Eva Scow & Dusty Brough
Sharon by the Sea
© 2007 Scow/Brough
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Mandolin, Guitar, Percussion in the style of Jazz, Flamenco, and Brazilian genres.
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Eva Scow is one of the premier mandolin players in the country. She has been playing music
since age 3, beginning with the piano. After studying
classical music for the first 10 years, she discovered
Jazz and Brasilian music and began to play gigs with
musicians around the state. Eva traveled to Brasil to
study with some of Brasil's premier instrumentalists.
Eva has performed and/or recorded with David
Grisman,Edgar Meyer, Anthony Wilson, Mike Marshall,
Mark Summer (turtle island string quartet). In 2006,
Eva was invited to participate in a workshop in New
York City with musicians Edgar Meyer, Bela Fleck,
Jerry Douglass, and Mike Marshall. The workshop
culminated in a performance at Carnegie Hall. Eva is
currently working on her debut CD with fellow
musicians Dusty Brough and John Martin III of the
flamenco fusion group Cerro Negro. More info on Eva
can be found at www.evascow.com and
myspace.com/evascow.
Dusty Brough is an inventive nylon string guitarist as well as a creative composer. His musical style is completely unique, seamlessly weaving Jazz, Flamenco, and Classical. He has performed and/or recorded with artists such as: Jesse Cook, Cerro Negro, Robin DiMaggio (Paul Simon), Hans York, Mark Summer (Turtle Island String Quartet), Mike Marshall, Joe Craven, and Michael Buble. Playing with such a variety of artists and styles has given Dusty an original and distinct voice on his instrument. In December of '07 Dusty released a CD with acclaimed mandolinist Eva Scow of all original compositions. Dusty has toured throughout the U.S, Hawaii, and Canada. His music brings the sophistication of Classical music and the improvisation of Jazz together, all the while floating amid Rhythmic energy and virtuosity.
REVIEWS OF 'Sharon by the Sea' IN THE PRESS
Released at the tail end of 2007, "Sharon by the Sea," featuring the multiple talents of Fresno California based mandolinist Eva Scow (pronounced EH-va Skow) and guitarist Dusty Brough, is arguably one of the freshest, most impressive "New Acoustic" projects we've heard in a long while. Dazzling harmonies, intricately woven sonic textures all recorded with tightly disciplined focus, make this CD instantly likable, inexhaustibly absorbing, even after the 7th spin.
The duo takes center stage midst an intriguing ensemble of rhythm players, including a fascinating assortment of supportive percussive elements including tabla, pandeiro, tan tan, & cuica (John Martin III), along with upright bass, swirling violin and cello. (Eva & Adam Scow, Mark Summer consecutively). We hear an endless spool of ever changing fabrics, yet throughout the whole project, a powerfully compelling compositional consistency remains.
Eva's mandolin skills are as impressive as her writing. Clear execution, the young 19 year-old plays with the nuance and finesse of a musician twice her age. Her frighteningly good talent is magnificently complemented with the equally adept guitar proficiency of co-writer, Dusty Brough. Her music is somewhat evocative of the music of Mike Marshall and his propensity to continually blaze music style frontiers from all over the world, the artists had the privilege of recording the entire CD in mandolin superstar's personal studio. In her words, "we were handed the keys."
The first track "Bird With Beastlike Qualities" opens the CD up with some smart, down-to-business Flamenco-tinged Choro "Nouveau." Playful yet concurrently serious, we're instantly introduced to the duo's ability to interact and complement each others' playing. A few atmospheric sound effects make the song experiential and ambient, without being cloyingly "New Age."
Aptly named, "Theoretically Speaking," introduces itself Choro in nature and pedagogically etude-ish (like something a musician might study out of a method book), but gradually journeys, exploring both passionately and cerebrally with its oft Lydian modality and Debussy-like whole tone runs. Brilliantly performed, the duo bask in tightness and precision. Following up with a contrasting relaxed feel, "Utah" takes an easily internalized tune and dresses it nattily with an almost Reggae-like rhythm, weaving its systematic structure with spontaneity midst the tight foundation.
"Rodolfo" similarly, is hauntingly "ear-worm" melodic in character, the sort of song that sticks in your head hours later, yet comfortably so. Solos are beautifully accompanied by Eva's harp-like background arpeggios, supported with lyric violin and cello lines. Her right hand/left hand coordination is masterful; and it's a credit to her musicianship the way she seamlessly treks in and out of single-note sustain and tremolo; toothpaste tube-squeezing sustain intermittently complemented by her passionate tremolo. Even with the amazing left hand focus, her right hand articulation is as clean as it gets.
"Pica Pica," a bold Venezuelan waltz, allows the duo take regional convention on headlong. Uniform articulations on the part of both players during the head are followed up by stunningly clean soloing. What's inspiring is how Eva delivers her phrases with confidence and bravado, but is still able to wrap it warm and feminine; bold sans the brash.
A refreshing comic relief moment, the brief 44 second "Best in Show" is like a spoonful of lime sherbet midst a seven course meal, a cleansing of the palate, with its harmonic camp and brush percussion backbeat frolic.
The title cut "Sharon By the Sea," deftly demonstrates musical ying and yang, upper fret mandolin versus lyric cello baritone, sustained string pad and plectrum. What's truly fresh is the introduction of Fender Rhodes piano, a too-long ignored staple of the Chick Corea era, and the melding of mandolin/Rhodes is truly one of magic.
"Sketches of Terry" is probably the 2nd most "Choro Nouvea" in structure and attitude. 21st century chordal vocabulary with acoustic instruments, the blending of a folk glossary with complex jazz chords is a shimmery eloquence, especially in the extended solo cello section.
The brilliant Fender Rhodes of Javon Davis reprises again in "Gateway Chronicles;" it's interesting to note the similarities of expression and magic chemistry between mandolin and the "vintage" Rhodes, the swirling ethereal sustain capped by the occasional "dirty" of slapped tines and frets. It would be great to here these two instruments together in other ensembles more frequently, especially played as magnificently here and in the subsequent final track, the conversational "Saturday." Vibrant with a driving ride cymbal, the compound meter interlude gives Scow a chance to strut her R&B electric chops, with some interesting licks evocative of Diana Krall's guitarist, Anthony Wilson (a perennial JazzMando fave).
This CD is ground-breaking, and we predict the beginning of a long and remarkable career for these musicians. Eva Scow is one we intend to watch carefully over the years.
Ted Eschliman, editor
www.jazzmando.com February 2008