Theresia Bothe
 &
Peter Croton


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Lebenslauf/Pressestimmen

Theresia Bothe ist Kosmopolitin. In Kanada als Kind irisch-deutscher Eltern geboren, lebte sie seit ihrem vierten Lebensjahr in Mexiko. Schon früh entdeckte sie ihre Vorliebe für die Lieder in der populären und traditionellen Musik. Gleichzeitig entstand ihre Leidenschaft für frühbarocke und klassische Repertoire. Ihr offizielles Gesangstudium begann sie in der Escuela Nacional de Musica in Mexiko City. Ausgesprochen interessiert war sie von Anfang an am Repertoire der früheren Epochen wie Klassik und Frühbarock. Sie setzte ihr Studium in London fort, an der Guildhall School of Music and Drama. Anschließend bildete sie sich weiter an der Hochschule für Musik in Trossingen, Deutschland, bei Professor Richard Wistreich und schloss ihr Studium als diplomierte Gesangslehrerin ab. Als Solistin oder als Ensemblemitglied tritt sie in Südamerika und verschiedenen Ländern Europas auf. Dabei ist sie eine der wenigen klassischen Sängerinnen, die sich selbst auf der Laute oder Gitarre begleitet. Derzeit wohnt Theresia Bothe in der Schweiz. Neben ihrer künstlerisch-pädagogischen Tätigkeit ist sie Initiatorin und auch Präsidentin von M-CC (Music - a Chance for Change), ein Verein das Anliegen von Menschenrechts-organisationen durch Musik fördert.  www.thbothe.com

Der Schweizer-Amerikaner Peter Croton unterrichtet Laute, Historische Aufführungspraxis und Gitarrengeneralbass an der Schola Cantorum Basiliensis, an der Hochschule für Musik in Basel sowie auch an der Hochschule der Künste Bern. Peters musikalische Wurzeln in Folk und Jazz wurden durch eine profunde Ausbildung in Alter Musik am Oberlin Conservatory of Music (USA) und an der Schola Cantorum Basiliensis (Schweiz) mit Eugen Dombois und Hopkinson Smith ergänzt. Unter seinen Auszeichnungen ragen der erste Preis beim internationalen Wettbewerb für Alte Musik 1984 („The Erwin Bodky Competition") in Boston, USA, und Preise beim internationalen Lautenwettbewerb „Guitar 84" in Toronto, Kanada und 1983 beim internationalen Wettbewerb „Concert Artists' Guild" in New York City heraus. Seit 1984 hat er mehrere CD- und Rundfunkaufnahmen als Solist und Kammermusiker vorgelegt (Deutsche Harmonia Mundi, Virgin, Channel Classics, Guild, u.a.). Peter Croton gibt Konzerte in ganz Europa und den USA als Solist und im Ensemble. Seine neuste Solo-CD "Bach on the Italian Lute" ist neulich bei Guild erschienen. Peter Croton tritt auch als Komponist verschiedener Stilrichtungen in Erscheinung. Im Jahr 2001 wurden sechs seiner Werke von der Deutschen Lautengesellschaft veröffentlicht. Er ist Autor des Lehrbuches "Generalbass auf der Klassischen Gitarre - ein Praktischer Lehrgang nach historischen Prinzipien", 2005 beim Amadeus Verlag erschienen. www.peter-croton.com


Pressestimmen (Konzerte), Bothe/Croton Duo

 

„Vollends begeistert war das Publikum vom Abendkonzert unter dem Motto „Remembrance of Things Past“ mit Werken von John Dowland, William Shakespeare und Croton selbst. Wie es dem Duo gelang, mit intelligenter Emotionalität und natürlicher Leidenschaft neue Facetten der populären Lautenlieder von Dowland zu entdecken, das löste nachgerade Verzauberung aus, die sich in tosendem Applaus entlud.“

   CONCERTO - Das Magazin für Alte Musik, Juni/Juli 2009

 

Theresia Bothe und Peter Croton begannen ihr Programm mit drei sensationellen spanischen Liedern. Bothe und Croton haben mich schon sehr beeindruckt, als ich sie beim Festival in Kassel zum ersten Mal im Konzert erlebte. Dieses Mal durchmaßen sie das europäische Lied und Instrumental-Repertoire Spaniens und Italiens von der Wende des 16. zum 17. Jahrhundert über den Barock und bis ins neunzehnte Jahrhundert, wofür Croton von einer zehn-chörigen Laute zu einer exzellent tragfähigen und klanglich bewegliche Roudhloff-Gitarre von ca. 1820 wechselte. Ihr Konzert provozierte die erste Zugabe dieses Festivals – mit Recht!... temperamentvolle, exaltierte Darbietung…"

