an Lambert's "Melodies/Improvisations" (1999) is a true solo achievement. Dan chose not to lay multiple tracks for this CD and is, instead, playing more like he performs live-in a much more relaxed mode. Straightforward, fewer hybrid mixes. That's not to say it lacks texture; quite the contrary, but it's easy-on-the-ears music, more of why I buy acoustic guitar instrumentals.
Dan opens with a jaunty tune called, "October Rhythm"; perfect for a cool night of porch sitting bundled in quilts, then warms you completely with "Harbinger" (#2). 'Nice' is the only word to describe it. Dressed down, a primer on simple structure in good form. Back to cool jazz licks on the third cut, "Baysbrown", turning reminiscent, almost wistful in a requiem, "To Donny" (#4). Without asking Dan about it, I could hear the importance of the person to which the song is directed. Packs a powerful punch to the heart.
Maybe it's the emotional impact that makes this CD my favorite of the three Lambert CDs. I want music to move me in some way-and do so without being complicated. While some of the numbers were a little on the longish side, ("A Life's Dream" #5, stretches on for over six minutes), you don't seem to mind. "Pirates in West Texas" (#11), is a groovy tune, even if it is seven-minutes-plus-some long. I gather it tells the story of an epic episode in the life of an El Paso guitar player we know as Dan Lambert. Made me wish it was a live album so that I could get the song's commentary while he tuned.
I went away from this last CD with the impression that the final piece (#15), "Song Within a Song" is more than just a tune title for Mr. Lambert. Woven together, Dan's simple strands of folk tradition and blustery, zig-zagging jazz overlays create a complicated pattern of deeply textured material. Inside every one of them there lies a bit of himself. Unconstrained imagination in human form, just waiting to try it all.
Ok, so what if he doesn't have the speed of Australian phenomenon Tommy Emmanuel, (who else does, after all?), or the stylistic melody-making mastery of Bill Mize? Dan's unique stylings stand on their own. James Sallis, in his book, The Guitar in Jazz, says it best. "Dan Lambert's playing is highly individualistic-sometimes relaxed and in a groove, often full of stabbing odd turns-and immediately recognizable." Indeed.
an Lambert's "Melodies/Improvisations" (1999) is a true solo achievement. Dan chose not to lay multiple tracks for this CD and is, instead, playing more like he performs live-in a much more relaxed mode. Straightforward, fewer hybrid mixes. That's not to say it lacks texture; quite the contrary, but it's easy-on-the-ears music, more of why I buy acoustic guitar instrumentals. 