This CD offers a musical journey through Art Garfunkel’s significant contributions to modern music. Inspired by Art’s solo walk across the United States, the 17 tracks on this collection were recorded live on 12 and 13 April 1996 at Ellis Island and include songs from his time with Paul Simon, a duet with James Taylor, his solo hits, a Lennon-McCartney composition and new material. One gets the impression that Art was using these recordings to musically represent the new life perspective that he gained from his most incredible journey. Needless to say this makes for fascinating listening.

In terms of sound, the tracks on the CD are excellent and are generally of studio quality. In fact the standard is such that I did not realise when listening to the CD for the first time that all of the tracks were live recordings. For those worried about the age factor I am also pleased to report that Art’s vocal abilities have remained seemingly unaffected by the passage of time.

The Tracks

As one would expect from an Art Garfunkel album, the tracks are predominately ballads with a folk rock tinge. Further, given the career retrospective flavor of the collection it is not surprising that just over half them emanate from Art’s time as part of Simon and Garfunkel. Paul Simon, however, does not appear on any of the numbers. A more detailed commentary on individual tracks is given below.

Crying in the Rain

Art duets with singer songwriter James Taylor on this 60’s hit ballad for the Everly Brothers. Art and James work well together (particularly on the chorus) and the style is reminiscent of some of Art’s earlier recordings with former recording partner Paul Simon. The number is injected with a relaxed folk feeling and the accompaniment comprises a sole acoustic guitar.

I Will

My personal favorite from this collection, Art does a great job on this classic Paul McCartney-John Lennon penned ballad. Art captures the feeling and sincerity of this composition and the material is perfectly suited to his voice. The attractiveness of this song has always been its simplicity and innocence and to his credit Art’s performances embraces these fundamental elements.

59th Street Bridge Song (Feelin' groovy)

This Paul Simon composition was originally about getting high from drugs. Somehow it ended up becoming a symbol of childhood innocence and was a mandatory part of the music curriculum during my primary school years in the early 1970’s. Art duets with his four-year-old son James on this in-concert version. James starts off a little nervous but by the time the song is half way through he is really cutting loose (much to the audience’s obvious delight). It is a most charming performance (with even James’ mum jumping in at the end) and will bring a knowing smile from any parent within listening range.

Goodnight, My Love

This beautiful ballad was a hit for Paul Anka in the early seventies. The version here is so different from Paul Anka’s 50’s style interpretation that it could almost be a different song. Art’s interpretation is almost lounge music in style and concludes with an extended saxophone solo. Art’s voice is particularly well suited to this style of arrangement and there is a haunting quality to this performance that makes for great listening.

A Heart in New York

I have liked this song ever since first being introduced to it on the Simon and Garfunkel reunion double album “Concert in Central Park”. The version here, however, is far superior to the earlier recording, mostly due to the new orchestration. There is a fascinating use of both drums and guitar and the whole feel of the song is more up-tempo. There is also grooving saxophone solo that really sets the song off.

Grateful

Possibly the least appealing number on this collection, “Grateful” is an insipid ballad that is in short a musical nothing. It is also an inherently depressing number that suffers from a poor arrangement. In short, the less said about the track the better.

Hit revisits

After breaking with Paul Simon in 1970, Art achieved solo chart success with a number of beautiful though moody ballads, namely “I Only Have eyes for You” ((1973: US #3), “All I Know” (1975: UK #1) and “Bright Eyes” (1979: UK #1). All three are present and accounted for on this CD and are given magnificent performances that are certainly the equal of the original recordings.

The Sound of Silence

Unlike Paul Simon’s in-concert approach to performing “The Sound of Silence” where he employs the assistance of back up singers, Art prefers to sing the song solo. On the version on this CD the tempo and feel of the number at it its commencement is similar to the original recording. The drama and pace of the song gradually builds in intensity, however, and by the end of the number it is transformed into a breathtaking folk rock number performed with consummate power. Art is supported by exemplary orchestration on this track and the performance is a classic of its kind. It suffers nothing from comparison with the hit recording.

Other Simon and Garfunkel memories

Art Garfunkel will inevitably always be best remembered for his work with Paul Simon. When appearing in concert he is expected by the audience to include numbers from his time as part of this legendary folk-rock duo. Recreating the old sound is not always easy, however, when half the team is missing. Certainly classics like “Bridge Over Troubled Waters” and “April Comes She Will” where Art sang virtually solo on the original recordings do not present a problem and come over well on this CD. Others, however, where both he and Paul Simon participated on the classic recording were obviously a little more tricky to recreate.

Surprisingly, a live recording of the South American influenced “El Condor Paso” also comes across well. On the version here, Art gives the song a more contemporary arrangement. The tempo and beat are now faster and there is added female backing vocals. This Paul Simon composition not only copes with this treatment, but actually thrives on it. In fact I actually prefer this version to the original.

Other Simon and Garfunkel reworks, however, are not so successful. The absence of Paul Simon’s vocals on “Scarborough Fair”, for example, take away some of the magic of this homage to the traditional folk sound of the 1300’s. Similarly, “Homeward Bound” is just not the same without Paul Simon and is given a country music treatment, which though interesting, strips the song of much of its soul. The version of “Mrs Robinson” on this collection is also not in the same class as the original recording as it very much an excuse for an audience sing-along.

Summary

If an angel could sing folk music, I have no doubt that it would sound like Art Garfunkel. His distinctive choirboy style vocals and unique sound offer a refreshing change to the manufactured sound that too often permeates the modern music scene.

This CD is a fitting tribute to his contribution to modern music and though it occasionally misses the mark, it is nonetheless an essential acquisition for those who appreciate beautifully sung ballads with a folk tinge. My rating - 4.5 stars.

If you liked this Cd what else would I recommend?

Live in New York City, 1967 - Simon and Garfunkel




Recommended: Yes

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