Deutsche Lautengesellschaft Lauten-Info 2/2010


Gute Musik kennt keine Grenzen, dies haben die beiden Künstler während den ganzen Abends eindrücklich bewiesen...Bereits die ersten Noten liessen erahnen, wie gewaltig dieser Abend werden würde...Die glasklare, volle Stimme der Sängerin stach besonders hervor...Dem Duo gelang es, die Emotionen durch die Musik zu beschreiben...Eine neue, überraschende und oft wilde Art des Komponierens setzte sich am ende des 16. Jh. in Italien durch. Beispielhaft dafür ist die Toccata von Kapsberger, bei deren Interpretation der Lautenspieler mit einem beeindruckenden Solo sein können bewies...Von Wehklagen bis frohlocken, von verträumten Liebesgedichten bis zu verzweifelten Klageliedern bot das Programm alles. Von den beiden Musikern ging eine unglaubliche Ausstrahlung aus, die sich auf das Publikum zu übertragen schien. Der tosende Applaus galt am Ende nicht nur ihrer musikalischen Genialität, sondern auch der sympathischen Ausstrahlung und der charmanten Art ihres Auftretens."

  Zürichsee Zeitung

 

„Die Vergangenheit lebendig wurde im ersten Teil des Samstagabend-Programms mit „Remembrance of  Things Past“: Dowland-Lieder, die von zwei grossartigen Künstlern in Kontrast zu Liedern gesetzt wurden, die Peter Croton selbst auf Shakespeare-Texte komponiert hatte und von Theresia Bothe gesungen wurden. Die Differenziertheit der Darbietung, verbunden mit einem weichen und einfühlsamen Ton auf höchstem Niveau, war grossartig und begeisterte wohl alle.“

  DEUTSCHE LAUTENGESELLSCHAFT Lauten-Info 2/2009

 

„Das Basler Duo Theresia Bothe (Gesang) und Peter Croton (Laute und romantische Gitarre) präsentierte ein neues Programm mit spanischen, italienischen und peruanischen Liedern

und Instrumentalstücken von der Renaissance bis zur Frühromantik. Die in Kanada geborene und in Mexiko aufgewachsene Sängerin beherrscht die Kunst, mit leidenschaftlichem Vortrag den Gehalt auch solcher Lieder zu vermitteln, deren Sprache man selbst gar nicht versteht. Ihr Duopartner Peter Croton brillierte auch als Solist mit atemberaubender Virtuosität in Werken u. a. von Alessandro Piccinini und Giovanni Zamboni sowie einem romantischen Stück von Mauro Giuliani…. ebenso unkonventionellen wie mitreißenden Auftritt…“

   CONCERTO - Das Magazin für Alte Musik, August/September 2010


          « Sous les charmes de la musique ancienne»

« C'est devant un public venu nombreux que Theresia Bothe au chant et Peter Croton à l'archiluth et à la guitare romantique, ont donné une après-midi musicale de oute beauté...Avec Monteverdi, qui marque véritablement la naissance de la musique baroque, le public fut en présence d'atemporels chefs-d’œuvre, portés par la oie enjouée et lumineuse de Theresia Bothe...L'interprétation de la Sonatine op. 71 de Mauro Giuliani permit à Peter Croton de montrer toute sa virtuosité, mais aussi toutes les possibilités de la guitare romantique qui bien que fort petite, parvenait à remplir la salle de ses sonorités denses et harmonieuses...Le musicien, qui par ailleurs est professeur à la fameuse Schola Cantorum Basiliensis de Bâle, montra dans l'interprétation de ses propres oeuvres la richesse de son nspiration... Par cette journée pluvieuse de dimanche, ce récital fut un agréable moment de détente, de plaisir et d'étonnement. »

   Dernières Nouvelles d'Alsace

 

 

                       „Musik, die Leuchtet"

„Alte Musik kommt gut an, denn dabei erlebt man eine Gefühlsintensität jenseits der üblichen Romantik, eine meditative Kraft und oftmals auch Interpreten, die eigenwilliger als die übrigen Klassikmusiker wirken. So sind für den Baseler Lautenisten Peter Croton und die Sopranistin Theresia Bothe Lieder von John Dowland und die Welt des Folk und Pop keine strikt getrennten Bereiche (was Sting, der jüngst ein umstrittenes Dowland-Album vorgelegt hat, ähnlich sieht). Von Bach bis zu einer von Croton komponierten Hommage an die Jazzsängerin Billie Holiday reichte der Bogen, und dabei machten Bothes vokale Leuchtkraft und ihre affektgeladene Phrasierung großen Eindruck."

