by S. Victor Aaron
Singer/songwriter Machan’s resume reads like Sheryl Crow’s before 1994: an in-demand backup singer for heavies like Sting, Pink Floyd, George Benson, Gov’t Mule, Pat Benatar and Hiroshima. And now, like Crow did back in ’93, she seems to be making an earnest attempt at a solo career with her own material and at the front of the stage. How earnest, you ask? When you bring in guys like John Scofield, John Medeski, Randy Brecker and Steely Dan hired guns to make a record, you must mean business. Machan’s style of music can best be described as jazz-pop with a light Brazilian feel and the melodies are consistently catchy and intelligent, although the lyrics sometimes get a little cliché laden. Her voice isn’t going to win an audition to The Manhattan Transfer, but it’s quite soothing and sweet-sounding; most importantly her songs fit her singing style well. It remains to be seen if Machan’s career ends up anything approaching Crow’s, post-1994, but I can definitely find myself in the mood for this record more than most of Cheryl’s. Basia left her fans stranded a dozen years ago; Machan’s ship has arrived to pick up some of the survivors.
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