Jenny Bienemann, Late Night Elaborations (self-produced, 2004)
Jenny Bienemann may be yet another 'Girl with Guitar' tossing her beret into the ring, but on this well designed, self produced, and ably performed disk she demonstrates that she more than deserves to rise above the pack. Seeking a better known comparison to serve as a short hand means of describing both the sound of her voice and territory of her song writing, I'd probably start with Jonatha Brooks. That works well enough, but Bienemann has her own individual charms.
Late Night Elaborations opens with a piece that deftly displays the strengths Bienemann brings to bear throughout the rest of the disk. "Downpour" starts off with a layered instrumental buildup before Bienemann's voice enters and begins to tell the listener a story about a rainy night bus ride. An almost subliminal tension is created by insistent drum sticks, quietly, quickly, ticking in the background, while the singer relates her encounter with a man "Out of place and half insane / I could smell alcohol and regret." I'm a big fan of linear lyric writing, also of chant and drone. Like this opener, many of the songs on Late Night Elaborations beautifully balance these elements. The album ends with a nifty, echo drenched, remix of "Downpour" produced by Seth Greene.
Of the dozen tracks the only cover is a lovely version of "I Wanna Be Sedated." And who would've thought to pair the adjective "lovely" with a Ramones' tune? Ms. Bienemann makes excellent use of the studio on this track, overlaying her vocals into a marvelously ethereal choir.
The chorus of "The Question" ('If part of the question is / why did I change? / the other part is / why didn't you?') has already entered my subconscious. The line may not have a big impact on the page, but given its spare, expertly executed arrangement with Jenny Bienemann's vocals and guitar supported only by backup singer Nancy Walker, it really works.
Late Night Elaborations has an intimate, sitting in the living room feel overall. Only the clean, clear, sound of every element (particularly noticeable if you're listening under headphones) and the occasional use of overdubbed harmony vocals or second guitar parts, alerts you that this was a recording studio project rather than a 'field recording' from the artist's living room. The one exception is "Cupola," captured in a live, a capella performance by Bienemann, backed by Sue Demel and Deb Lader. Even that track is so well recorded that only Bienemann's "Thank you!" and the audience applause at the end let you know it was not done in the same manner as the rest of the disk.
If you have more than a half dozen albums by 'Girls with Guitars' in your collection (ones you actually listen to!) check out Jenny Bienemann's Late Night Elaborations. I doubt you'll be disappointed.
