Suzanne Langille started her recording career as a vocalist alongside Loren Mazzacane Connors on a string of rare LPs in the mid-1980s acclaimed for their startling transformation of the blues. Since, Langille has added vocals and lyrics to many Connors albums, including the landmark "Hell's Kitchen Park," collaborated with San Agustin and issued a conceptual full-length on Secretly Canadian in 1998. But all along a proper solo album has never surfaced -- until now."Wild & Foolish Heart" joins Langille with Indian classical musician Neel Murgai -- a long-time collaborator and leader of his own ensemble. Langille's blues-filled moans are perfectly matched to the dazzling drone and subtle melodic rhythm of Murgai's tanpura and daf (Persian frame drum). Their reworking of popular/traditional songs and Langille's own dramatic compositions draw out redemption, sorrow and celebration in a way that makes listening to these sides feel like uncovering a lost field recording of otherworldly haunts or spirituals. Langille's pervading melancholic tone flares in the tradition of Patti Smith and Thalia Zedek at times. The LP ends with a scorching blowout from the Haunted House band, the legendary/defunct downtown 'blues rock' improv-combo fronted by Langille, with Murgai, Connors and San Augstin guitarist Andrew Burnes.This 550-edition LP features cover art from Loren Connors, a selection of his rarely seen photography/collage work, and is pressed in an edition of 550 copies.
The New York city based San Agustin has been performing with vocalist Suzanne Langille since 1997. The two have found an unmatchable connection in their expansive dialogue of impeccably matched twin guitars and percussion with the ageless blue moaned singing and lyrics. These six Passing Songs are meticulous flares, crafted in the highest order. Slightly dissonant leanings and free spirit that is carried by a woman who has lived each word she sings.
It was 1987. Loren MazzaCane Connors, not yet recognized by a world audience, had already recorded and released his 8 volume Dagget series and his five albums with folk singer Kath Bloom. He had abandoned his guitar for a 3-year period, and returned to it with renewed vigor. He was not yet recognized as one of the great musical loners of the age (his future Black Label solo recordings and the eventual unearthing of the Dagget series were the titles that would establish Loren as such). He was, in fact, performing live and about to record some of the most potent recordings of his career -- recordings which may challenge any present notion of Loren being a true loner at all. It was on these recordings that he first played with his future wife Suzanne Langille. Together they performed Langille-adapted traditionals and gospel standards, slowing them "down to a crawl." Two albums were released on his own St. Joan label under the moniker Guitar Roberts with Suzanne Langille, entitled BLUESMASTER 1 and BLUESMASTER 2, in 1987 and 1988, respectively (both issued in small runs of 200). This album represents the best of their material as a duo from those two records (there were also intermittant solo guitar compositions on both BLUESMASTER recordings), plus the one song they performed as a duo from Loren's 1989 IN PITTSBURGH full-length ("Haunted House") and three previously unreleased recordings from the same period. In her spare and "deeply considered" arrangements for these songs, Suzanne allows all the room necessary for their collective personality to shine through, making for truly timeless performances. These recordings were Suzanne's first to be released publicly. They showed a singer who was unafraid to push herself to lay claim to these folk tunes and make them her own, particularizing them with her own experience and thus imbuing them with a rare vitality. These recordings layed the groundwork for the work they would later do on the albums COME NIGHT, THE ENCHANTED FOREST, LET THE DARKNESS FALL and with their new group Haunted House. After even a casual listen to the songs on this collection, it's quite difficult to imagine either Suzanne or Loren playing with another performer, or alone for that matter. The grace and intimacy with which they perform these songs together gives the impression that they'd been playing together since childhood. It's no wonder Loren found so much fulfillment in playing music again.
Let the Darkness Fall is the return of singer / lyricist Suzanne Langille. She is once again joined by longtime collaborator Loren MazzaCane Connors as well as Atlanta's Andrew Burnes and David Daniell of the group San Agustin. The result is an intensely bleak, yet satisfying, musical excursion. A much steamier affair than Suzanne's and Loren's previous concept album THE ENCHANTED FOREST, LET THE DARKNESS FALL showcases Suzanne's lyrical intonation and her zesty, more sensual vocal style. Her deep and throaty vocals parallel the doleful sounds of the trio on songs like "Strong And Foolish Heart" and "A Sadness In Me." The album is full of gently churning and ethereal moments which are steeped heavily in the musical and emotional concentration that only the wisdom afforded to veterans of this group's tenure can allow. Loren's lone blue notes quietly escape to the forefront of the dual guitar weaving of Andrew and David. Six of the seven songs are darkly textured by the bending tones of what is often a three-guitar chorus. LET THE DARKNESS FALL finds Suzanne and Loren entering their fourth decade of performance, while Andrew and David are beginning their second. But does it offer a clear picture of where these artists are headed? Perhaps. Or maybe it's simply a month of frolic in the life of four fine musicians.
After over a decade of appearances on Loren MazzaCane's albums, Suzanne Langille releases a full length of her own songs. THE ENCHANTED FOREST combines Suzanne's celestial voice and lyrical talent with Loren's crystalline guitar work. Loosely based on John Lebar's 1945 film of the same name, Suzanne acts out the story of a lost child, a forest's impending end and those that try and save it, through the voices of six characters. As on previous MazzaCane albums, Suzanne's soulful and blues-filled moans create burning holes in the hearts and ears of many during each song. Loren's guitar stays at a constant whisper pitch throughout the album, his minimal chords and lone notes have never been this fragile. Intertwined with Suzanne's character expressions, the guitar mixes with the muted sounds of chirping birds and the feeling of THE ENCHANTED FOREST takes hold. Reminiscent of the St. Joan-era collaborations between Suzanne and Loren, these two have never sounded so brilliant.