On his first two discs, 2001's "Dog My Cat" and the following year's "Wise And Otherwise," Harry Manx forged new territory with a determined fusion of East and West. Incorporating his knowledge of Indian classical music and his skills on the mohan veena (an 18-stringed instrument somewhere between a guitar and a sitar), his blend of blues and ragas drew upon the riches of both cultures with startling success. The results, somehow, were both fresh and exciting while retaining the timeless qualities of tradition.
Manx' third outing saw him collaborating with string virtuoso Kevin Breit (Norah Jones, Cassandra Wilson), with the latter's influences pulling "Jubilee" into a jazzier vein. Delightful though that disc was, it seemed a diversion. "West Eats Meet" is his first project on his own Dog My Cat label, and seems both a return to and an expansion of his own musical vision. It's also, without doubt, his best outing yet.
This time, in addition to blues and Indian classical music (Manx spent five years studying with Indian slide master Vishwa Mohan Bhatt, inventor of the mohan veena), he's brought gospel influences into the mix. And he's working with a group for the first time, albeit a somewhat atypical ensemble. The Urban Turbans are a trio - Wynn Gogol on keys, percussionist (tabla and dholak) Niel Golden, and vocalist Emily Braden, whose haunting harmonies are a perfect foil for Manx' warmly weathered voice. Also on hand are the The Heavenly Lights, a gospel trio based in Australia.
But Manx, who's always favoured a direct, uncluttered approach, applies the extra textures sparingly. His message - there's a strongly spiritual bent to his music - has always been one of simplicity. So it's still Harry and his instruments - guitar, banjo, the mohan veena, and a bit of harmonica - very much front and centre. Background vocals are used primarily to echo Manx' leads, and both percussion and keys are subtle and unobtrusive.
Manx wrote all the tunes here with the exception of two tracks, the thoroughly unique reading of "Help Me" that opens the disc, and the equally unusual, Indian-influenced "Sittin' On Top Of The World." His own compositions wrestle with some pretty big issues; it's no exaggeration to say he's preoccupied almost exclusively by the meaning of life and love and the place of the individual in a universe fraught with mystery and misunderstanding. Yet there's nothing preachy, nothing dogmatic in his songs. It's just that there's a sense of something larger, more important than the drudgery of day-to-day life. And Manx' seamless blend of influences and cultures, framed in shimmering cascades of stringed sound, represents a near-perfect marriage of idea and execution, music and philosophy.
Harry Manx is an utterly unique artist, unafraid to pursue a musical direction that gives little thought to commercial appeal. Yet while his unflinching honesty and his dogged pursuit of truth may not mean much to the pop crowd, his is music that both enriches and enlightens, all while remaining a profoundly pleasant listen.
This one's a masterpiece - get it!!!
Web: www.harrymanx.com
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