Michele Brourman: Fools and Little Children

First of all, in the interest of full disclosure – I must tell you that Michele is my sister. I am also a co-writer on one of the songs on this album, so my objectivity is limited. None of that is relevant. I am in awe of her artistic achievement.

I was adding the album to my digital music library, and when it came time to tag its genre, I was stumped. I sighed and typed in “eclectic”. Michele draws from such a wide spectrum of musical traditions that it is truly difficult to categorize her work. This will be a bit lengthy. I just couldn’t figure out which cuts to skip, so I have reviewed all of them.

Let’s start with the first track, “Aurora”. Unexpectedly, there is the sound of very delicate piano arpeggios, setting the mood for a musical retelling of Sleeping Beauty. In this version, the princess asks the prince if he will “sweep (her) up behind him and carry (her) away”. (The prince explains that he “only stole a kiss”—Sound familiar?) Already, we know this is not going exactly according to the Grimms brothers’ plan. The song ends on a note of triumph. Aurora reveals herself as a fully realized modern feminist – all within the framework of an enchanting, haunting folktale.

The second cut, “Heart On My Lips” is an understated, trance-like groove with a strong reference to middle-eastern music. The vocals have a sensual and seductive quality.

“Shirt Upon Her Back” is a paean to our immigrant grandparents (yes, this is the one we wrote together). We originally wrote it as a country song, but Michele added the dimension of a wild, Bartók-esque folk dance (a lot of credit goes to the brilliant Novi Novog on viola). The result is joyous and raucous.

“Old Love”, a waltz, was written with Amanda McBroom, who lends her lovely voice in a simple narrative of two people who find each other in the twilight of their lives. It is sweet and touching. (Get out your hanky).

“Love & Take Out” is the exact opposite. This song borrows heavily from the tradition of the great blues singers, especially Bessie Smith. It is filled with clever double-entendres. No need for a hanky.

“Once In Love” was written with John Bettis, and is a beautifully crafted country ballad, beautifully sung. The background vocals give just the right lift to the choruses. (Retrieve your hanky).

“In The Dark Silence” is a song so personal, so raw in its depiction of childhood loneliness, that it is hard to imagine the courage it would take to write it, let alone sing it with such naked emotionality.

“The Ballad Of Robin and Marian” is reminiscent of an old, medieval English folk song, which of course, is in keeping with the subject matter. But as in “Aurora”, we soon realize that this “Maid Marian” is not what legend depicts The rollicking tempo mimics the rhythm of hooves galloping into battle.

This is followed by a collaboration with Sheila Rae, “It’s Never Perfect”, an appreciation of love of the quiet and enduring kind found later in life, sung as a duet with Amanda McBroom.

“Erik and the Coyote” deals with the death of a beloved cat. It is sad, haunting and transcendent.

Michael Silversher co-wrote “Sailing On” and sings with Michele in this poignant ballad. Love appears, then disappears, and life must continue. The music and the lyrics are perfectly wedded, creating an atmospheric, trance-like experience.

Lastly, we come to “My Favorite Year”. Suffice to say that this is one of the all-time great love ballads. Others have sung this song, but none are so genuine in their rendition as the composer herself.

There is a recurring theme here of loss and redemption. You can listen with your ears and be well rewarded by the unerring musicality. But you can also listen with your heart and you will experience something much deeper. It’s a “five-hanky” album. In fact, just keep the Kleenex box next to you and give yourself a little time to recover before you go back out into the world.

To learn more about Michele and her work, please visit www.michelebrourman.com

Michael Ruff – Love Never Fades

In case you haven’t heard of Michael Ruff, you may have heard of some of the artists he has worked with over the years. Michael has played keyboards for the likes of Chaka Khan, Vonda Shepard and Brenda Russell. His beautiful ballad, “Cry On My Shoulder”, was recorded by Bonnie Raitt. He has also penned songs for the likes of Huey Lewis, Bebe Winans, David Sanborn, the Doobie Brothers and Natalie Cole.

This could be my favorite Michael Ruff album, which is saying a lot, since he has such an astonishing body of work. But then, I must confess, I am partial to this one because it’s just Michael at the keyboards without a band – no disrespect to his band, but I’m a big fan of solo piano. And the keyboard he plays, apart from the Hammond organ, is a piano that once belonged to Art and me. It’s a long story, but I’ll make it short and sweet: This piano, a Yamaha grand, was in our home for a long time. But every time I looked at it I felt guilty. I play okay for someone trying to accompany herself, but this is a piano that cries out for virtuosity. So a time came when we felt the piano needed a new home, and miraculously, it found its new home in Hawaii, which is where Michael lives. The first time I listened to this album, I knew we had made the right decision – or maybe, God made that decision for us.

First of all, I do not recommend listening to this album while you’re driving. It will command your attention from start to finish. So if you start listening while you’re driving, I’m afraid it will finish you! (Okay, I know, I’ll stop). The album works as a performance. And it’s a very intimate performance. You will feel you are in his living room, and that he is playing just for you.

It’s hard to choose favorites because each piece is integral to the whole experience. But the title and first song of the album is powerful, starting out child-like, deceptively simple and building to an almost anthemic feel by the end of the song. But as with the rest of this album, the performance is nuanced and restrained. He makes it sound easy. (Trust me, it ‘aint!). The second song on the album, “When It’s Cold Outside” is a warm, tender love song with jazz overtones, perfect for cuddling by a fireplace on a blustery evening.

Most of the songs are original, but there are some covers. The third cut, written by Rob Mehl, “Poet’s Son”, is a touching tribute to a man whose work is inspired by the smile on his wife’s face. It is beautiful, haunting, and sweet, but somehow not syrupy. Michael’s voice has matured over the years, along with his playing and his writing, and it comes across on this album as a soulful cross between Stevie Wonder and James Taylor, if you can imagine that.

For humor, listen to “The Way A Woman Works”. It is playful and wise, and even if you are the kind of person who never pays attention to lyrics, you will be richly rewarded by the feather-light touch on the keys and the steady, gospel rhythm. (No drums required!). Also on the lighter side, “The Time is Right” has a New Orleans boogie-woogie feel reminiscent of Dr. John.

There is a cover of “God Bless The Child” which is unmistakably unique, yet keeps the spirit of the original Billie Holiday tune intact.

Finally, on “Stella By Starlight”, the last cut on the album, Michael stretches out (as they say in jazz parlance), which is a joy to hear. Listen for the soulful Hammond weaving throughout, playing leapfrog with the piano.

Michael has spent a lot of time in church, and his deepening faith informs every aspect of his performance but just as he keeps a light touch in his playing, so too with this.

This album is great for anyone who loves piano music, gospel or jazz. Love Never Fades was recorded in 2005, but as the title suggests, it is timeless. Don’t forget to visit Michael’s site at michaelruff.com