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Rock/pop

Jennifer Warnes: Another Time, Another Place

Another Time, Another Place
Jennifer Warnes: Another Time, Another Place
  • Music
  • Sonics
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Warnes’ first album in 17 years reminds us how much this singular talent has been missed. A benediction about finding resilience in the face of personal misfortune and political uncertainty, it touches on themes of love, loss, and hope. The ten tracks include songs by Eddie Vedder (“Just Breathe”) and Mark Knopfler (“Why Worry”) and an homage to post-Katrina New Orleans (“The Big Easy”). Underscoring Warnes’ wide-ranging talent are the cherished classics “Tomorrow Night” and “I See Your Face Before Me,” where the lush string orchestration recalls Nelson Riddle. Another Time also represents a reunion with fellow Leonard Cohen alum Roscoe Beck, who also acted as collaborator/co-producer on Warnes’ Famous Blue Raincoat. Peppered with stellar side-musicians like guitarist Dean Parks, pedal steel legend Greg Leisz, and drummer Vinnie Colaiuta, the spare arrangements are as cozy as a porch swing, with accents of dobro, accordion, organ. Sonics on the 180-gram LP sport smooth airy highs and a full presence range. Though Warnes is in her early 70s, her voice has aged gracefully, her highest notes a bit more earthbound, yet filled with interpretive elasticity and luminance, and of course, glorious phrasing. Welcome back, JW.

By Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

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