|
The Reviews!
"..Quite
simply, this is a killer blues album!.."
- Kari
Nevalainen, Inner Audio Magazine.
*
"..En
av de bästa svenska bluesskivor jag hört.."
- Lennart
Götesson, Dalademokraten.
*
"..Vällustrysningar
i massor utlovas!.."
-
Hifi & Musik magazine, Sweden.
*
I'm
very thankful for this review in HiFi+ magazine, UK!
Side by side with one of
the blues greats of our time, E.C.. 
*
Fabulöst
trevlig recension i Dalademokraten! Tack för den!
Lennart Götesson,
Dalademokraten, Sweden. 
*
Got
a fine review on the CD in Blues Blast Magazine!
If you heard this recording without the benefit of background information,
there wouldn’t be anything to tip you off that Bottleneck John hails
from Lit, Sweden. His big booming voice and warm voice contains no hint of
his origins.
His primary choice of instrument being resonator guitar lends a real blues
authenticity to this recording. He adds mandolin, banjo, electric guitar
and kazoo to his arsenal at times. His support musicians contribute
keyboards, acoustic bass, fiddle, tuba and spare percussion. His cover
tunes and three originals are delivered with a heavy dollop of soul.
Robert Johnson’s “Come On In My Kitchen” is quite faithful to the
original, bolstered by “meaty” resonator guitar and atmospheric
harmonica. Mattias Nordqvist’s hearty piano work drives “No Matter How
She Done It” along at a spritely pace. John’s husky, throaty voice is
given complimentary backing by some moody Hammond organ on Tony Joe
White’s “Out Of The Rain”. Who would have known that rocker David
Coverdale of Whitesnake and Deep Purple fame could have written such a
moving blues anthem as “Walking In The Shadow Of The Blues”? It’s
given a nice casual reading here, cushioned in the lap of country-blues
style guitar.
John highlights his skills on resonator mandolin and slide mandolin on the
original instrumental “Mandolinferno”, a toe-tapping workout. John and
Mattias on guitar and piano respectively, do Leroy Carr and Scrapper
Blackwell proud on their signature song “How Long, How Long Blues”.
Slide guitar and fiddle intertwine on the original “Autumn Rime”, that
sounds like it could be a blues chestnut from the thirties. “Only A
Woman”, another original, carries a similar old time vibe. Tuba plays
the bass lines under guitar, piano, harmonica, mandolin and kazoo on their
lively version of “You Can’t Get That Stuff No More”.
This guy can even coax emotion out of the one string on a diddley-bow on
the closing traditional spiritual “Wade In The Water”.
This highly enjoyable and authentic sounding blues recording truly shows
that the blues are international.
It doesn’t matter what corner of the planet the artist comes from, you
either have a blues soul or you don’t. This man has one in spades!
Greg “Bluesdog” Szalony, Blues
Blast Magazine, USA. 
*
From
France and the Blues & Co. magazine. (5/5)
Bottleneck
John *****
All around man
Bottleneck
John, de son vrai Johan Eliasson, revient sur le devant de la scène avec
un nouvel album "All around man". Spécialisé dans le gospel et
le country blues, spécialiste de la slide guitar, le géant Suédois doté
d'une voix exceptionnelle, comme à son habitude, a bien fait
les choses en s'entourant d'une ribanbelle de musiciens pour enregistrer
les 14 titres de son nouvel opus.
Très belle intro avec « Lonesome valley », beaucoup de profondeur au
niveau de la guitare et une voix est impressionnante sur ce superbe
traditionnel, que dire de « Come on in my kitchen » tant sa version est
superbe, avec un zeste d’harmonica joué tout en finesse, « No matter
how she done it » dans la même veine se trouve renforcé par du piano,
« Autumn Rime » très belle compo joué sur un tempo rapide avec l'aide
d'un violon, « Do you call that a buddy?.. » pour l'occasion Bottleneck
John laisse son dobro pour jouer du banjo sur ce titre gospel,
magistral!!! « Out of the rain » superbe titre de Tony Joe White dans
une version lancinante et toute en retenue… « All around man » un
boogie efficace, surprise avec « Walking in the shadow of the blues » de
David Coverdale et titre phare de Whitesnake, que l’on découvre ici en
version acoustique une guitare et un piano, un autre titre original «
Mandolinferno » un instrumental magnifique, tout est à l’avenant un régal
et un grand moment…. Conclue par un « Wade in the water »
magnifiquement interprété sur une version magistrale, au feeling
incroyable...
Une autoproduction léchée, un superbe album de blues acoustique, la
perle du trimestre !
And
translated to English..
Bottleneck
John, aka Johan Eliasson, is back with a new album "All Around
Man."
A specialist in gospel and country blues, the giant Swede, slide guitarist,
with an exceptional voice has, as usual, teamed up with a string of
musicians to record the 14 tracks of his new album.
Very nice intro with "Lonesome Valley"- great depth of guitar
work and impressive vocals on this wonderful, traditional song.
"Come on in my kitchen" is a superb version, with excellent
harmonica playing. "No matter how she done it " in the same vein
but with strong backing from the piano, "Autumn Rime" –a
beautiful composition played up-tempo with the addition of a violin.
"Do you call That A Buddy?" On this track Bottleneck John
replaces his Dobro with the banjo and plays a masterful rendition of this
gospel song!
"Out of the Rain" as superb as Tony Joe White - a haunting
version.
"All Around Man " – an effective boogie surprise; with "
Walking in the shadow of the blues "(by David Coverdale of Whitesnake)
Bottleneck John plays acoustic guitar with a piano accompaniment.
The next track “Mandolinferno" is a beautiful instrumental and
really enjoyable.
The
album finishes with " Wade in the Water" - a masterful version,
played beautifully with incredible feeling.
A polished production, a superb album of acoustic blues, the pearl of the
quarter!
Phillippe
Le Guennec, Blues & Co magazine, France. 
*
From
the Folk &
Acoustic Music Exchange.
All Around Man
Bottleneck John
Opus 3 Records - CD 23001
Available from Amazon.com.
This Blues artist from Sweden had a revelation after
listening to Eric Bibb's Spirit & The Blues disc in 1999, and put down
his electric instruments, and has been playing predominately acoustically
ever since. One of the first things you are going to notice is the
container that holds the CD, all I will say is that it puts the ones we
get in the
USA
to shame. The liner notes are detailed so there is no problem figuring out
who is playing what on each track and even a centerfold that is not a pin
up but a picture of all the instruments (18) he plays or had with him. It
is this attention to detail and quality that is carried throughout the
disc, in the recording and the sound quality, etc.; and it is such a
noticeably different product. Even in the booklet there is a lot of
information on the history and background of the songs and the instruments
used on the 14 songs, 55+ minutes of music.
