Cara Luft

Globe & Mail - ESSENTIAL TRACKS
Dallaire - Cara Luft, from Darlingford (Blue Case Tunes)

It can’t be done, so don’t even try to turn away from the affecting insistence of Canada’s Luft, who sings like an angel named Joni or Alanis and sees through the eyes of a peacekeeper who stood in blood and shook hands with the devil.

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Beatroute Magazine - BC & AB

This is probably the strongest and most interesting release that Cara Luft has put out yet, either as a member of the Wailin’ Jennys or as a solo performer. Maybe it is because of the personal issues that she had to deal with while recording the album. Many of the songs are intensely personal and hint (occasionally blatantly) at the feelings of betrayal and loss. Other songs showcase the myriad aspects of Luft’s musical personality, be it spiritual singer-songwriter, the folk rock guitarist, the traditional (and neo-trad) folkie. There is also a rare collaboration with her father, Barry, that rated among my favourites, if only because of its novelty.

Another one of the highlights of the album is the musical telling of the story of Romeo Dallaire. Within these songs, the Dallaire tune and the ones that seem to be far more personal in nature, there is evidence of a strong individual fighting her demons and the cards that they have been dealt. That’s what makes this a powerful, uplifting album in spite of some of the material.

This is also one of Luft’s best releases from a strictly musical perspective. She seems to have amassed a greater coterie of cohorts for this release, among them a string quartet, Jesse Zubot (violin), a Hurdy Gurdy and accordion player and many others. These musicians add fuller, more complex sound to Luft’s tunes than I have ever heard.

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FlyinShoes Roots Music Webzine (UK)

“Darlingford is a cracking album, folk music for all seasons that taps heavily into the folk revival of the sixties and seventies, from the nicely retro artwork on the cover to the choice of covering a traditional song like The Ploughboy and The Cockney, best known in a version by Tim Hart and Maddy Prior.

Solo albums are rarely truly solo efforts, and this particular one features no less than twenty musicians, as recording progressed in snatched opportunities at various points across Canada and the UK. The spirit which ties this work together belies such a piecemeal approach and Cara Luft’s own vibrant performance with voice and guitar is at the heart of it all. Most of these songs are Cara Luft originals (half of them co-written with Lewis Melville) and a lot of them relate to the aftermath of a break-up. Writing with honesty, immediacy and surprisingly good humour, these songs follow her through the days from leaving the shared home at short notice to the calm restorative waters of spending time with family and old friends, finding herself ready to face the world again. The heart-on-her-sleeve nature of her writing is very winning; in laying out her pain and insecurities, she makes it easier for us to face our own, and that is very much part of the job of the artist.

The other theme that crops up repeatedly is some strikingly old-time religious imagery as God and the devil do battle for possession of her soul. Being an atheist myself I have to recast these songs in terms I can cope with but there’s no doubting the vivid sincerity of her own view of the world, and I can’t help but get a vicarious thrill from the impassioned nature of her involvement in this spiritual battle. One song written in these terms is Dallaire, named after the Canadian general in charge of a UN mission in Rwanda that was unable to prevent the 1994 genocide.

Musically, Darlingford covers a huge range of the folk idiom; banjo and acoustic guitar are frequently in the foreground but there’s some splendidly raw fiddle playing from Jesse Zubot, a host of enthusiastic foot-stomping and handclapping, a string section, loads of harmony vocals and even a bit of electric guitar on the wonderful story song, Charged!, where Cara Luft’s folk singer persona gives rein to the inner rock chick – this was recorded with audience participation at a show, and if this track doesn’t put a smile on your face, I don’t know what will.

