoch Train is comprised of Daron Bradford, Dave Compton, Janice Andersen, Jay Lawrence, Tom Hewitson, Rich Dixon and Rob Honey, all of whom are exceptional musicians in their own right. Together, there is a chemistry that works magic.
The album begins with a "neo-Celtic" arrangement of the hymn "Babylon," mixed with an original composition by Hewitson, written as a tribute to his Scottish ancestors. There's a "Blessed Nova," that incorporates Brazilian samba rhythms into, among other things, a version of "Count Your Many Blessings." African influences, American Indian sounds, American gospel, jazz and more surface on songs such as "Bantu Assembly" and "Missionary Reville."
One of the most beautiful songs is a rare vocal offering set to the words of William Wordsworth in "A Sleep And A Forgetting." Equally intriguing is the morphing of nursery rhyme "Mary Had A Little Lamb" into "Dear To The Heart of the Shepherd."
The final number is a tone poem of sorts, a musical tribute to the group's namesake, the immigrant ship "Enoch Train." Through music, it conveys the fears, the faith and fortitude of those early travelers. Fittingly, this and other numbers on the album were first introduced as Enoch Train participated in the European gathering portion of Sea Trek 2001.
The best news may be the tag line at the end of the liner notes: "More to come. . . . "
"WELCOME TO BRIGHAM" is an intriguing look into the creative process by a group of Excel Entertainment musicians invited to express their thoughts and feelings in music after watching the movie "Brigham City."
The results are an eclectic mix bound with a commonality that makes for interesting listening. While they are fully in keeping with the tone and tenor of the movie, the songs also stand alone. From Maren Ord's wondering "what if the world were a little more perfect?" to Peter Breinholt's tribute to the strength of small towns and Cherie Call's lament for lost love, the themes and emotions are universal.
There's both poignancy and passion in Greg Simpson's discussion of "the lie that held back the tears in the eyes of a thousand prodigal sons," Kalai's distinctive style and lyricism come through in "Patience Lies" and a group called Sunfall Festival delivers an ethereal version of the hymn "Nearer My God To Thee" (although the ending seems a bit abrupt).
Add Julie De Azevedo's wistful "I Can't Count The Stars," a spirited affirmation called "It's Alright" from Ryan Shupe & The Rubberband and "Unchanged," a moving ballad bearing Shane Jackman's inimitable touch, and you have a collection that speaks deeply to the psyche and keeps calling you back for more.
There's also an instrumental theme song by Sam Cardon taken from the movie. Some of the songs also appear on individual albums by these artists, but in this context they enhance and complement each other in exciting ways.
JULIE DE AZEVEDO 'S lilting, breathy style, which has had great success on such previous albums as "Pray For Rain" and "Dive Deep," is back with a new collection of songs — "Hello Sky" — filled with her trademark emotional honesty.
De Azevedo writes about life — her life, your life, my life, pretty much anyone's life. She has a knack for zipping right to the heart of matters that have universal appeal.
It is definitely music with an attitude, but more often than not that attitude is one of hope and joy, which she says is a reflection of her own life's journey over the past two years. "Some of my burdens have become lighter, and life in general feels more effortless."
Part of her ability to nail universal feelings may come from the fact that this thirtysomething wife and mother of two also has degrees in psychology and social work. Along with the talent and ability to communicate musically.
Whether she's talking to the air ("Hello Sky") or exploring feelings of insecurity caused by "a tarnished halo that slips down" ("Something Holy") or offering up an "Open Apology" to the teenage kids she doesn't have yet, she writes of sentiments that lots of folks can identify with.
Whether she's exploring the secrets of open places ("Flower In The Desert"), paying tribute to old age ("Sara's Song") or extolling the virtues of "Second Chances," she zeroes in on feelings and emotions we all share.
Guitar and piano are her mainstays, but she employs other instrumental effects to add variety. Once or twice, the beat gets a bit heavy-handed. But overall, she serves up a delightful mix of music and meaning.
She may not, as she says in the opening number, be able to count the stars or "the prayers that cry out from my lips; or times that I've been spared by angel's grip," but she can count on keeping her place as one of Salt Lake's premiere pop musicians.
"REDEMPTION ROAD" has a sophisticated sound, a jazzy, bluesy, pop feel that reaches right out to pull you in. Produced and arranged by Sam Cardon, it bears his distinctive mark, but it also represents a collaboration of other exceptional talent.
The songs were written by Cardon and Don Stirling, with help on selected numbers from John McVey, Brett Raymond and Nancy Hanson. Featured vocalists include McVey, Raymond and Hanson as well as Peter Breinholt, Kalai, April Meservy, Rob Wannamaker and Hilary Weeks — all recording artists in their own right.
That mixture adds variety to a collection of songs already filled with eclectic variation. There are songs filled with sweet emotion and plaintive poignancy (McVey's "Dance Upon Orion" or Hanson's "Jack and Jill," for example). There are those that get the feet tapping and the senses stirring (as when Wannamaker wraps his voice around the lyrics to "Late, Great L.A. Boys" or Raymond kicks in with "She Got Cha-Cha").
There are songs of goodbye (Weeks' lovely "Goodnight Bordeaux") and those about staying (McVey again on "What Love Reveals").
Spanish-sounding guitars complement Breinholt's vocals on "Mother Lode," while full-bodied orchestration adds to the background on another McVey number, "Come to Know." Meservy serves up a smooth, sultry sound, while Kalai's voice slides like silk through the lyrics.
Cardon's "Redemption" theme from the movie "Brigham City" is the only instrumental offering, and it caps things off with a soft, moody feel.
From start to finish, the album is filled with emotion and meaning.
E-mail: carma@desnews.com