All this very noticeable quality before even the first notes are played,
or chords sung. And Bottleneck John is not a one style wonder; this disc
shows his familiarity with a variety of styles of the Blues, from deep
Delta blues to Barrelhouse, to some
Piedmont
and it could go on. Then there are the instruments; all manner of guitars,
resonators to electric, to cigar-box guitar, to acoustic, 6 and 12 string
in all of the preceding, to Mandolins to resonator Mandolins, to banjo. To
accompany the instruments he has his voice, which sounds as if it was
dragged a long way down a gravel road voice, and an assemblage of his
blues brothers who all are equally skilled on their chosen instruments. He
is arguably expert on all of the above instruments is equally good no
matter on which one he has selected to play the song. There is a lot to be
had on this disc on a great many different levels and it is worth
searching out.
Bob
Gottlieb, Folk & Acoustic Music Exchange, USA.
*
From Germany and the Connaisseur
Mailorder:
Rezension:
LP
Der Mann heißt eigentlich Johann Eliasson und stammt aus einem Tausend-Seelen-Dorf in der Mitte von Schweden. Mit Musik wurde er in seinem Elternhaus von Anfang an umgeben – und früh entwickelte er eine besondere Liebe zum alten Delta-Blues der 20er und 30er Jahre. Den spielt er längst selbst ähnlich intensiv wie die alten Meister, und am liebsten spielt er ihn auf uralten Resonator-Gitarren – wie einer 1933er National Duolian und einer 1935 Dobro. Aber auch auf allen anderen Arten von Gitarren (vorzugsweise vintage), Banjos und Mandolinen, mit einer Meisterschaft und einem Blues-Feeling, daß er etwa einem Ry Cooder jederzeit auf Augenhöhe begegnen kann. Die wieder einmal beeindruckend natürliche Wiedergabequalität der Opus 3-Produktion macht aus diesem Album endgültig ein wahres Hör-Fest in Sachen akustischer Blues! (2015)
*
From Italy and the VIDEOHIFI.com magazine:
Il Blues di John Bottleneck
Il nostro è uno di quei musicisti che suona "con" e
"per" altri, ma non aveva mai pubblicato un disco suo. Ora l'ha
fatto, e subito con la Opus3... mitica casa Audiofila Svedese che
consociamo per la sua serie di SACD....
Bottleneck, leggo dal libretto, gira volentieri nei
negozi di robe usate, acquista strumenti vecchi, anche semidistrutte, e le
aggiusta personalmente. Più
che altro compra chitarre, ha un debole per il "Dobro" (Resonator
guitar), ma non solo... anche chitarre acustiche, banjo, mandolini e
quant'altro.
Certi
di questi strumenti arrivano al secolo di vita, o quasi!... Per esempio...
in "Do you call that a buddy" (di Raye/Wilson) usa un Guitar/Banjo
del 1931 e un altro del 1914.... (il brano è stupendamente interpretato
su questo CD...) Bellissimo anche "Out of the Rain" di Tony Joe
White, nella quale suona una chitarra Dobro di fabbricazione ignota del
1930, che, dice, ha scovato da qualche parte e che era un rudere, più che
uno strumento musicale....Lui stesso l'ha riparato alla perfezione....
Nell'ultimo
brano (il traditional "wade in the water") suona il DIDDLEY-BOW...
una specie di scatola di sigarette fatto in qualche maniera,con un grosso
bullone che fa da archetto (distanziatore della corda dalla cassa acustica).
Si. avete letto bene. ho scritto "della corda" perchè... di
corde, su questo strano strrumento, ce n'è una sola. Abbastanza grossa...
Nelle spiegazioni ci dice che è il Grandfather off all Blues Guitars (precursore
di tutte le chitarre blues...)
Tutti
gli strumenti musicali usati (anche dai suoi bravi musicisti) sono
assolutamente "d'epoca", si va dalle già menzionate chitarre di
tutti i tipi fino all'organo Wurlitzer, contrabasso, violino, percussioni,
harmonica a bocca e... basso tuba. Torniamo
alla musica? benissimo... qui si tratta di blues, della miglior specie. Di
quel blues acustico che ti entra dentro....
A
me piace molto. Lui
dice di ammirare molto Eric Bibb (e... ti credo!) ma non lo imita. Di Eric
ho parecchi dischi, tutti belli, ma Bibb è un attimino (mio modesto
parere) più commerciale, più "pop", anche se è e resta molto
"bluesy"... La musica di John, come canta e suona su questo bel CD
"All Around Man" si avvicina di più, credo, a quella di Maria
Muldaur, tanto per fare un nome...
Non
ha una bella voce, nel senso classico del termine. Ma è una voce che si
addatta maledettamente bene al blues. Molto
indovinato il "nome d'artista" scelto da John... Per
quanto riguarda la qualità audiofila... che dire... è un ottimo SACD. ci
sta tutto: molto dettaglio, molta dinamica, scena.... credo manchi nulla...
Gran bel disco. Se vi piace il blues... me la sento di consigliarvelo.... 
*
Ur
tidningen Hifi & Musik!
MF, Hifi & Musik
magazine, Sweden.
*
Review
from Inner Audio Magazine!
Quite simply, this is a killer blues album!
Go and get it. It’s not as rough as it could but otherwise it's hard to
find a single weak point in it. Tracks remain their quality from one to
another, also thanks to the excellent recording (audiophiles will love
this recording). The head recording engineer Jan-Erik Persson states in
the intro that “we had very similar ideas how to go about the album”,
and I think it can be heard from the end result.
The combination of accompanying
instruments (grand piano, Hammond organ, Wurlitzer, resonator &
upright bass, percussion, fiddle, mandolin etc.) vary nicely to avoid
monotony in compositions and sonics. And the way in which Bottleneck John
himself plays and slides his many guitars, including various resonator
guitars, is not just great to hear but possesses an original quality.
Bottleneck’s blues takes the listener back to the first half of the 20th
century. This unusually authentic blues album should inspire blues lovers
all over.
Kari
Nevalainen, Inner Audio Magazine, Finland. 
*
Svensk
recension från tidningen 7an!
Nils Ågren, tidningen
7an, Sweden.
*
From
the Ikon1931 magazine, a great review, thanks!
Till strängmusikens rötter.