I don’t think there’s a weak song here, I love the whole album, but particular mention must go to a couple of covers: in Cara’s version it is He Moved Through the Fair and she keeps it pretty simple, a little hurdy gurdy and a haunting pulse from the organ bass pedals accompanying her guitar playing. It is possibly the most evocative version of this song that I’ve ever heard; the spooky instrumentation contrasts with the sweetness of her voice to her great effect. Another wonderful surprise comes with her take on Mike Scott’s Bring ‘em All In. His plea for social inclusion gains great dignity and weight from her arrangement, and in particular it’s the gently insistent chant of “bring ‘em all in” from Cara and co-vocalist JP Hoe that ma - Various

Globe & Mail - ESSENTIAL TRACKS
Dallaire - Cara Luft, from Darlingford (Blue Case Tunes)

It can’t be done, so don’t even try to turn away from the affecting insistence of Canada’s Luft, who sings like an angel named Joni or Alanis and sees through the eyes of a peacekeeper who stood in blood and shook hands with the devil.

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Beatroute Magazine - BC & AB

This is probably the strongest and most interesting release that Cara Luft has put out yet, either as a member of the Wailin’ Jennys or as a solo performer. Maybe it is because of the personal issues that she had to deal with while recording the album. Many of the songs are intensely personal and hint (occasionally blatantly) at the feelings of betrayal and loss. Other songs showcase the myriad aspects of Luft’s musical personality, be it spiritual singer-songwriter, the folk rock guitarist, the traditional (and neo-trad) folkie. There is also a rare collaboration with her father, Barry, that rated among my favourites, if only because of its novelty.

Another one of the highlights of the album is the musical telling of the story of Romeo Dallaire. Within these songs, the Dallaire tune and the ones that seem to be far more personal in nature, there is evidence of a strong individual fighting her demons and the cards that they have been dealt. That’s what makes this a powerful, uplifting album in spite of some of the material.

This is also one of Luft’s best releases from a strictly musical perspective. She seems to have amassed a greater coterie of cohorts for this release, among them a string quartet, Jesse Zubot (violin), a Hurdy Gurdy and accordion player and many others. These musicians add fuller, more complex sound to Luft’s tunes than I have ever heard.

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FlyinShoes Roots Music Webzine (UK)

“Darlingford is a cracking album, folk music for all seasons that taps heavily into the folk revival of the sixties and seventies, from the nicely retro artwork on the cover to the choice of covering a traditional song like The Ploughboy and The Cockney, best known in a version by Tim Hart and Maddy Prior.

Solo albums are rarely truly solo efforts, and this particular one features no less than twenty musicians, as recording progressed in snatched opportunities at various points across Canada and the UK. The spirit which ties this work together belies such a piecemeal approach and Cara Luft’s own vibrant performance with voice and guitar is at the heart of it all. Most of these songs are Cara Luft originals (half of them co-written with Lewis Melville) and a lot of them relate to the aftermath of a break-up. Writing with honesty, immediacy and surprisingly good humour, these songs follow her through the days from leaving the shared home at short notice to the calm restorative waters of spending time with family and old friends, finding herself ready to face the world again. The heart-on-her-sleeve nature of her writing is very winning; in laying out her pain and insecurities, she makes it easier for us to face our own, and that is very much part of the job of the artist.

The other theme that crops up repeatedly is some strikingly old-time religious imagery as God and the devil do battle for possession of her soul. Being an atheist myself I have to recast these songs in terms I can cope with but there’s no doubting the vivid sincerity of her own view of the world, and I can’t help but get a vicarious thrill from the impassioned nature of her involvement in this spiritual battle. One song written in these terms is Dallaire, named after the Canadian general in charge of a UN mission in Rwanda that was unable to prevent the 1994 genocide.

Musically, Darlingford covers a huge range of the folk idiom; banjo and acoustic guitar are frequently in the foreground but there’s some splendidly raw fiddle playing from Jesse Zubot, a host of enthusiastic foot-stomping and handclapping, a string section, loads of harmony vocals and even a bit of electric guitar on the wonderful story song, Charged!, where Cara Luft’s folk singer persona gives rein to the inner rock chick – this was recorded with audience participation at a show, and if this track doesn’t put a smile on your face, I don’t know what will.

