Jacaranda is an instrumental album that rides the journey from acoustic gentleness to flat out rock and all that is in between. Trevor Rabin as artist, composer, guitarist, pianist, musician, producer-engineer, South African son and father plus dog owner all weave into this amazing work.
This has been a delight to listen to... a kaleidoscope of soundscapes, beautiful audio stories, a revelation of Rabin's musical artistry and creativity. It is a true mash up of styles that made me think of everything Rabin has done. Stylistically I thought of Steve Morse and the Dixie Dregs to Phil Keaggy, Michael Hedges and even some of Al Di Meola's world music. There are strong glimpses of 'Yes' and progressive sections like 'Sludge' from Rabin's Can't Look Away.
As a critic I am impressed with Jacaranda's depth and the maturity Rabin displays as composer, musician and producer. It's stunning to say the least - no hesitation of 5 stars for Rabin fans. I think many Phil Keaggy fans and guitarists would also rate this highly. The difficulty is that this is not a rock, fusion or jazz album. The average listener may only think this a three star album as it has too much guitar, whereas a rock guitarist would say there is not enough. It is an eclectic modern instrumental work where Rabin's experience as a film composer shines through and classical and jazz influences are as strong as any rock thematics.
My ears pricked up with the intensity and strong melody of 'Market road', easily my favorite track with Vinnie Colaiuta supporting on drums. Again on 'Through the tunnel' we have Vinnie with Rabin at their aggressive best. The thunderous bass on this track sounds like Chris Squire sat in on the session but this is Rabin showing his musical prowess. Yet Rabin's is not out to prove himself or win fans. Rather it's an album of beauty and reflection. As I said it appears as a soundscape to Rabin's life story as borne out with the fascinating liner notes. Six of the tracks are directly linked to stories of his early life in South Africa although strangely there is no overt musical link as what was heard on 'Sorrow' on his previous solo album.
The link to Rabin's current world of filmscore is the moving 'Rescue' with Liz Constantine's vocal which as Rabin describes in the liner notes is "pretty special".
'Me and my boy' with Ryan Rabin on drums is a stirring rocker with a mesmerizing start but alas is much too short. This is my only criticism of this album. I think two longer tracks in the vein of 'Through the tunnel' would have perhaps made it cohesively a rock fusion album plus I'd have loved a more conventional rock ballad instrumental to have been included as there is certainly space for this on the rather short 43 minute album.
The production and recording is exemplary. You would expect no less. This is easily Rabin's best recording from a sound perspective. (Admittedly technology has moved on since 1995 and the stunningly well-recorded Talk). Listen to 'Zoo lake' for the richest of recordings with the Bugbass upright providing the bottom end with a glorious lazy sunday afternoon melody and the most traditional melodic electric solo on the album. Then continue to the final track 'Gazania' that embraces everything from various electrics, gut string, banjo and acoustic piano with moods shifting and slipping bringing different instruments and delicious guitar tones into focus. Amazing. And then it's over. I sincerely hope it is not another decade before the next one.
Treat yourself, the journey listening to this is richly rewarding.
Most people who have watched films in the last two decades will have heard the music of Trevor Rabin. Older South African's may remember him as the frontman of a 70s pop-rock band, Rabbitt, while those into electric guitar would know him for his successful ten years with the progressive rock group, Yes. Rabin is currently Holywood's prolific film composer for blockbusters like Armageddon, Flyboys, National Treasure, The Guardian, Gridiron Gang, Remember the Titans and the Sorcerer's apprentice.
Rock music as a genre in South Africa has never had a large following, yet Trevor Rabin has emerged as South Africa's most successful international guitarist and composer through the years. Although residing in the US since the 80s, his strong links with his birth country make him a son of South Africa.
Rabin's new solo instrumental album (the first in twenty three years), is being released next week includes a number of titles that emphasise his African roots, including the title of the album 'Jacaranda' and the track 'Zoo lake'. (For a great review of the album have a look at Arlene Weiss's write up in Guitar International)
In anticipation of this release, I cast my mind back to my first album purchase back in 1977 when as a teenager I picked up Rabbitt's 'Croak and a grunt in the night' from a small Central News Agency in Pinelands, Cape Town. Rabbitt, among my peers, was seen as a teenybopper band - while my close friends' music diet was more likely to be Bad Company and Pink Floyd, so I remember hiding my purchase initially. I had only heard Rabbitt's radio tracks like 'Hold on to love' and 'Charlie' so was astounded when hearing their whole album with their rockier and more progressive elements.