Först en man och hans 12-strängade
resonatorgitarr. Jag förflyttas till ett sent 1920-tal, någonstans i
amerikanska södern. Den stora skillnaden, förutom att detta är nu 2013,
är att mannen är vit & svensk instrumentsamlare som inspirerats
starkt av Eric Bibbs Opus3-släpp ‘Spirit
& The Blues’. Mannen kallar sej Bottleneck John ock albumet bär
titeln till en av de tidiga blueslegenderna Bo Carters sång ‘All Around
Man’. Här samsas traditionella bluesstycken med Tom Waits fantastiska
‘Jesus Gonna Be Here’, Robert Johnsons ‘Come on in my kitchen’ där
Stefan Swéns munspel visar var prärien slutar och köket börjar, och
Tony Joe Whites ‘Out of the rain’ där Mattias Nordqvist visar hur en
Hammond ska hanteras. Men här finns även egna kompositioner som
‘Autumn Rime’ ock den kuliga idén ‘Mandolinferno’ med ett antal
mandoliner och Kent Ögren på Bassolian. Det är lagom skitig ljudbild
som framträder för att det ska bli magisk blues, men samtidigt
Opus3-standard så att njutningen blir till Whiskey Heaven. I konvolutet
berättas om instrumenten som använts, vilka som spelat på diton, hur
Bottleneck John kommit över dom. Men även hur Opus3s Jan-Eric Persson och
Bottleneck John tagit sig hit till All Around Man. Och givetvis att vi även
hör Lars Åstrand, Mattias Olofsson, Karl Eneland & Patrik Idell. All
Around Man är som att gå i Bluesens skugga. Känna vindarna från
bomull- & majsfälten i ett 1920-talets USA.
Lennart
Olausson, IKON1931 magazine, Sweden.
And
translated to English..
To the roots of
string music.
First, a man and
his 12-string resonator guitar. I'm moved to a late 1920's, somewhere in
the American South. The big difference, except that this is now 2013, is
that the man is white & a Swedish instrument collector inspired
strongly by Eric Bibb's Opus3-release ' Spirit & The Blues '. The man
calling himself Bottleneck John and the album carries the title from one
of the early blueslegends Bo Carter's songs "All Around Man".
Here is traditional blues pieces side by side with Tom Waits' amazing
"Jesus Gonna Be Here", Robert Johnson's "Come on in my
kitchen", where Stefan Swéns harmonica shows where the Prairies ends
and the kitchen begins, and Tony Joe White's "Out of the rain"
in which Mattias Nordqvist shows how a Hammond should be handled. But
there is also his own compositions such as 'Autumn Rime' and the funny
song "Mandolinferno" with a number of mandolins and Kent Ögren
on the Bassolian. It has a moderately dirty sound that stands out for this
to be magical blues, but at the same time it has the Opus3 standard so
that pleasure turns into Whiskey Heaven. In the booklet there's stories
about the instruments used, which musicians played such instruments and
how they came into Bottleneck John's care. But also how Opus3's Jan-Eric P
and Bottleneck John found the path that led to recording "All Around
Man". We also, of course, hear Lars Åstrand, Mattias Olofsson, Karl
Eneland & Patrik Idell. "All Around Man" is like walking in
the shadow of the blues. Feeling the winds from cotton & corn fields
in the 1920's United States.
Lennart
Olausson, IKON1931 magazine, Sweden.
*
"..This
unusually authentic blues album should inspire blues lovers all
over.."
- Kari
Nevalainen, Inner Audio Magazine, Finland.
*
"..5*****,
for sure, for "All Around Man". An album I really wished I had a
higher rating system for.."
- John
Vermilyea, Blues Underground Network, Canada.
*
"..All
Around Man is a bluesy triumph.."
- Robbie
Gerson, Audiophile Audition magazine, USA.
*
"..Wade
in the Water - a masterful version, played beautifully with incredible
feeling.."
-
Phillippe
Le Guennec, Blues & Co magazine, France.
*
Nice
words about the album in LIRA, Sweden.
Nils Ahnland, LIRA
music magazine, Sweden.
*
My first ever review in Chinese!! Hope
to get it translated someday..
 
*
Review from Germany and Wasser-Prawda! Danke!
Akustikblues im Geist der
20er und 30er Jahre.
Die britische Bluespresse nannte ihn
den Van Goghdes europäischen Blues. Auf jeden Fall ist Bottleneck John
(Johan Elisasson) aus dem schwedischen Lit im Bereich des traditionellen
Blues ohne Weiteres Musikern wie Eric Bibb an die Seite zu stellen. Das
wird auf seinem neuen Album „All around man“ mehr als deutlich.
Sofort ins Ohr springen: Wenn
Bottleneck John Blues spielt, dann ist er immer daran interessiert, den
Sound und die Spielweisen der 20er und 30er Jahre wieder zum Leben zu
erwecken. So erklingt bei seiner Version von Robert Johnsonst „Come On
In My Kitchen“ eine 1935 produzierte Dobro von Regal. Aber - und das
macht das ganze Album deutlich: John versucht nur den Klang, nicht die
verschiedenen Originale der Songs neu zu fassen. Wenn er singt und
spielt, dann ist überall sein zurückhaltender, fast elegant zu
nennender Gesang prägend. Hier ist - ebenso wie bei den Gitarren - eine
zurückhaltende aber immer prägnante Interprätation zu hören. Wo
Robert Johnson beinahe lüstern fleht, dass die Angebetete doch bitte
rein kommen möge, dann ist das hier ein melancholischer, sich mit der
Situation abfindender Mann zu hören. Auch bei „Do You Call That A
Buddy“, was bei Dr. John rotzig und aufbrausend daherkommt, ist hier
traurig, ja desillusioniert. Und das wird durch die begleitende Harp.
Fiddle, Chor und Drums noch unterstützt - bis zu dem Punkt, wo die Band
dann den Sänger doch noch zur Übermütigkeit des Originals aus New
Orleans beschleunigt.
Überhaupt sind die verschiedenen
Arrangements - ob da nur die Harp von Stefan Swén erklingt oder der (ebenfalls
historische) Konzertflügel von Mattias Nordquist, ob mit Fiddle und
Bass der Sound tradiotioneller String Bands aufgenommen wird oder gar
mit Tuba, Percussion und anderen Instrumenten der frühe Jazz aus New
Orleans erklingt: Immer passt das zu den Songs ebenso wie zu Johns
Intermpretation derselben.
Nur manchmal kommen bei der für SACD
produzierten und klanglich absolut hinreißenden Aufnahme auch
elektrische Instrumente zum Einsatz. „Out Of The Rain“ etwa lebt
gerade durch die Klangflächen der Hammond-Orgel und ruft einem einen Bußgospel
beim Spätgottesdienst am Samstagabend in Erinnerung. Und bei dem von
Tom Waits geschriebenen „Jesus Gonna Be Here“ spielt Bottleneck John
auf einer in den 60er Jahren von Kawai in Japan gebauten E-Gitarre, die
sich zwischen all den historischen Gitarren zunächst seltsam anhören
mag. Doch der dreckige Klang dieser Billiggitarre unterstreicht das Lied
in seiner Rotzigkeit optimal.
