{"id":3100,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/john-e-magnan-50-50-2\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"john-e-magnan-50-50-2","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3100","title":{"rendered":"John E. Magnan – 50-50"},"content":{"rendered":"

50-50<\/font>
John E. Magnan<\/font>
(Southport – 2001)
by John Barrett <\/font><\/p>\n

The mix here is half vocal and half instrumental, half rhythm … and always relentless. There’s a rippling wave of congas, a big-sounding horn section (from one sax and one trumpet!) and the voice of Joanie Pallatto, dripping heat. “You say you’ll never leave me and you’ll always want to see me\/ And your words are so untrue.” This is the “Goodbye Mambo”, a most poignant kiss-off. “Sunny Summer Sundae” has a silly lyric but a gorgeous bed of rhythm – Magnan’s bass plays up high, like a guitar, atop a thousand wood blocks. With its slow reggae horns, “Short Lament” makes its tuneful complaint: Magnan sings gently, and the organ wails a little. (It’s not long enough, but it’s great while it lasts.) <\/p>\n

\tThe Latin touch works well on John Mellencamp’s “Not Running Anymore”, with Mark Olsen triumphant on trumpet. This is good, but “Janet” is better: a love spoken by distant piano, John’s fragile voice, and acres of bells. When the keys turn aggressive, everything shakes: a storm of percussion, raining on a fast merry-go-round. Thanks to arranger Bob Long, and composer Alejo Poveda. You will certainly want to meet “Janet”. <\/p>\n

\tPaul Simon’s “Late in the Evening” is played close to the original, with stronger clave and something of a comedy vocal. (Magnan’s voice is an acquired taste; I think he tries too hard to be funny.) Desperation seeps through “Blake”, with anguished sax and dirty organ. The best of the compositions, the mood is like a ’70s cop show – melodramatic, and arresting. “Trude’s Garden” is a folk tune with gongs; other instruments appear, but they are as transient as the fog. And the final tune drips with late-night loneliness: “But I don’t know what I’m supposed to do\/ I’m on the verge, the verge of loving you.” The organ whistles, the trumpet yelps, and the smoke rises. I would say this band is almost there: some of the songwriting is weak but the musicianship is superb. There are some good moments; I bet their next album will have even more. <\/font><\/p>\n

<\/p>\n

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