   Hessische/Niedersächsische Allgemeine

 

„Theresia Bothe und Peter Croton gaben ein vorzügliches Konzert. Dominierte im ersten Teil die Alte Musik, überzeugte das Duo später mit jazzigen Klängen."

   Märkische Allgemeine

 

« Ce concert était une interprétation vivante et fidèle au style des compositeurs des différentes époques avec notamment des oeuvres de Monteverdi, Purcell, Frescobaldi, Weber et Croton lui-même, une pièce qu révèle un beau talent de compositeur. L'auditoire nombreux témoignait de la qualité d'un concert de bonne facture. »

   L’Alsace Le Pays                   

 

« La verve communicative de Theresia Bothe dépoussière cette musique, la rend vivante, accessible. L’exécution revêt un naturel et une délicatesse rehaussée par les coloris du luth...»

   L'Impartial

 

                                       Pressestimmen (CD), Bothe/Croton Duo


Remembrance of Things Past

"...Theresia Bothes klare Stimme schwebt mit einer beinah körperlichen Präsenz zwischen den Lautsprechern. Die Klarheit und Intensität der instrumentalen und vokalen Artikulation des hervorragend eingespielten Duos konnten die Besucher des diesjährigen Lautenfestivals in Füssen in einem mitreissenden Konzert mit spanischer und italienischer Musik erleben... Die ganze CD ist ein ausgezeichnetes Beispiel für ein perfektes Zusammenspiel von Sänger/n und Begleiter, für die zeitlose Schönheit des Liedschaffens von John Dowland und nicht zuletzt für Peter Crotons kompositorisches Geschick, zu dem seine Erfahrungen in Jazz und Folk hörbar etwas beitragen."
   
Lauten-Info 2/2010

"Scheuklappen scheinen sowohl Peter Croton als auch Theresia Bothe in Sachen Musik nicht zu kennen. Genauso selbstverständlich wie mit Alter Musik treten sie auch als Folkmusiker oder Jazzer auf. Das erinnert zwangsläufig an Sting, der sich ja ebenfalls mit Dowland versucht hat. Doch anders als dieser meidet Theresia Bothe das allzu Künstliche, das so rasch manieriert wirkt. Mit betörender Natürlichkeit und glasklarer Stimme wird sie Text und Musik sehr viel gerechter und weiß auch emotional stärker zu ergreifen. Peter Croton, der einige eigene Kompositionen beigesteuert hat, beeindruckt durch sein unaufdringlich virtuoses Spiel."
  
Fono Forum 10/06

"Einen aussergewöhnlichen Blick auf John Dowland und seine Welt bietet der Lautenist Peter Croton. "
   Toccata, July-August 2010

“…Croton is a creative musician who wishes to recapture the improvisational and inventive nature of the early lutenists. The result, quite different from many of Croton's contemporaries, is that Dowland's music is presented as living and malleable, inspiring transformation as well as new compositions…
The CD opens with the Preludium by John Dowland followed by two settings of Shakespeare by Croton. The lute writing is sparse but idiomatic, with very strong melodic lines which linger in the head; they are often reminiscent of Stephen Sondheim. My favourite is the setting of ‘While you hear do snoring lie”, which has a memorable lute part.     
Theresia Bothe’s voice is very individual. Her expressiveness comes from the emphasis and colouring of certain words and the breaking of phrases, rather than ornamenting or varying the music according to historical practise. This approach probably reflects her interest and experiences with the more popular forms of music. She sings in tune and her diction is generally good.