„All Around Man“ ist für mich auf jeden Fall ein Highlight des
akustischen Blues im Jahre 2013. Unbedingt reinhören! (opus 3 records)
Nathan
Nörgel, Wasser-Prawda, Germany.  ¨
*
"..No
doubt, one of the finest Acoustic Blues artists around.."
- John
Vermilyea, Blues Underground Network, Canada.
*
"..All
Around Man är rootsig blues av världsklass.."
- Christer
B. Jarlås, Östersundsposten, Sweden.
*
"..It
doesn’t matter what corner of the planet the artist comes from, you
either have a blues soul or you don’t.
This
man has one in spades!.."
- Greg Szalony, Blues Blast Magazine, USA.
*
First
review, said in the Finnish magazine AudioVideo:Translation soon..
Mitä syntyy, kun yhdistetään
Blind Willie Johnsonin ääni hiukan sivistettynä, mahtava
slide-kitarointi, taitava huuliharpun, kazoon, viulun ja tuuban
soitto terästettynä 1887 valmistetulla Bechstein-flyygelillä?
Syntyy pieni bluessensaatio. Ruotsalainen Johan Eliasson alias
Bottleneck John panee luun kurkkuun kovillekin nimille. Alkuaan John
soitteli sähkökitaraa, mutta sai 1999 herätyksen akustiseen
kuultuaan Eric Bibbin levyn Spirit & Blues. Ja hyvä niin, onhan
sähkökitaralla bluesia soittavia ihan liiaksi. Kymmeniä akustisia
kitaroita kerännyt mies on kuin 1920- ja 1930-lukujen
country-blues-mestareiden reinkarnaatio. Ronski ja pakoton, mutta
vivahteikas laulutyyli tuo mieleen jo mainitun Johnsonin lisäksi
Son Housen. Kopioijaksi miestä ei voi väittää, siksi
persoonalliselta laulu kuulostaa. Kitaristina hän on mieltynyt
vanhoihin viime vuosisadan alkupuoliskon akustisiin kitaroihin,
joita on itse kunnostanut. Ja osaa hän niitä myös soittaa - usein
säestäen itseään jalkaa polkemalla.
Levyn kappaleet on hyvin valittu,
on kolme tradia ja kolme omaa. Lisäksi vanhojen, ei liian tuttujen
klassikoiden oheen on mahtunut yksi kappale Tony Joe Whitelta ja Tom
Waitsilta. Viimeksi mainitun Jesus gonna be here -kappaleen
Bottleneck John soittaa Kawai-sähkökitaralla ja osoittaa
hallitsevansa myös gospelin. Ymmärtääkseni kirkkoesiintymiset
ovatkin olleet hänelle puoli elämää.
Useimpia huippuhyviäkin blues-levyjä
haittaa niiden tasapaksuus. Kokonaisen levyn kuunteleminen on monasti
yhtä pakkopullaa. Ei tämän. Kokoonpanot vaihtuvat, ja sellaisten
nykyään vähemmään kuultujen bluessoittimien kuten viulun, pianon,
kontrabasson, banjon, mandoliinin, resonaattorin ja Hammond-urkujen
käyttö tuo mukavaa vaihtelua. Wade in the water -kappaleessa
sikarilaatikosta ja puukepistä tehty yksikielinen basso sekä
bassohuuliharppu luovat todella omalaatuisen tunnelman. Kappaleiden
taustat ja kokoonpanot selviävät informatiivisesta 16-sivuisesta
lehdykästä, jossa on myös hyvä kuvitus. Jan-Eric Perssonin omassa
studiossa tehty äänitys on huippuluokkaa. Mainittakoon että juuri
hankitun Bechstein-flyygelin hieno sointi on vangittu 50-luvun lopun
putkitoimisella AKG C-24 -stereokondensaattorimikrofonilla. Hybridilevyn
SACD-kerros lisää ääneen skarppiutta ja tuo solistin paremmin esille.
Bottleneck John on aikaisemmin tehnyt
yhden levyn jollekin pikkumerkille. Pikkumerkki on myös Opus3, mutta
sillä on maailmanlaajuinen levitys. Tämän uuden käyntikortin myötä
Johnilla on mahdollisuus blues-maailman valloittamiseen. Levy on todella
positiivinen yllätys ja yksi parhaista Opus 3 -levyistä. Kuunnelkaa ja
nauttikaa.
*
From
Holland and Bluesmagazine.nl, thanks!!
Bottleneck John – All
Around Man
Label Opus 3 Records: www.opus3records.com
Release medio 2013
Cosmox.nl,
BluesCD’s online bestellen
Tekst: Paul Scholman
De eerste “tokkels” de
Zweed Johan Eliasson alias Bottleneck John van de cd All Around
Man en vervolgens het doorleefde hese stemmetje van de man deden
mijn wenkbrauwen fronsen. Akoestisch, kwetsbaar, kortom een
heerlijke akoestisch bluesnummer dat qua spanning en opbouw alle
kanten op kon gaan. Lonesome Valley bleef echter ingetogen op
gitaar, maar de zang van John deed anders vermoeden.
Ik vond de plaat bij Triple J
Records in Tiel en was hem nog niet eerder tegengekomen op
websites of in de bladen. Ik vond dat er toch iets over
geschreven moest worden voor deze burelen. De plaat is vorig
jaar al uitgekomen en heb ik hem (eind) vorig jaar ook al
aangeschaft, maar de factor tijd.
Mijn eerste indruk dat dit iets
speciaals was, bleek alleen al uit het speciaal gefabriceerde
doosje. Een kunstwerkje op zich voor een optimale bescherming
van de cd. Mooie afgeronde hoeken van het wat zwaarder lijkende
doosje.
Bottleneck John, zo schrijft
hij aan de binnenkant van het bijgeleverde boekje, blijkt o.a.
geïnspireerd te zijn door Eric Bibb. Bibb bracht in 1999 Spirit
Of The Blues uit en dat gaf hem een hele andere kijk op het
spelen van muziek. Het boekje van 16 pagina’s geeft een goed
verzorgde indruk en staat vol met prachtige foto’s met de
gitaren van John en de nodige informatie.
All Around Man markeert de
release van het debuut van Bottleneck John voor Opus 3 Records,
een platenlabel dat zeer toegewijd is aan het maken van de
opnames zodat geluid uiteindelijk zo absoluut authentiek
mogelijk moet klinken. Dit wordt ten dele gedaan door met behulp
van de natuurlijke akoestiek van authentieke omgevingen zoals
kerken, concertzalen, jazz clubs en dergelijke accommodaties.
