Carl Weingarten
Hand In The Sand - A Collection 1990-2004
© 2004 Carl Weingarten (768273921827)
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Hailed as "one of the truly great indie musicians working today," by the San Francisco Chronicle, guitarist Carl Weingarten takes stock of his work thus far with a new collection entitled Hand in the Sand - A Collection 1990-2004.
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Carl Weingarten is a composer, producer and slide guitarist. A pioneer on the independent music scene since the early 1980s, Carl's Multiphase Records label has been releasing a catalog of highly regarded solo and collaborative CDs. Exciting, diverse and unique, Carl's music has always been a blend of styles, combining traditional folk, jazz and blues, with world fusion, modern electronic, space and progressive sounds. A musician with a filmmaker's ear, his sound has been described as evocative and cinematic.
Weingarten has been compared to such diverse artists as Brian Eno, Robert Fripp, Bill Frisell, Leo Kottke, and Ry Cooder among others. Hand in the Sand is an opportunity to hear the evolvement of this experimental contemporary instrumental artist.
"These pieces have always stuck with me. Most of the recordings took shape without much fuss, and the music fell into place the way it wanted to. Some songs were well received, while others became sleepers. In all, they reflect the best of my work at the time," writes Weingarten in the liner notes for the collection.
Listeners will be able to hear popular tracks from 2002's escapesilence, a NPR staple as well at the winner of the "Listeners Choice Award" from popular syndicated PRI radio program Echoes.
Weingarten also gives listeners a view of where he is heading with the exclusive track "Holographic Blues," as well as two preview tracks from his upcoming new studio CD, Local Journeys, due out Spring 2005. Local Journeys will feature Carl in an ensemble setting with percussionist Brian Knave and bassist Michael Manring.
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Carl Weingarten - Hand in the Sand, which as a comprehensive look at this intrig
author: John Kelman | All About Jazz. . . Weingarten manages to combine these varied influences into a conceptual whole that is linked by a rich melodicism that pervades every track, and a concise playing style that is clearly heavy on substance while not forgoing style. Included in the collection are the previously-unissued “Holograph Blues,” as well as two tracks from his forthcoming release, Local Journeys, due out in the spring of '05. Hand in the Sand serves as a captivating introduction to an artist who, with an economical and almost ecumenical approach, has been creating compelling work for over a decade and is certainly deserving of a wider following.
It does more than confirm Weingarten's reputation as a terrific slide player.
author: Richard D. Price"I can't say enough about this album. It does more than confirm Weingarten's reputation as a terrific slide player. It showcases some of his best compositions from the past 15 years; many are absolutely stunning. By placing them in a new context, it emphasizes how much each has to say. Some of the tracks--especially those from "Redwood Melodies"--are pretty and have engaging hooks. But Weingarten's greatest tunes (in my humble opinion) seem like expressions of important life moments or conversations. The perceptive observations of the compositions are borne out by his touch--alternately tender and searing--on dobro and slide guitar. They are eloquent moods that draw you in with tasty leads and ornamentations; it's all timed so perfectly, yet it doesn't sound like anyone else's music. (Ry Cooder's film music is the probably the closest thing.) I keep playing this album. Everyone who I play it for likes it."
" . . . compelling, individual, and often quite beautiful music."
author: MUZE.comThis very fine early career compilation skims the cream from instrumentalist Carl Weingarten's first seven albums (one unreleased track, the moody, spacious "Holographic Blues," is also included). Weingarten is an appealing, accessible experimentalist, and a guitarist of considerable skill (his fortes include the slide guitar, the Dobro, and the use of effects). His music is rooted in folk and country, but is not bound be these categories; as it draws on jazz, psychedelia, world music, and ambient conceptions as well. HAND IN THE SAND covers a twelve-year span--1990-2004--yet remains remarkably cohesive in its vision. The influence of progressive guitarists like John Fahey (especially on Weingarten's acoustic work) and Bill Frisell (on his effects-drenched electric work) is clear, yet Weingarten's approach is singular. Never technically flashy, Weingarten has developed his own style that relies as much on a unique approach to phrasing and tonal atmosphere as it does on mechanical skill. Moreover, Weingarten is usually joined by musicians on percussion, synthesizer, and bass, and these collaborations yield a compelling, individual, and often quite beautiful music." --MUZE.com