A retropective review of the 1977 album 'a Croak and a Grunt in the Night'
If you are interested in the music of Trevor Rabin, South African rock or are partial to 70's glam rock with Beatlesque influences then this album is certainly worth a listen. Rabin fans like myself, see this album as a great milestone in his development as musician, composer and producer. Some thirty five years after its release, I again listen to 'A Croak and a Grunt'. Back in '77 it was a huge musical happening for South African's of European descent. In cloistered, apartheid South Africa, this was the country's closest experience of rock mania, with sold out concerts, teen girl hysteria and the fastest selling album in the history of South African rock music. On many a girl's school bag or book the statement "Rabbitt rules okay" was adorned. It seems strange now to think that Rabbitt dominated the pop charts, the awards and entertainment news for that strange, tumultuous South African period of 1976 to '79.
The title 'TC Rabin in D minor', the opening Brian May-like instrumental track, conveys the supreme confidence of Trevor and this band - and when you hear Rabin's powerful multi-layered guitar you realise this is indeed special as it segues into the ballad with strings and the plaintiff singing of "I sleep alone". Then the drums kick in and the title track punches in. You are aware of slick 70's production and expressive guitar which ends with an extensive wah-wah inflected solo over Rabin's characteristic use of a full studio of strings.
'Everybody's cheating' an emotional ballad begins, with big vocal harmonies, piano and catchy tune - the influence at best is Beatles but I do think of the Carpenters as well. The listener is then catapulted into a Neil Cloud drum extravaganza couched in another Rabin glam rock track. It must be remembered that this is Rabin in his early 20's playing in a heart-throb pretty-boy band and so tracks like 'Searching' do sound like typical glam rock ballads with all the syrupy strings and gushing vocals. Yet in spite of this, there is strong melody, world class guitaring plus subtle twists and rich harmonies that are up there by 1977 standards internationally let alone in the politically and culturally secluded South Africa of that time.
The heaviest track "Working for the people", the only all band composition, pounds away with bass, menacing strings, reverb extreme, multi-layered guitar interludes plus an oblique reference to what was happening with riot torn SA of 1976. If it was a statement, it was a subtle pushing the boundaries that had more in keeping with rebel boy rock and the risqué cover of Rabin naked behind a guitar than a political statement.
Although the CD does not refer to sides I refer to the original vinyl as this explains why we have the beautiful 'Schumann' multi-layered guitar instrumental introduction at the 'start of side 2'. (Listen to both the opening track and 'Schumann' as these are played in their entirety in the Amazon sampler.) "Hold on to love" is emotion drenched track that clearly Rabin thought stood the test of time as he included a different version on his solo album 'Can't look away'. This is then followed by the "Dingley's bookshop" that forever enshrines the name 'Pietmaritzburg' in a pop song. What is of interest is that this was written as a jingle for an SATV sitcom which does put the lyrics in context and the Beatles like ending.
For that time period, what was significant was having Margaret Singana forcefully singing 'Tribal fence' that pointed to a new South Africa in the distant future. By choosing her as the only guest artist on their long awaited album, Rabbitt were aligning themselves with more progressive elements in South Africa. Listen to the tone of Rabin's guitar in the short solo for a glimpse of what was still to come on Yes's 90125 with their number one hit, 'Owner of a lonely heart'.
Fusion rock and instrumental prowess is on display in "Never Gonna Ruin my Life" and "Take it easy". This was certainly bold for South African pop in the 70's and I remember thinking back then that Rabbitt could break into the international rock market. As we know this never happened but instead Rabin went on to join and influence the mighty progressive rock group, Yes; Neil Cloud toured with Peter Frampton and Duncan Faure joined the Bay City Rollers - all international recognition and huge achievement for four friends from Joburg.
Happily listening to this old album again for the umpteenth time, I still enjoy and listen to all the tracks. I eagerly look forward to Rabin's new release - unfortunately it won't have any of those rich vocal harmonies, but it sure will have that emotional pull of strong melodicism, beauty and striking musicianship.
Wanting to listen to other examples of Rabin at his best? Highly recommended are Rabin's solo album 'Can't look away' and the Yes albums '90125' and the brilliant 'Talk'.
(Review based on the 2006 Fresh music release. Produced by Patric van Blerk and Trevor Rabin. Arranged Trevor Rabin.)
