Sara K. – In The Groove – Stockfisch Records vinyl

by | Jun 20, 2011 | SACD & Other Hi-Res Reviews | 0 comments

Sara K. – In The Groove – Stockfisch Records – 180 gram audiophile vinyl SFR 357.8011.1, 37:58 ****:

(Sara K.; Vocals, guitar; Chris Jones – guitar, dobro; Beo Brockhausen – percussion, duduk, saxophone, autoharp, harpsichord, glass harp, bass harp; Grischka Zepf – bass; Martin GroBkurth – Hammond organ; Hans-Jorg Maucksh – fretless bass, percussion; Michael Kleinhans – tuba)

Sara K.’s journey took her from the Southwest to an unlikely destination…Germany. Born in Dallas Texas, she embraced music as a youngster through church. Having “fashioned” a four string hybrid flamenco guitar (taking off the existing strings and putting on four bass strings tuned to open A), Sara became a fixture on the Texas music scene, fronting her band Sara K and The Boys Without Sleep. She moved to Los Angeles and Santa Fe, touring with the band for a decade. Then a departure to work on her compositions as a singer/songwriter, led to the release of her debut, Gypsy Alley. She signed with Chesky Records, and released four critically received albums. A move to Stockfisch Records was a natural fit, continuing the association with audiophile labels.

In The Groove is a compilation of studio and live tracks divided equally on both album sides. Presented in a concise thirty-eight minutes [Perfect for an LP…Ed.], this is a detailed glimpse into the folk/blues catalogue of this singer/songwriter. Side A (Studio) opens with the only cover, a drifting bluesy take on the 1973 classic by Ann Peebles. This is more akin to Lowell George’s 1979 version, with Sara’s throaty melancholic vocals. At the core of the music is a certain folk aesthetic. “Curtain Calls” is a highly personal reminiscence of life. Stockfisch’s versatile studio master, Beo Brockhausen adds saxophone and autoharp to the mournful narrative. There is a jazzy arrangement of “Sizzlin’”, featuring some nimble Hammond riffs by Martin GroBkurth. Sara K. gets to express her saucy vocal style, overdubbing a gospel-tinged chorus. The singer unveils her vaunted 4-string guitar on the whimsical “Streetlight’s On”. There is a spooky, melodic quality to this song. Harpsichord and glass harp (both Brockhausen) join in waltz time, surrounded by low register singing, creating a whimsical theme.
 
Side B is comprised of various live material accompanied (primarily) by Chris Jones. These five tracks attest to the essence of this artist. “Stop Those Bells” is a spirited Delta/Texas acoustic blues romp. Earthy vocals, 4-string acoustic and dobro (Jones) bring an edginess to this tale of romantic woe. From the same live performance, “(Would You) Break My Heart?” delivers a funkier organic blues arrangement with some accented stops. Sara has the fluency to be an eminent blues artist. However, she has the ability to reflect deep sentiment as a folk singer. On “Waterfalls” she illuminates a straightforward acoustic ballad with inventive phrasing, not unlike Joni Mitchell. The final cut, “What Matters,” showcases emotional intensity, as her voice stretches to upper and lower ranges.

Sara K. In The Groove
is recorded with the customary Stockfisch attention to detail. Utilizing the proprietary Neumann VMS-82 Direct-Metal-Mastering (DMM) cutting lathe, the overall sound quality is superior. [But it’s not direct-to-disc…Ed.] The clarity and textures of the various guitars is exemplary, while the complementary instruments mesh seamlessly with the acoustic vibe. Vocals have a natural resonance, and the cutting-edge mastering techniques never intrude on the unique voice characteristics.

TrackList =
Side A: I Can’t Stop The Rain; Sizzlin’; Curtain Calls; Streetlight’s On; Don’t I Know You From Somewhere?
Side B: Stop Those Bells; Water Falls; (Would You) Break My Heart; Gypsy Eyes; What Matters

–Robbie Gerson

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