Dave Moore
Breaking Down to 3
Red House RHR CD 132 (1999)

About time. From one as talented as Moore, a trio of records over the span of a decade should be considered an indictable offence. His first disc in six years, Breaking Down to 3 delivers a strong batch of original American folk/roots music. Often found working with Greg Brown, Dave Moore is of the same ilk and any fan of Brown should find Moore appealing.
Well rounded, Midwesterner Moore is a fine acoustic guitar player, above average on the harmonica, and blessed with a rich baritone voice. His sporadic releases are all genuine pleasures.
From a songwriting perspective you may be familiar with the themes he conveys, but Moore is clever and articulate enough to make the material always sound fresh: "...the light in our tunnel is just a train bearing down." ("Midnight"). Devoid of clichés and superfluous arrangements (Bo Ramsey produced), Breaking Down to 3 not only explores small town USA, but strays occasionally toward the Tex/Mex border.
Backed by a solid, yet low-key, all-Iowa-based group of musicians, Moore's third installment of tales confirms the never-ending richness of the real folk article. Unfortunately, quantity of sales rarely reflect the quality of material. Breaking Down to 3 makes us all richer.
— Pieter Hofmann
(N. Vancouver, BC, Canada)

Various artists
Testify! The Gospel Box
Rhino R2 75734 (1999; rec 1942-1997)

This three-disc set differs in both scope and packaging from three 1992 separately available Rhino compilation CDs under the collective title Jubilation: Great Gospel Performances [R2 70288, 70289, and 70290]. Two of the Jubilation discs covered African American gospel music and one was exclusively country and bluegrass gospel, while Testify covers only the African American side of the genre. Thirty-three of 36 selections in Jubilation's first two volumes (subtitled Black Gospel and More Black Gospel) date from gospel's golden age, the 1940s through the 1960s. Testify's chronological scope is more ambitious, for its 50 tracks span 1942 to 1997, and performers range from the Golden Gate Jubilee Quartet to Boyz II Men. Twelve cuts appear in both sets.

Testify's packaging is brilliant: a slightly-larger than a jewel-box container looks just like a Bible or hymn book, resplendent with a red cover and binding, with the image of a religious stained glass window on the front and what looks like gold-gilded "pages" on three sides. The pièce de résistance is a functional white ribbon "bookmark" attached to the top that comes out at the bottom and enables you to lift out the jewel boxes. A 68-page book includes a substantial essay on the history of gospel music and its roots in the church, 30 pages of notes outlining the story of each of the selections and all the performers, and a five-page track list with original release information.

Most of the big names in the genre are represented, although Sister Rosetta Tharpe and the Soul Stirrers are absent. From wild, exciting numbers to quiet reverent ones, there's a lot here and highlights are many. Disc one starts with a "win the war" novelty cut from 1942 called "Praise the Lord and Pass the Ammunition" done in jubilee style by the Southern Sons Gospel Quartette. There are also classic harmonies from the Swan Silvertones, an early marriage of gospel and R&B from 1959 by LaVern Baker with Alex Bradford, and an organ solo of "Amazing Grace" by Rev. Maceo Woods. The second CD features the Edwin Hawkins Singers 1969 crossover hit "Oh Happy Day"; a bouncy and brassy "I Go to the Rock" from Danniebelle Hall; Shirley Caesar's moving "No Charge," about the love of parents and the love of God; and the Caravans' stirring "Walk Around Heaven All Day," a 1964 waxing that's now a standard in many churches. The 1980s and 1990s are disc three's territory, and it offers a nice variety ranging from the catchy, infectious, hip-hop gospel of Donald Lawrence & the Tri-City Singers, to Yolanda Adams' beautiful "The Battle is the Lord's," to the Williams Brothers quartet singing 90s style (backed by synths and bouncing bass guitar), to Rev. F. C. Barnes and the Red Budd Combined Choir doing an upbeat, bluesy/R&B, synthesizer-free number that recalls the earlier days of the genre. Other artists in Testify are Dorothy Love Coates, Fairfield Four, Mahalia Jackson, Staple Singers, Rev. James Cleveland & the Gospel Chimes, Aretha Franklin, Inez Andrews, Marion Williams with Prof. Thomas A. Dorsey, Andraé Crouch, Take 6, the Winans, and Cissy Houston.

Some of the cuts are not in chronological order, but the overall flow of Testify is impressive. With only a couple of exceptions, the juxtaposition of the tracks makes complete musical sense, and enhances both an understanding of the genre and an enjoyment of the music. Yet something is lacking: there's simply not enough material from gospel's golden era (only 26 of the 50 songs). Expanding Testify by including one more CD of vintage 1940s-1960s gospel is what was needed to make the depth of this otherwise fine set match its breadth.
— Al Riess (Buffalo, NY)

Amadou et Mariam
Sou Ni Tilé
Tinder 42857312 (1999)

The story of Malian couple Amadou Bagayoko and Mariam Doumbia is a romantic one. They met at a school for the blind as teenagers after growing up and making music individually just a few blocks from each other, each unaware of the other's existence. They moved to the Ivory Coast to put out their first five recordings, then returned to Mali as recognized artists. In this latest release, they present 15 new original compositions in their distinctive, gently rhythmic style. They delve into the taproot of the blues with Amadou's easy rippling guitar riffs and the couple's smoky call-and-response vocals. Beefed up by horns and earthy percussion, the stuff just flows. Unfortunately, the backup musicians are not credited here, but there is some fine playing, particularly from the keyboard player and percussionists. "Mon Amour, Mon Cherie" is a real treat, with its bluesy melody and rolling guitar. The modal melody line and swirling fiddle of "On Se Donne la Main" ("Hand in Hand") give it the feel of a French folk song. In "Teree la Sebin" ("Evil Eye") they use sarangi and tabla to convey the woes of living under a curse. The driving finale "C'est la Vie" is joyously upbeat, with jazzy trumpet accents and a gritty electric guitar solo. Singing in the Bambara, Prul, Dogon, and French languages, neither Amadou nor Mariam has a powerhouse voice, but everything on this disc comes across as heartfelt and genuine. Sou Ni Tilé is rich, sweet, and delicious.
— Peggy J. Latkovich
(Cleveland Heights, OH)