Reposed in my stocking feet, sipping a gifted Xingu Black, the walls around me festooned with exotic stringed instruments procured from the farthest reaches, The King at my left, gazing intently at nothing in particular, lost to his own device; The Maestro, levitating at my right and a rather substantial, fluffy feline splayed precariously atop the mixing board, overseeing it all, looking quite regal, seemingly nonplussed. This Dear Reader, is how I was introduced to Russ Hewitt’s latest masterpiece Cielo Nocturno. You see, The King and I had been invited into sanctum sanctorum to preview this new music and frankly, couldn’t accept quickly enough.
As we settled in for this one-of-a-kind experience, Mr. Hewitt (previously and in perpetuity better known as The Maestro) offered an informative discussion on mixing his music in a more three-dimensional manner so that all instruments are given their own space, something not always accomplished by other artists. An example that came immediately to mind was Whitesnake’s The Purple Album, released last year; timeless Deep Purple songs given fresh arrangements with stellar performances, somewhat marred by an overpowering mix. To my admittedly untrained ears, it sounds as though all the instrumentation is simply pushed forward, creating a wall of sound effect, in which the nuances of the instruments and performances can scarcely be heard. This is unequivocally not so in the case of Cielo Nocturno. As I write, I have the music in my headphones and can hear every detail with living clarity and verity, much in the same way I did on this night in the studio.
As the pulsating thrum of album opener “Presidio” set the tone, The Maestro regaled us with earlier experiences discussing his music in which he found himself disagreeing with others’ interpretations of it. He quickly came to the realization the listener should be able to put him or herself inside the music, as it were and ascribe whatever meaning to it that springs forth. Thus, his stated intention is to provide the listener a “blank canvas on which to paint.” I found this an irresistibly refreshing concept, particularly at a time when many artists seem to be pushing their agendas at every turn, or as we discussed in the case of one 80’s shred luminary, simply “phoning it in” for the paycheck.
Suddenly arrived the rich chord voicings of “Samba Sao Paulo” and I found myself beginning to feel the familiar transportive effect Mr. Hewitt’s music so often holds for me. As the sultry, sensual rhythms undulated their way into my ears, I envisioned myself relaxing on a private Brazilian beach with Mrs. Hatter and a cocktail and without a care in the world. Damn…
No sooner had I left the Brazilian beach, then did I find myself ensconced in the dark, smoky, backroom environs of “Serenidad.” Influenced by The Maestro’s love of lounge music, the inclusion of a mournful accordion gives the song a subtle, yet powerful distinction and a hint of new texture for his music.
With the introduction of each new song, I found myself interweaving the emotions the music evoked in me with Russ Hewitt’s insights into the inspirations for his songwriting, creating a sensory experience the likes of which I had never quite experienced. This all came together with the first of my favorite tracks on Cielo Nocturno, entitled “North of Home,” which by the way, features a guest appearance by jazz great Larry Carlton. The chorus melody sounded so hauntingly familiar I became preoccupied with it for the remainder of the evening. It harkens the melody in the opening line of soul singer Roberta Flack’s “The First Time Ever I Saw Your Face.” This realization returns me to my earliest music memories, lost in the haze of time, but not quite lost, after all. The caliber of musicians that regularly contribute to Mr. Hewitt’s albums exemplifies his proliferating stature among his contemporaries and deservedly so. Larry Carlton’s participation goes a long way to confirming that fact.
At intervals, The Maestro picked up a guitar and played passages to illustrate what he was trying to execute in a given song, such as integrating odd time-signatures or modulating between keys, very rarely used together in such a way as to not seem jarring to the listener. Dream Theater, anyone? This added a very unique perspective to the music and some levity as well as it was quite the tableau watching Russ lend his serious artistic expertise verbally and then watching him struggle to play it, holding the guitar awkwardly aloft while simultaneously balancing Beso on his lap… delightful! At one point, The King’s undeniable musical acumen came to fruition as he identified the similarity of a certain melody, closely mirrored in Ozzy Osbourne’s “Diary of a Madman.” Even Mr. Hewitt himself hadn’t recognized it. As ever, this is why The King is, well… the king!
Earlier in this review, I mentioned the “first of my favorites.” Well, surely another favorite is the tune “Cervezas and Cigars.” Upon hearing the title, The King and I both reacted with over-the-top surprise out of recognition of my own literary alter-ego, which is rife with unnecessary references to my penchant for cervezas and cigars. I lobbied for Russ’ permission to tell people I had been the inspiration for the song, to gravely noncommittal effect. However, I may do it anyway. I kid… I kid. Inspiration aside, this song is a burner! I had the pleasure of seeing The Maestro play it live a few weeks earlier, where the guitar solo simply left me breathless. With customary glibness, I asserted, “That’s a lot of notes.” My own cleverness astonishes me too, Dear Reader.
Quite unexpectedly, I learned the impetus for another of my favorite tracks “Um Abraco do Bossa” had been one of the most immediately recognizable tunes ever written, “The Girl from Ipanema.” Mr. Hewitt spoke about his appreciation for the song’s musical author, Antonio Carlos Jobim and how he had set out to create something akin to a lost Jobim composition, now found. He succeeded admirably as “Um Abraco do Bossa” conjures the feeling of “Ipanema” without seeming derivative; no small feat.
One of the consistent themes discussed over the course of the evening was Mr. Hewitt’s affinity for songs with big, sing-along choruses, like the anthemic stadium rock of our collective youth, coining it the “Bon Jovi Effect.” While there are ample illustrations of this concept throughout Cielo Nocturno, perhaps the most shining can be found in “Brisa de Monte.” Translated this song’s title means mountain breeze. It can be no coincidence “Brisa de Monte” has a tension-release motif built into its infectious chorus, which evokes the sensation of climbing. Layers…
As I pondered the afore-mentioned evocative and provocative quality great music has, my senses were assailed (in the best possible way) by the volcanic arrival of “Persian Sky.” The epic grandeur of this song is truly the album’s centerpiece. The guitar pyrotechnics are supplied courtesy of some of The Maestro’s most fiery playing and not to be overlooked, the absolute majesty of Ardeshir Farah of the legendary Strunz & Farah guitar duo. In fact, Russ Hewitt introduced me to the world of Strunz & Farah via an invitation to their awe-inspiring live performance some months ago, here in Dallas. Hearing Mr. Farah cut loose on this track immediately returned me to that time and place. Hewitt joked about having to re-record his own guitar solos on “Persian Sky,” because Farah’s contribution “kicked his ass.” While Mr. Farah’s prodigious guitar prowess cannot be overstated, it’s difficult to image this ass-kicking. If friendly competition was at play, the song is certainly better for it and we the listener copiously rewarded. The vibe of “Persian Sky” is reminiscent of Led Zeppelin’s “Kashmir” with a not-so-slight detour to the east, replete with dizzying technical musicianship for added spice.
There’s not much left to say following “Persian Sky,” so Mr. Hewitt wisely closes the album with a mid-tempo, rather atmospheric piece entitled “Hike to La Cruz.” This gives the listener time to regroup after the aural assault and slide back into reflection or escape… listener’s choice.
Hearing this music, in that setting and learning of how much care and innovation went into its construction has irrevocably shaped how I will experience it forever more. I once told Russ Hewitt my favorite way to enjoy his music is to pair it with a patio, a fine cigar and a glass of finer scotch, or other seasonably appropriate libation and let my spirit drift and soar. As one might imagine, I’ve done quite a bit of that in the years since first becoming acquainted with Mr. Hewitt’s music. Yet, this feels like hearing it for the first time. How great is that?!
FINIS