by Dez Fretz
In my first listen to David Elias's new album, "Rare to Go" I was amazed by the sound quality which, on the opening tracks, is among the best I've heard from a CD.
The in-the-room realism of DE's earlier albums, 'Crossing' and 'The Window', is here on many tracks. Also the clarity of an audiophile reference recording. At its best there is that quality of "release" that I hear in many jazz records of the 50s and 60s -- uncompressed and unconstrained.
When I returned to it after a few weeks I got way into the music. The song sequence seems perfect -- unhurried, but always moving us along. We come and go. His words question and yearn, comment and soothe. His guitar is a second voice, allowing us to ponder but urging us forward.
Our grooving reverie is broken twice by what sound like bootleg recordings of the band in a goddam barn, with David well back, stage right, poorly miked. These rehearsals of "Aspen Rose" and "Juanita" are jarring but interesti