‘We vinden dat met de authentieke opnamelocaties de muziek
beter klinkt dan het achteraf in de studio toevoegen van galm.
De plaatsing van de microfoon in de kamer en de positionering
van de muzikanten daarbij zijn ook uitermate belangrijk.’(www.opus3records.com/phil.html)
Als een soort toegevoegde functie op All Around Man werd deze
uitgebracht op een hybride Super Audio CD, wat een medium is dat
veel meer opslagruimte heeft, dus in theorie mogelijk zorgt voor
een hogere afspeelkwaliteit.
Voor deze 14 track cd All
Around Man door Bottleneck John, heeft dat geleid tot een
heerlijke mix van 3 originele nummers en 11 covers, waaronder 3
tijdloze traditionals, Lonesome Valley, How Long, How Long Blues
en Wade In The Water, die Bottleneck John briljant gebruikt als
het slotstuk van deze cd. De laatste klanken vreten zich vast en
niet in de laatste plaats door die zware harp.
Robert Johnsons Come On In My
Kitchen, platgecovered, maar dat ik een heerlijke uitvoering
vind, doorspekt met een heerlijke swampie harp van Stefan Sven.
Voor dit meesterwerk, dat Bottleneck John sinds de vroege dagen
van zijn akoestische avontuur uitvoert, speelt hij een
1935-Dobro die door Regal in Chicago gemaakt werd. Hudson
Whittaker/Thomas Dorseys No Matter How She Done It en U Can’t
Get That Stuff No More staan als een huis. Maar ook enkele
groten van de huidige generatie in een gewaagde uitvoering, maar
uitstekend geslaagd in mijn optiek, van Tom Waits’ Jezus Gonna
Be Here tot rockband Whitesnakeleden Dave Coverdale & Bernie
Marsden Walking In The Shadow Of The Blues komen aan bod. Out Of
The Rain van Tony Joe White is ook een heerlijke uitvoering. TJ
White zal nog jaloers zijn.
Zoals de naam al impliceert is
Mandolinferno inderdaad een inferno aan fantastisch
Mandolinspel. Deze prachtige, vrolijke, en meest instrumentale
track, heeft niet 1 maar 2 mandolines die op het op hetzelfde
moment los gaan. ‘Een eerste voor mij, en de andere mandoline
bespeeld door Lars Astrand.’Het geheel is doorspektmet Kent
Ogren die recht uit het hart speelt op een Bassolian, beter
bekend als een Travel Size Resonator Bass en eruit ziet als een
Resonator gitaar.
Liefhebbers van (akoestische)
slide kunnen hun hart ophalen met deze plaat van Bottleneck
John. Misschien is deze cd niet voor iedereen even toegankelijk,
maar zeer de moeite van het luisteren waard. Hij heeft een stem
die precies past bij dit soort muziek. Gruizig, doorleefd. Ik
vind het een cultureel hoogstandje. Misschien wel
buitencategorie.
Paul
Scholman, Bluesmagazine.nl, The Netherlands. 
*
4 out
of 5 in Uppsala Nya Tidning, thanks!
Björn
G Stenberg, Uppsala Nya Tidning, Sweden.
*
From
the Blues Underground Network! 5/5,
many thanks!
Bottleneck John "All Around Man" (
Sweden
)
When I first listened to the Swedish blues Artist
Bottleneck John's newest release, "All Around Man", I made a
decision, right then, that I was going to review it, even though I had
retired from doing reviews other than from Canadian Blues Artists, and
those that I had reviewed in the past, due to not being able to keep up to
the multitudes of CD's I was receiving each year. I broke away from my
policy on reviews for this album, because I just felt it was simply to
good of an album to ignore not doing a review on, and therefore telling as
many people as I could, that when it comes to amazing sounding and
performed Acoustic Blues, "All Around Man", was certainly the
best I have heard, so far, for 2013, if not the best I have heard in
recent memory.
My first impression that I may have something special, in my presence,
came when I first pulled the CD out of it's delivery package, and was
happy to see that the case was not in a few pieces, as more often than
not, was the case for albums which have travelled far, this one coming
from Sweden. The CD case, was the most unique and well built one I have
ever received, a work of art in itself, and a bit of foreshadowing to the
care and attention that was put into all aspects of creating the CD that
the case so wonderfully protected.
Next, I removed the CD Booklet from it's case, which
was made extremely by, yet again, the unique style of the case, and was
thrilled to see that it was not just a fancy cover for the CD case, but
instead an exceptionally well done 16 page booklet, which offered an
abundance of info, not only concerning the 14 awe inspiring Tracks, but
also the history behind how Bottleneck John and the ground breaking label,
Opus 3 Records, got together. In addition, the booklet is peppered
throughout with fantastic guitars photos, including the center fold, which
is a 2 page photo spread of all of Bottleneck John's instruments, which
included, 13 Guitars, 3 Mandolin's, 1 Banjo, and a Diddley Bow, which he
calls The Kicking Mule Special.
"All Around Man", marks the debut release of Bottleneck John for
Opus 3 Records, a record label that is extremely committed to having their
recordings sound as absolutely authentic as possible. This is done in part
by, "using the natural acoustics of authentic environments such as
churches, concert halls, jazz clubs and so on. We match the venue to the
music, so to speak, as opposed to the common studio practice of adding an
artificial reverberation afterwards and so on. The positioning of the
microphone in the recording room and the positioning of the musicians in
relation to the microphone are also extremely important". As an added
feature, "All Around Man", was released on a Super Audio CD
Hybrid, which is a medium that allows for a lot more storage room,
therefore, in theory allowing for a higher quality playback. It was
Bottleneck John's first hearing of Eric Bibb’s album “Spirit & The
Blues”, released in
1999 on Opus 3 Records, which sealed his commitment to Acoustic Music and
more recently sealed the deal between him and Opus 3 Records.
For the 14 Track set of music on "All Around Man", Bottleneck
John offered up a wonderful mix of 3 originals and 11 Covers, which
included 3 timeless Traditionals, "Lonesome Valley", "How
Long, How Long Blues", and "Wade In The Water", which
Bottleneck John, brilliantly used as the closing Track. A few other Covers
included, Robert Johnson's "Come On In My Kitchen", which is one
of my all time favorite Blues songs, and one I actually hear covered quite
a bit, each year, Tampa Red/Thomas Dorsey's "No Matter How She Done
It" & "You Can't Get That Stuff No More", and also a
few great ones from more modern artists, such as Tom Waits "Jesus
Going To Be Here", and Rock N Roll band Whitesnake members Dave
Coverdale & Bernie Marsden "Walking In The Shadow Of The
Blues".
