Into the Flow
Dan Cunningham
PicknDawg Music
2001
13 tracks
There's no doubt that Dan Cunningham knows how to play the guitar. In fact, he demonstrates a great deal of skill as a guitarist. Unfortunately, the presentation on this release is flawed by faulty production and in places by Cunningham's attempts to be clever or artsy. It's a shame that Cunningham didn't just stick to what he knows and that he didn't get a producer with more understanding of what it takes to record solo guitar.
There's an undertone throughout this recording that makes listening hard. It has not so much a rumble as a steady roar like a sonic boom underlying the lighter tones of the guitar. It sounds as though either the guitar was miked improperly or else in post-production someone just put way too much bottom on the recording. It's enough to detract seriously from what sounds like some pretty good playing. While this problem exists in varying degrees on all tracks, the fact that it's worst on the first two tracks can turn off listeners real early.
Balance of recording levels is also a problem. While this would probably have worked better as a solo guitar album, there are other instruments involved as well as various vocal bits, mostly either spoken or hummed. In general, these added elements are mixed too low against the guitar and serve less as enhancements than distractions.
Another problem I have with this release is Cunningham's need to ornament his work with bits of theatre and sound effects. He does neither very well and should probably stick to what he knows best, playing guitar. His attempts at being "artistic" only serve to take away from the listener's enjoyment of his playing.
"Tejas Tango" is a nice little piece with a sort of Mexican theme. Under the music is a bit of theatre apparently involving a drunken conversation between a man and a woman in some Texas bar. I think this may have been an attempt at humour. As it turns out, it's neither funny nor good theatre. The fact that it's recorded too low in the mix only makes it worse. How frustrating to make a special effort to hear what's going on only to find out it's not that interesting after all. Better this piece had been recorded with only Cunningham's guitar.
"Mantle Timepiece" is an interesting exercise on musical onomatapoeia. Cunningham's guitar plays the role of the works of an old-fashioned clock with its several layers of sound, and does so quite convincingly. Irritating is the final almost nine seconds of what I suppose must be intended to be the ticking of the clock. This bit at the end might best have been left off. Similarly, I see no reason for the insertion of a stock sound effect of playground children at the end of "Carnival Breeze" (including again nine seconds of this racket after the music has ended).
Unencumbered by silly plays and sound effects (except for an occasional barking dog), although still with too much bottom-end, some of the best played and most enjoyable music on this release is in the final five tracks. Here, the listener is allowed to hear the artist at work without the distraction of his producer's gimmicks. These tracks give some intimation of what, produced differently, Into the Flow might have been.
"Loose Dawg (in the hall of genius)" is a six minute plus medley of favourite classics and folk melodies ranging in mood from exhilaration to calm meditation with smooth transitions and an old-timey feel. It fact, it seems to be in this old-timey mode that Cunningham is at his best. Interestingly, despite the title, this is not the song with the barking dog sound effects. The occasional cello in this piece, while a bit high in the mix, works well to complement the guitar and to add variety to the music.
An improvisation on a 19th Century work by Tarrega, "Prelude" is a quiet little number that seems to be played a bit tentatively, as though the guitarist had not been fully confident. Still, it makes a nice transition between "Loose Dawg (in the hall of genius)" and the three song suite "Waiting for the Peace of Night" which ends the set.
The closing suite presents an interesting composite of Cunningham's creativity as a composer and as a performer. "Same Old Grind (Work Life)" is a jazzy combo number that sometimes feels like Fifties pop-jazz but has a Sesame Street rhythm throughout. Incongruously, and for no apparent reason, this number features periodic barking dogs. "Ascent" is a quieter, more medieval sounding tune with dulcimer-like guitar, a very pretty piece indeed. At more than seven minutes long, it's a peaceful respite after what has gone before. The longest number on this set, at almost nine minutes, the pretty "Grateful Tears" continues in this mellow and perhaps antiquated mood to finish the set with a touch of class.
Sometimes saving the best to last is not necessarily a good idea. Into the Flow is a prime example, beginning with the tracks most likely to turn off listeners and ending with the least problematic tracks. Dan Cunningham is a talented guitarist who should develop enough confidence in his abilities to be able to perform without hiding behind gimmicks, especially poorly executed theatre and spurious sound effects. As a solo artist performing classical and old-timey music, I'm sure Cunningham would be impressive.
Those who may be interested can learn more about Dan Cunningham and his music at the PicknDawg Music website. You can find clips of four of the songs on Into the Flow at CD Baby.
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Review written: May 3, 2005
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