Susan Weinert never ceases to amaze me with her growth and versatility as an incredible jazz guitarist and composer. This release has her growing into another new voice in her guitar stylings. This time around I picked up on a certain smoother Gambale feel moreso than Hendersonic crunch. Check out opening track, “Liebman” which calls to mind Gambale’s Thunder Down Under. Only on the groove-funk-scat, with distorto-axe, outro to “Day” do we hear the obvious tribute to Tribal Tech. Sonic snippets of Terje Rypdal/Bill Frisell howlings apppear too. She showcases an easy grasp of acoustic jazz guitar flair this go round on several pieces. I heard Towner, Abercrombie, and a smidgen of Bill Connors acoustics. Wonderfully rich and warm acoustic piano is offered on many tracks by Jean-Yves Jung. Tenor sax by Pierre Bertrand is heard on “The Proof”.
Probably the most extraordinary thing happening on Point of View alongside Weinert’s above par guitar is the absolutely unreal but true vocal abilities of Michael Schiefel! Wow! This guy has a dynamic range that is beyond androgynous. He wails so beautifully like a lady then swoops out of soprano and deep into octaves of the baritone boys. I actually had to e-mail Weinert to assure myself this was a man singing. Schiefel and Weinert do vox/string unison runs that bring goosebumps. She wails and bends notes right alongside the enchanting flurry of notes by songbird Schiefel. Scat has never sounded so very, very cool.
This is just one more recommended release in a string of goodies that Weinert and crew produce. Martin Weinert is acoustic bass throughout each song. Hardy Fischötter handles the drums like a pro everywhere. Nice job folks. Point of View will appeal to folks seeking great guitar in a mellower setting yet not compromising some edge here and there. Yeah, we get down and groove on the final cut, “No Warm-Ups”, I told ya so. Superb, Susan and gang! You’ve outdone yourselves once again.
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