For a few of my favorites on "All Around Man", I chose
"Come On In My Kitchen", "Do You Call That A Buddy",
and "Mandolinferno".
"Come On In My Kitchen", for a favorite, was
a no brainer, because if that song is on an album, and it is done right,
like it is done on "All Around Man", it is always in contention
as one of my favorites. For this masterpiece, for which Bottleneck John
has been playing since the early days of his acoustic adventure, he plays
a 1935 Dobro which was made in
Chicago
by Regal. "Come On In My Kitchen", also features some great
Harmonica work from fellow musician Stefan Swen.
"Do You Call That A Buddy", first caught my attention with the
opening Banjo playing, then the Vocals, which at first reminded me a lot
of Leonard Cohen. Great Harmonica, once again, from Swen and majestic
Fiddle work from Lars Astrand. A wonderful tune peppered throughout with
awesome call and response harmony.
As the name implies, "Mandolinferno", is
indeed an inferno of fantastic Mandolin playing, an instrument that first
caught my attention and love via Rod Stewart's song "Mandolin Wind".
This wonderful and fun, mostly instrumental Track, has not 1 but 2
Mandolins going at it at the same time, a first for me, with the other
mandolin played by Lars Astrand. Punctuated throughout is Kent Ogren, whom
simply plays his heart out on a Bassolian, commonly known as a Travel Size
Resonator Bass, which looks just like a Resonator Guitar.
Despite picking those 3 favorites, let me assure you,
that the other Tracks, were essentially just as good, in fact the whole
album was one of the strongest album's, especially in it's Acoustic Style,
I am likely to hear for quite a while.
I am so very grateful for Bottleneck John sending me
"All Around Man" therefore allowing me to get acquainted with,
no doubt, one of the finest Acoustic Blues artists around.
5*****, for sure, for "All Around Man". An album I really wished
I had a higher rating system for. This is an album that will instantly
please lovers of Acoustic Blues.
Brilliantly done from beginning to end...
For those of you whom would like to read more concerning Opus 3 Records
recording philosophy, click the following link... http://www.opus3records.com/phil.html
John
Vermilyea, Blues Underground Network,
Canada.
*
Recording
of the Month!!!!
Opus3 CD 23001
Format: Hybrid Stereo SACD
Musical Performance: ****1/2
Sound Quality: *****
Overall Enjoyment: ****1/2
Unsuspecting listeners such as I might
put on this disc and think that Bottleneck John must be one of America’s
newest, greatest blues singers, up from the Deep South. I stand by
“newest” and “greatest,” but Bottleneck John was born Johan
Eliasson, in Sweden. Fifteen years ago he heard an Eric Bibb album, went
acoustic, and developed an authentic blues style of his own.
All Around Man is John’s first album
for the Swedish audiophile label Opus3. I dare say it won’t be his last.
He sings with controlled enthusiasm, has good tone and diction, and plays
with absolute authority, whether on guitar, resonator guitar, banjo, Dobro,
or kazoo. His program notes reveal that he restores vintage instruments,
and plays a different one on almost every track. The CD booklet includes
sharp color photos of the instruments, including a breathtaking centerfold
that displays all 18.
The backing instruments are also
carefully chosen. The piano, an 1887 Bechstein grand, sounds old in an
excellent way. The most amazing instrument, to my ear, is the
single-string diddley bow, made from a cigar box, that shows up on “Wade
in the Water.” Bottleneck John makes more good music on it than I
thought possible from looking at the instrument’s photo.
The songs range from traditional tunes
such as “Lonesome Valley” and “How Long, How Long Blues” to
“Jesus Gonna Be Here,” a gospel song by Tom Waits. A couple of hokum
songs, “All Around Man” and “No Matter How She Done It,” revel in
sexual innuendo. All in all, it’s a satisfying collection that has good
balance and listens well from beginning to end.
The sound is the state of the art.
Everything sounds so natural that it was if these eight musicians had been
ushered into my listening room. All of John’s twangings, slidings, and
tappings are absolutely clean. I loved it through my electrostatic
speakers, which rewarded me with some choice moments. I can’t fault this
recording in any way.
Check out Bottleneck John’s YouTube
site; the sound isn’t great, but the fun is plentiful. He likes to
set the sounds of machines to music. I really enjoyed “The Water Pump
Blues,” which is bested only by the “Delta Tractor Blues Jam” and
“The Old Steamboat Blues.”
Rad
Bennett, ultraaudio.com, USA.
*
Review from Croatia! Translated
someday I hope..
| Bottleneck
John - "All Around Man" |
| Autor/ica:
Mladen Lončar - Mike, dana 17-03-2013 15:17 |
|
 Iako
ovaj tekst pišem 21. veljače, i planiram ga objaviti upravo
danas, 16. ožujka, bit će to punih mjesec dana prije službene
objave. Za taj svoj potez tražio sam odobrenje direktno od Johana
Eliassona aka. Bottleneck Johna. Nakon što sam
dobio zeleno svjetlo, prionuo sam, onako, svojski da vam opišem
kako me se dojmio album All Around Man ovog
izvrsnog švedskog blues glazbenika. Album je snimljen za izdavačku
kuću Opus 3 Records, a u slobodnoj prodaji naći
će se za mjesec dana, točno 16. travnja 2013. godine.
Naime, Bottleneck John nije zapravo ničim opterećen jer
u mnogim dijelovima zemaljske kugle album će izlaziti u
drugom terminu. S informacijama kojima raspolažem, 16. travnja je
termin za europsko tržište.
Ako je album All Around Man
zapravo ostvarenje snova samog glazbenika, jer snimiti ovako
raznovrstan materijal sa odličnom ekipom prijatelja, vrsnih
glazbenika, koji sviraju po nekoliko instrumenata. I evo pred
svima nama je sjajan mix odličnog akustičnog,
tradicionalnog bluesa. Kao i na neke druge glazbenike puno traga i
promjena, kao i neizostavnog pokušavanja povezivanja cijele te
priče na Johan Eliassona aka Bottleneck Johna ostavio je
album Spirit & The Blues ingenioznog Eric Bibba. Kada je sam
Bottleneck John 1999. godine čuo taj album u njemu i njegovom
poimanju glazbe dogodile su se drastične promjene…poslije
toga više ništa nije bilo isto.
No, budući da on sam a ni njegova glazba za mene osobno nisu
nikakva nepoznanica, jednako tako poznat je u Europi i Americi .
No, kada govorimo o njegovoj glazbi i samoj prezentaciji nameće
se pitanje tko ga promovira, tko u eteru, u medijima emitira
njegovu glazbu. Osim specijaliziranih emisija teško se može
čuti , e barem što se mene osobno tiče tu situaciju
ćemo drastično promijeniti.Zašto? Pa, iz jednostavnog
razloga, radi se o izuzetno kvalitetnoj, nadahnutoj i totalno
iskrenoj i osjećajnoj glazbi, o bluesu čija se
prezentacijska forma nije mijenjala u svojoj osnovi gotovo nikada.
