Rabin's 'Jacaranda' - a beautiful soundscape

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.