Croton approaches Dowland’s songs in different ways. First, he offers them in the usual manner, i.e. as a song with the lute part as written, but often he presents settings of the songs in versions for solo lute before the song begins (‘Say Love if ever thou did’st find’). Also, in the middle of a song he will often give the repeat sections to the lute (‘Sleep wayward thoughts’). Listen also for the nice variations that he makes in some songs when accompanying the voice (‘Now, O now’). Hearing all this new material created by Croton is like discovering new works by Dowland, such is his sense of style and his ability to emulate Dowland’s melodic gift. Croton’s tone on the lute is good, his phrasing elegant and there is much variety of articulation.
The last section of the CD contains three more songs composed by Croton; the songs this time are for two voices. Bothe is joined by Derek Lee Ragin. These songs are more adventurous, but still very idiomatic for both voice and lute. I particularly like the setting of the poet Rumi, where the lute has very oud-like flavour. The CD ends with a new duo setting of ‘Now, O now’. You might consider Croton to be a brave man in attempting to set such well-known words, but for me, within a few moments of listening I had forgotten the original and was captivated by this version. If you are looking for a fresh approach to traditional material, for new ways in programming, then try this CD, it is full of surprises!”
   The Lute Society (England) , Lute News, April 2010

   " This is a disc of many colors. Croton is firmly versed in the lute's culture and history but has happily succumbed to the modern pull of his love of song, so the CD flits between our age and Dowland's. Where Croton takes printed texts for his own compositions he is the renaissance composer, albeit with modern notes and rhythms. Where he sets Dowland's songs to the lute where no lute solo existed before, he sets them with the uncanny wit and style of an anonymous scribe in a renaissance manuscript. "Sorrow stay," for example, would be a delight for any lute soloist if conveniently found in some ancient book. Derek Lee Ragin's tenor is another exciting contrast of modern song - especially in Dowland's "Now, oh now" - with a perfectly subtle renaissance sensibility, in contrast to soprano Theresia Bothe's modern shaping of voice. Croton offers two visions of this song: once with Dowland's melody with Bothe's forthright soprano and the other in Croton's setting, replete with bold strokes of calms and clashes, familiar rhythms against dissonance and resolution.

    Thus the music dances on both shores of the 400-year ocean that divides these ages. Croton builds his sound on a light Gottlieb lute with modern wound strings, with a sustain that echoes Bothe's long soprano lines. Croton intrepidly reaches for every bit of nuance in the poems of Roethke and Shakespeare, much as Dowland approached the poets of his day. This is an exciting record, though perhaps not for those of our current HIP persuasion."

  Lute Society of America Quarterly – Volume XLV, No. 2, Summer 2010


"American lutenist Peter Croton, now living in Switzerland, decided to add some of his own new songs to the Dowland tradition, and the clear and supple voice of Canadian soprano Bothe does justice to it all. Warmly intimate recorded sound."
   Minnesota Public Radio, New Releases

"A recording of voice and lute beginning with a lute prelude, as if to start off an evening among music lovers, or a concert…what a wonderful idea! In the Preludium by Dowland, Peter’s sound is pleasing, the phrasing free and varied; he makes the most of the lute, as he does throughout the entire recording, in which there are plenty of, introductions, arrangements and interludes. The following piece (Remembrance) begins in the same style, with a classic, fantasia-like theme - but soon a number of dissonances appear….we find ourselves in the twenty-first century! Then the voice enters, with a skipping melody but sung quite smoothly, accompanied by some delicate notes from the lute (few chords, but quite skillful imitations); the piece is well-constructed with lovely contrasts. In another work by Peter Croton, also based on a text by Shakespeare, the lute introduces a diatonic theme consisting of descending slurred notes, while the voice, exploring its entire range, approaches Sprechgesang to finish with the cry “awake!” A dozen Dowland songs follow, several “hits” (Flow my tears, Now O now I need must part, Come heavy sleep, Come again – however with the words All the day…), but also some sublime “ayres” as well, such as Go crystal tears or  Sorrow stay. The originality of this recording lies in the numerous and convincing arrangements of these songs which Peter has created for solo lute, and uses as preludes, ritornellos between verses or postludes.  He accompanies effectively, the bass nicely present and well articulated, while the voice, though perhaps not quite dark enough in the tragic pieces, is light, clear and natural in the lively ones. The last three pieces, by Peter Croton, are dialogues for two voices and lute. The first piece is particularly interesting because of the fine interaction among the three musicians (harmonious lute arpeggios, voices imitating each other and in parallel movement). The second piece, based on a poem by Rumi (a mystical Sufi poet of the thirteenth century) sounds vividly oriental, full of ornamentation, with music which truly does justice to the text. As for the third piece: surprise! Croton preserves the words and rhythms of Now O now I need must part, but composes it for two voices, with an original melody, accompanied by arpeggios…a mischievous wink to round off this highly original recording which gently introduces lutenists to contemporary music. "
   The French Lute Society , Le Joueur de Luth, March 2010
(original in French)