Bottleneck John svojom impresivnom vokalnom interpretacijom,
svojim virtuoznim gitarističkim rukopisom oslikava brojne
izuzetne kompozicije. Da, njegova glazba, njegov blues izlazi iz
najbolje tradicionalne glazbene baštine Delte Mississippija i
budući da imam njegove albume, pomalo me je sram jer sam ih
jednostavno zapostavio. Vjerujem da će se ovim albumom stvari
izokrenuti za 360 stupnjeva i da će se cijela stvar odvijati
kao nekada. Često, iskreno, nadahnuto i duboko osjećajno!
Budući da su i John i vlasnik izdavačke kuće Opus 3
Jan-Eric Persson od početka svoje suradnje razgovarali i
pripremali ovakav album, sada je konačno upravo takav album
prd Vama ! Obojica zaljubljenici u blues u njegovom tradicionalnom
i povijesnom značenju, itekako su svjesni da su se upustili u
pomalo riskantan potez obzirom na bogatu opremu i booking albuma.
Nadam se da će na kraju sve ispasti dobro i da neće biti
razočaranja sa obje strane. Što se tiče ukusa publike,
jasno je da album All Around Man nije baš za one koji tek
upoznaju i savladavaju blues. Album je namijenjen prokušanim i
probranim blues znalcima i čistuncima, koji su već jako
dugo u ovim vodama. Sam Bottleneck John o cijelom ovom projektu kaže,
citiram:' Now being a recording artist on the Opus 3 Records label
is something I’m extremely happy, thankful and proud about.'
Da, iako je ovo njegov nastupni
album za Opus 3 Records Bottleneck John iza sebe ima već
nekoliko albuma.
Album All Around Man sadrži 14 vrlo inspirativnih pjesama,
nekoliko poznatih blues standarda poput Come On In My Kitchen od
Robert Johnsona i Hudson Whittakerovu No Matter How She Done. Tu
je i poznata pjesma Tom Waitsa Jesus Gonna Be Here te još veće
iznenađenje je Bottleneck Johnova obrada Walking In The
Shadow Of The Blues inače pjesme poznate grupe Whitesnake.
Da, ne smijem zaboraviti spomenuti i pjesmu Out Of The Rain Tony
Joe Whitea, naslovnu All Around Man Armenter Chatmon aka Armenter
'Bo Carter' Chatmon (30.06.1892. –21.09. 1964.), jednog od
članova legendarnih Mississippi Sheiks. Tu su i tri njegove
skladbe: Autumn Rime, Mandolinferno i Only A Woman, te dvije
impresivne obrade poznatih tradicionalnih pjesama: Lonesome Valley
i Wade In the Water.
Kada se ovaj nosač zvuka stavi u uređaje, teško da
će samo tako izaći. Raskošna, kvalitetna i nadasve
perfekcionistička produkcija mnoge 'hi-fi' znalce ostaviti
će 'bez teksta'. Osobno, to mi nije prioritet; ono što mi je
važno je prezentacijska forma. Ovdje na ovom albumu All Around
Man, nevjerojatni Bottleneck John iz pjesme u pjesmu dokazuje
koliko je velika i duboka njegova određenost ka' Delti, ka'
najboljim temeljima tradicionalnog, akustičnog bluesa.
Bottleneck John prezentira blues u svom izvornom obliku, on je
toliko izvoran, izražajan obojen tradicionalnim formama, da to
jednostavno nije za vjerovati. Malo je za vjerovati da danas u 21
stoljeću imamo jedinstvenu prigodu, da preko ovog
jedinstvenog glazbenika i njegovog albuma All Around Man ponovo doživimo
i osjetimo, kako je sve to bilo i zvučalo na svojim počecima.
I zato odlazimo na ishodište svih događanja, nalazimo se na
Delti Mississippija, duboko u njenom mulju. Evo i sada, kada pišem
ovaj osvrt prolaze me trnci znajući, koliko izvornih i
potenciranih osjećaja i feelinga ovaj izvrsni glazbenik daje
i odašilje u svojim prezentacijama.
To što kod nas Bottleneck John nije toliko poznat blues
poklonicima i znalcima, no kada ga poslušate i pogledate vrlo
brzo će vam se postati jasno i sve će samo sjesti na
svoje mjesto. Komparirati Bottleneck Johna sa bilo kime nije
uputno, jer je zaista jedinstven i originalan. Jednostavno ga možemo
staviti uz Keb’Mo’-a, Eric Bibba, Corey Harrisa, Alvin
Youngblood Harta, Mojo Stua i Paul Oschera. Možda će zvučati
pretjerano, ali osobno, držim da ih je Bottleneck John u nekim
mjerilima i važećim standardima, kada je u pitanju
tradicionalni blues i nadmašio.
Na kraju moram Vam otkriti da nam Johan Eliasson a.k.a. Bottleneck
John dolazi iz daleke i hladne Švedske. Rođen je i odrastao
je u malom selu Lit udaljenom 25 km od Ostersunda. Glazbi ga je
usmjerio djed a od bake i majke naučio je pjevati. Od rane
mladosti Johan Eliasson a.k.a. Bottleneck John izvodi blues,
gospel i soul. No, jednako tako on je veliki ljubitelj motora i
automobila i to old – timera. Kolekcionarstvu tu nije kraj,
Johan je veliki ljubitelj starih gitara, njegova najstarija gitara
na kojoj svira potječe iz 1840. godine.
I na kraju, da zaključim; Bottleneck John je izuzetan
vokalista izražajnog i autentičnog glasa, izvrstan gitarista,
koji u instrumentalističko – prezentacijskom smislu
naprosto briljira. Teško je opisati koliko je izražen taj njegov
'blues feeling', no najkraće rečeno; to je ono što sam
oduvijek volio. To je ta glazba, koja dolazi iz mulja
Mississippija, čiji su korijeni duboko urasli u onaj
jedinstveni i prepoznatljivi Delta blues.
Karijera mu nezaustavljivo ide naprijed od 2003. godine, a ove
godine potvrdu svoje kvalitete dobiti će prihvaćanjem i
permanentnom reprodukcijom ovog zadnjeg studijskog albuma All
Around Man.
PREPORUKA:
Ukoliko želite uživati u tradicionalnom bluesu, album All
Around Man - Johana Eliasson aka. Bottleneck Johna
je jedinstvena prigoda za to.
Moja preporuka glasi: DA, DA i opet samo DA!!!
