a             A A Pora                                HOWARD TATE A PORTAIT OF HOWARD (2007)

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Howard Tate A Portrait Of Howard Solid Ground Productions (US) SG 1001

Having been disappointed with Howard Tate's elsewhere-acclaimed 2003 comeback album, 'Rediscovered', I approached this set with a degree of trepidation, wondering if I could stand any more of his once 'trademark falsetto' being overworked in the contrived fashion of his being prodded with a stick every few minutes to get it going. Fortunately, I need not have worried, this excellently-crafted set, enacted by many real musicians, being designed, in track order, to be a biography of Tate's somewhat troubled life, a number of songs being written for the occasion by producer/arranger, Steve Weisberg, while others come from such diverse names as Randy Newman, Carla Bley, Lou Reed and Nick Lowe. It is perhaps fitting that respect be paid regarding the story being told that the review be done in track order... Newman's, drum and orchestra-supported 'I'll Be Home' begins the tale, Val McCallum's guitar taking centre stage at one point but not to detract, especially as Tate's voice seems to have found a new strength. Not sure I ever thought I'd hear Howard Tate sing 'Close To You' but the Bacharach/ David song fits into the context just fine and, once again, it's in an orchestral setting. Nick Lowe's 'Homewrecker' moves into the territory of slow funk, while 'With You No More', penned by Tate with Weisberg, is a moody, doomy item, supported by organ (Larry Goldings), piano, guitar and bass. Chrissie Hynde wrote 'Gone' with Nick Lowe. Walking pace but with a distinct tune, Howard's clear feel for the song adds depth and his story has the listener gripped - there's a full book here. Lou Reed's 'How Do You Think It Feels' is remarkable in context, with brilliantly arranged viola and cello work and Reed himself on guitar. This is not just a collection of songs, it's an opera, so much so that when the tempo lifts and brass come in on 'One Hit', it comes as a bit of a shock at first. A pair of Newman songs follow: 'Every Time It Rains' carries a strong melody over choral support, moving on to what has become something of an American anthem since Hurricane Katrina, 'Louisiana 1927'. Tate offers up one of the strongest versions. The man's appeal to the church is initiated by Weisberg's gritty 'Dear Lord', moving on to the organ and horn-driven 'Hell (Is Just A Place On Earth)' and the grinding, brass-fuelled 'Left For Dead (On Hold)', another Tate-Weisberg composition. The jazz-rooted Carla Bley penned (and plays piano on) 'The Lord Is Listenin' To Ya, Hallelujah', a gentle item with a slight country lilt, before we return to a short burst of 'Every Time It Rains', used as an intro to the powerhouse closer (except for bonus short versions of the two openers), 'Solid Ground', featuring the femme vocals of Donna Washington and taking this outstanding set out in positive and pulsating fashion. Absolutely unmissable.

This review, with complete track listing, appears in the current In The Basement No.46