Fauth, JulianThe World You Live InA viva l'arte 1

Fauth, Julian - The World You Live In - A viva l'arte 1

Written by John Taylor

Julian Fauth claims there are a few things he'd do differently on this, his debut recording under his own name, if he'd had the time. Seems these cuts, taken from a variety of sessions in various locations, were cobbled together rather quickly prior to a tour of Cuba.

Me, I like things just the way they are, and quite honestly don't see how the disc could be improved to any significant degree. Yup, it's that good.

Julian, who plays piano as though he's been doing it far longer than chronology could possibly permit, wrote all the songs here except the closer, a cover of Lowell Fulson's Let Me Ride In Your Automobile, recorded live in Volvograd, Russia. (Julian clearly gets around!). His lyrical concerns range from the basics of relationships (Trouble In Paradise) to party-hearty romps (Pound 'Em Back) to somewhat dark glimpses into… well, into the world we live in. There's murder (Winter Of '99), suicide (Suicide Note), and social injustice (You Can't Change The World You Live In and Sorry Don't Cut No Ice). Proof, if nothing else, that Julian understands how blues encompasses the entire spectrum of human experience, from celebration to sorrow, joy to despair.

Julian sings with a somewhat laconic, slightly nasal voice and a comfortably unforced and thoroughly convincing assurance. Again, his piano work is first-rate - he's a serious student of the masters. But the big story here, at least to me, is the absolutely stellar harmonica work of guests Paul Reddick and David Rotundo, the former of The Sidemen, the latter usually found fronting his own band, The Blue Canadians. Both are among Canada's finest, both working here primarily in an acoustic mode, and together they're nothing short of revelatory. With minimal guitar and only the odd touch of sax, the disc comes across largely as a series of duets between Mr. Fauth and his friends, with drums and bass courtesy of a revolving cast providing a solid foundation.

Production is just a bit murky; perhaps that's what Julian would choose to change, although the fact that the songs were cut at a number of sessions would suggest it's the sound he prefers. And me, I'd take it over excessive studio gloss anyway; there's a sense, here, of musicians playing together in a single room, that each tune was cut in a single take. Isn't that what blues is supposed to be, after all?

The World You Live In is a fine outing indeed; it's also indicative of truly great things to come from Mr. Fauth. I suspect there'll be a long and honourable career to come, and look forward to a follow-up!

Copyright 2003. Review by John Taylor.

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