Mladen Loncar, Croatia.
|
*
Nice
review here from Poland! 
*
5 out
of 5 in Audiophile Audition Magazine, USA!!
Bottleneck John – All
Around Man – Opus 3
CD23001 stereo-only SACD,
54:26 [4/16/13] (Distr. by Naxos) *****
(Bottleneck John – 6
& 12-string Resonator & acoustic guitars, banjo, mandolin,
electric guitar, kazoo, vocals; Mattias Nordqvist – grand piano, Hammond
organ, Wurlitzer; Kent Ogren – Resonator, doublebass; Lars Astrand –
mandolin, fiddle; Mattias Olofsson – percussion; Stefan Swen –
harmonica; Karl Eneland – tuba; Patrik Idell – guitar)
With Delta blues, certain
names come to mind. Robert Johnson, Mississippi Fred McDowell, John Lee
Hooker, Howlin’ Wolf, Elmore James, Charley Patton, Junior Kimbrough,
Lead Belly and B.B. King are just a minute segment of this legendary
tradition. Inspired by religion, prison and life’s struggles, this style
of blues music is noted for its primarily acoustic guitar instrumentation,
often augmented by a bottleneck slide. The influence of Delta is worldwide,
and is not far removed from current musical formats.
So it should not be too
surprising that a Swedish man named Johan Eliasson adopted the moniker
Bottleneck John and is a practitioner of Delta blues. Raised in a musical
family, he was drawn to the gospel blues of the ‘20s and ‘30s.
Additionally, Eliasson has an extensive collection of vintage stringed
instruments that capture the spirit of traditional blues. Opus 3 Records,
who produced Eric Bibb, seemed a perfect fit for this artist. Engineered
by Jan-Eric Persson, All Around Man is a glowing introduction to a
dedicated, gifted musician.
Consisting of 11 covers
and three original compositions, this album is a rare combination of
epochal blues music rendered with state-of-the-art technology. Opus 3
frames the recording in natural, aural environments that enhance the
authenticity of the acoustics. The first song is a soulful rendition of
“Lonesome Valley”. Bottleneck’s deep, rumbling vocals
complement his 12-string resonator. The liner noted to All Around Man are
very informative. There is detailed information about the instruments and
some insight into the song selections. A certain highlight is Robert
Johnson’s “Come On Into My Kitchen”. There have been many versions
of Johnson’s classic tune, and this interpretation on a vintage Dobro
pays respectful homage to the composer. The evocative, brooding eloquence
has a genuine sound and feeling.
There are excellent
session players on the album. “No Matter How She Done It” is Hokum
swing and Mattias Nordqvist contributes some down and dirty licks on an
1887 Bechstein grand piano. A second Hokum piece (“All Around Man”)
also rocks. Eliasson’s agile bottleneck riffs make this jam special. The
duo (with an assist on harmonica by Stefan Swen) takes on Tom Waits’
urban gospel hymn, “Jesus Gonna Be Here”. Nordqvist’s piano solo
reverberates along the lower register. Another religious song (“Out Of
The Rain”) is blissful, slowed-down gospel. Each track has a specific
instrumental aesthetic. On “Wade In The Water” Eliasson plays the
“Kicking Mule Special”, a guitar built with a neck stick, cigar box,
one bolt and a Diddley bow. The primitive tonality is intriguing.
On a different note,
“Mandolinferno” is up tempo and jazzy, with Eliasson playing slide
mandolin and Lars Astrand adds a second lead. But the languid spirit of
Delta returns on “How Long, How Long Blues”. In this case, a 1936
fiddle-edge Regal Dobro brings wistfulness to the cut. Bottleneck John is
equally capable as a solo performer. His self-penned “Only A Woman”
explores the sadness of troubled love with a foot-stomping undercurrent.
All Around Man is a
bluesy triumph. Every nuance of the instruments is captured with organic
clarity and full texture. Persson has paid significant attention to
microphone placement and overall mixing. With Eric Bibb and Bottleneck
John, Opus 3 Records is a blues label to be taken seriously.
TrackList: Lonesome
Valley; Come On Into My Kitchen; No Matter How She Done It; Autumn Rime;
Do You Call That A Buddy?; Jesus Gonna Be Here; Out Of The Rain; All
Around Man; Walking In The Shadow Of The Blues; Mandolinferno; How Long,
How Long Blues; Only A Woman; You Can’t Get That Stuff No More; Wade In
The Water
Robbie
Gerson, Audiophile Audition Magazine, USA.
*
5/5 in
this Polish magazine, thanks!!!!
*
From
Germany and the FOLKER magazine. Danke, Annie!
BOTTLENECK
JOHN
All Around Man
(Opus 3 Records 23001, go! www.bottleneckjohn.com)
SA-CD, 14 Tracks, 54:26 mit engl. Texten
und Infos
Jan-Eric Perssons schwedisches Label für akustische Musik veröffentlicht
neben Eric Bibb einen weiteren Virtuosen an der akustischen Gitarre. John
Eliasson alias Bottleneck John variiert mit seiner beachtlichen Sammlung
an Resonator- und Holzinstrumenten eindrucksvoll sein von Akustikblues bis
Jazz reichendes Können. Seine enorme Bandbreite umfasst Titel von Robert
Johnson („Come On In My Kitchen“) und Tom Waits („Jesus Gonna Be
Here“) ebenso wie traditionelles Liedgut („Lonesome Valley“). Aber
besonders eigene Stücke wie „Autumn Rime“, „Only A Woman“ und „Mandolinferno“
entpuppen sich als Perlen dieser gelungenen Produktion, auf der auch
Bottleneck Johns Stimme durch ihr warmes Timbre absolut überzeugt. Der Sänger
und Saitenzauberer wird mit seinem Debütalbum auch außerhalb Schwedens für
einen Tornado in der akustischen Musikszene sorgen und dazu beitragen, die
entstandene Lücke nach dem frühen Tod des fantastischen Gitarristen Bob
Brozman zu schließen. Der Klang der Super-Audio-CD ist vorbildlich. Als
Gastmusiker sind dabei: Mattias Nordqvist (p, org), Kent Ögren (b),
Mattias Olofsson (perc), Patrik Idell (g), Stefan Swen (harm), Lars
Astrand (mand, v), und Karl Eneland (Tuba).
Annie Sziegoleit, Folker magazine,
Germany.
*
"..Brilliantly
done from beginning to end.."
- John
Vermilyea, Blues Underground Network, Canada.
*
"..En
trevlig bluesskiva av någon som vet vad han gör.."
- Nils
Ahnland, LIRA magazine, Sweden.
*
"..Highly
recommended.."
- HiFi+
magazine, England.
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