"'This is an unusual offering, and it’s very far from a conventional single disc survey of Dowland’s music, either for lute or voice. Instead it offers re-creationist possibilities and a more curious interplay between his music and that of the performer-composer Peter Croton who has been inspired by it. He has arranged a number of Dowland’s songs for lute, Croton’s own instrument, and there are several of his own compositions as well. Croton is a fine lutenist, with an acute ear for colour, and he possesses a strong technique… What gives this project even greater resonance is the chosen singer, Theresia Bothe. Her voice continues the theme of cross-current enshrined in the disc; it embodies elements of classical purity in places but also has a decided folk influence more commonly to be found among the Waterson and Wainwright clans. This is deliberate of course, the better to inflect these arrangements with a sense of intimacy, though whether it actually succeeds in transmuting – or limiting – the original source material from the Books of Songs is very much a matter of taste… Croton’s own compositions occupy an equally modern ground, one akin to music theatre, which is how Bothe delivers Remembrance of things past. For the three remaining songs Derek Lee Ragin joins Croton… Do I detect however, in Croton’s writing and playing, hints of the oud in the exotic Rumi setting, giving it an even greater sense of place? So this is a somewhat out of the way disc, pursuing a very individual slant on Dowland, and succeeding more often than not."
   Musicweb International

"This is a very unorthodox recording of John Dowland's lute songs… experimental in several ways… there are absolutely compelling moments here, and this disc belongs in any serious Dowland collection or in that of anyone who simply enjoys speculative modes of performance. The designer of the performance seems to be lutenist Peter Croton, who treats the Dowland songs in various ways: playing them straight, ornamenting them, and adding preludes and central sections. The most immediately unusual thing general listeners may notice is the voice of soprano Theresia Bothe… Her singing is almost vibrato-free (vibrato creeps in as a feathery ornament at phrase ends or as a point of emphasis elsewhere), spot-on accurate when it comes to pitch, and yet well supported from below with just a hint of roughness. It is not a "pure" voice, but it is nevertheless suited to the pitch demands of Dowland's music. Bothe may be a matter of taste, but for some listeners she'll be a matter of serious addiction. If all this is not enough, Croton composes new lute songs loosely based on Renaissance models where the tonality and phrasing are pushed, but the idiom is recognizable… and a set of three at the end, (with) Derek Lee Ragin, also a compelling and distinctive vocalist… there are plenty of really gorgeous moments along the way, and the entire disc benefits from an X-factor related to genuine risk-taking. Sample Bothe's absolutely limpid take on Go crystal tears (track 8), or Croton's orginal setting of Theodore Roethke's poem "The Waking" (track 17), which, like the other Croton pieces, is a world premiere. Add in unusually good lute-song sound that is absolutely clear with a minimum of fuss from Switzerland's Guild label, and you have a really noteworthy offbeat release."

    ALLMUSIC.COM

"...music by John Dowland together with world premiere recordings of five new lute songs written and played by the excellent Peter Croton."
   NEWCLASSICS.CO.UK

“Peter Croton and Theresia Bothe have worked together for some years now, and they have a fine partnership. Bothe has a good voice for these songs – pure and sweet.”

AMERICAN RECORD GUIDE, Januar/Februar 2011

 

Love Songs from Five Centuries

"Ms. Bothe's light, flexible soprano and her interpretative insight into the texts are well-suited to these songs of exquisite longing for love and the exquisite pain that it brings. She and her partner are attuned to the tender "complaints" (as the word was then understood) in the songs "Can she excuse my wrongs?" and "Come away" by John Dowland. In Spain, by contrast, the major composers did not write love songs; that was left to our old friend, Anonymous. Consequently, songs such as "Vestros ojos" (Your eyes) and "Quien quiere entrar" (Who wants to go with me) have an earthier, more popular flavor, which Ms. Bothe captures very successfully."

 

"There follow a charming 19th century night of carousing song, "Meet me by moonlight" by J. Augustine Wade, three spirited Italian songs and two guitar pieces by Mauro Giuliani, and four original songs by Peter Croton, the artist heard on this CD. Three of the titles "Come away, Death," "Sing no more, ladies," and "In darkness let me dwell" are the composer's homage to the age of Dowland and Shakespeare in a modern sensibility. Three handsome folk traditionals, "The garden where the praties grow," "The water is wide," and "Black is the color of my true love's hair" afford Theresia Bothe the opportunity to show her considerable talent as a folk singer."

    ATLANTA AUDIO SOCIETY

 

"Here is a delightful exploration of nearly 500 years' worth of love songs…Bothe and Croton are a dynamic duo. Ms. Bothe brings much energy and expression to the songs: I especially liked the non-sentimental rendition of Dowland's "Can she excuse my wrongs?"…I enjoy folk music from nearly all traditions, so I think this is a lovely addition to the many recordings of love songs…Nor does the recording disappoint at the end as it becomes increasingly modern. Croton's compositions are tonal and fit well, though they are somewhat darker than the rest, showing great sensitivity for the lyrics"

   AMERICAN RECORD GUIDE

 

 I'll Sing a Song For You

"Irish-Canadian vocalist Theresia Bothe grew up in Mexico. Guitarist/vocalist Peter Croton is a U.S. native who was trained at the Oberlin Conservatory, and has won awards all over North America during his travels. Both live in Switzerland, and while all of these facts may account for the folk/pop/jazz mix you hear on this recording, it does not tell the complete story. While heavier on the folk/pop component, there's a sweetness and light to the original material heard throughout. Bothe is distinctively Irish in her vocal style, rolling r's and brandishing the clipped, bold and bright bonnie tones associated with Celtic singing. Croton is similar to Gordon Lightfoot vocally, while on the guitar his approach is fairly basic within the folk tradition, though at times it's clear he's heard his share of the mellower side of Kenny Burrell. The most surprising ideas, though much less traditionally mainstream jazz than one might think, are the tributes to Langston Hughes and Billie Holiday. The duo play an homage to the legendary poet "On The Death Of Langston Hughes," while the sad "Song For Billie Holiday" is in 3/4 time. A New Orleans shuffle in a quartet setting shows the best improvisation and swing during "Life Is Fine" as sung by Croton, Bothe's feature on the lullaby "Song To A Sleeping Child" is the most tender tune of the date, and during the rock oriented song of departure "You're Running Away Again," both sing in harmony. The remainder of the program leans to folk, especially Croton's impressive acoustic guitar finger style triplet forms on "Land Of Dreams" with a more ethereal Bothe, while "Just Another Shoulder To Lean On" markedly molds the swing and pop shells into a unified whole. "

  All Music Guide, Michael G. Nastos

 

 

"Bothe sings from her heart with a strong rich voice that will excite folk music lovers as they expand their envelope. Our favorite was "Another day in life with you" with a cool guitar intro by Peter."

  O’s Place Jazz Newsletter, D. Oscar Groomes

 

"This band creates a unique blend of folk pop and jazz. Bothe and Croton's music is formed from the stylings of Billy Holiday and Kenny Burrell. The voice of Theresia Bothe is a bit like Judie Collins and Joan Baez, so that definitely fits with the theme of folk jazz.

 

There also seems to be a dose of poetry-laced lyrics infused in some of these songs. "On the death of Langston Hughes" has a slow melodic sound that is more folk than jazz, but incorporates both styles. "Song for Billie Holiday" has impressive guitar accompaniment with strong lyrics. The chordings chosen by Croton fit this song to a tee. A subtle echo effect lends merit to this track. The guitar tone is good and a slight tremolo sound is present. "I'll Sing a Song for You" has an intro with jazz chords. It moves into a faster ballad sung by Bothe and has cool jazz drumming and upright bass on the track.

The CD "I'll Sing a Song for You" has impressive vocals and jazz guitar playing, which will make it appeal to fans of folk-laden jazz."

  Metro Spirit, Rich McCracken II

 

 

"Two talented pros travel the singer/songwriter route, with a little genre splicing for flavor, and deliver a nice set of originals that goes down well and never comes across as over reaching.  Tackling life’s big questions in song, this is the kind of under the radar, neo-folk that gives you the easy kind of music you can kick back with but isn’t fluff."

  MIDWEST RECORD, Chris Spector