I don’t think there’s a weak song here, I love the whole album, but particular mention must go to a couple of covers: in Cara’s version it is He Moved Through the Fair and she keeps it pretty simple, a little hurdy gurdy and a haunting pulse from the organ bass pedals accompanying her guitar playing. It is possibly the most evocative version of this song that I’ve ever heard; the spooky instrumentation contrasts with the sweetness of her voice to her great effect. Another wonderful surprise comes with her take on Mike Scott’s Bring ‘em All In. His plea for social inclusion gains great dignity and weight from her arrangement, and in particular it’s the gently insistent chant of “bring ‘em all in” from Cara and co-vocalist JP Hoe that ma - Various

WHITSTABLE FOLK CLUB (UK) Live Show Review 2012
It didn't seem possible for it to get any hotter the day that Cara Luft performed but as the evening sun started to dip, Cara appeared on the stage at the Royal Native Oyster Stores and quickly raised the temperature. This was the first gig of Cara's UK summer tour and, ably accompanied by the multi-talented Tom Billington, ger two sets gave the audience a sneak preview of her latest album "Darlingford", out in the UK this month.

Consummate musician and engaging raconteur, Cara is the ultimate travelling minstrel. Packing an emotional punch as she sang songs delivered straight from the heart, Cara easily connected with her audience with tender tracks such as "Bring Em All In" and "Only Love Can Save Me" as well as more upbeat sing-alongs like "Charged".

All of this was served on a bed of superb musicianship: a backdrop of brilliant guitar playing and many delightful moments of simply wonderful banjo playing that included finishing with a sparkling cover of the Guns N Roses anthem Sweet Child of Mine.

In the end, no one wanted the music to stop but sadly it had to. Whitstable Folk Nights had delivered once again.

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BISHOP AUCKLAND TOWN HALL (UK) Live Show Review 2012
The strong touring presence of the flourishing Canadian folk and roots music scene continues to go from strength to strength as Alberta born and raised artist Cara Luft returns to the UK for a month-long promotion of her new CD culminating in an appearance at the annual Canada Day celebration in London in early July. After the unfortunate scenario of being unable to attend either of the Midlands gigs on this tour, an opportunity to catch her show at Bishop Auckland while on a short break in the North East was one not to be missed and ultimately a very rewarding experience. Cara’s two-set show formed part of a small monthly gathering of folk fans in the Town Hall bar of this County Durham market town and her brand of rock infused folk and roots music entertained those present who were probably more used to the rich vein of local artists participating in the art of performing traditional music. Accompanied only by the exchange of guitar and banjo, along with a catalogue of quality songs and an effervescent personality, Cara showed why she is a valued and respected member of this music movement.

Although the bulk of the night was to be devoted to the songs from her new record titled ‘Darlingford’, Cara chose to open the evening with ‘There’s a Train’, a track from her previous album, ‘The Light Fantastic’ and the up tempo strumming that accompanies this song set the tone for what we would expect for the rest of the evening. There are certainly elements of her rock influences in a playing style that sets her apart from other artists in the genre and this adds a little originality to her interpretations of traditional music. Other tracks played from this 2008 album in the opening set were also of a similar style, these being ‘No Friend of Mine’ and ‘Black Water Side’, the latter paying tribute to the diverse interpretations of a traditional song by Bert Jansch and Jimmy Page .

A strong and enlightening feature of a Cara Luft show is the vivid background stories that introduce many of the songs and, with a new album to promote, there was no shortage of fascinating ones on this pleasant June evening. Therefore during the first half of the show we learnt of Cara’s right wing fundamentalist aunt, the subject of ‘Idaho’ and of the US/Canadian border crossing unintentional smuggling saga that became the origin of the popular audience participation favourite ‘Charged’, of which a live version appears on the new album and a You Tube clip featuring prominently on her website. Perhaps the stand out number from this segment of the evening was the new song ‘My Darling One’ with its infectious chorus line.

After commencing the second set with the song ‘Holding On’, so new it’s yet to appear on any record, Cara chose to focus solely on the new album with such numbers inspired by Canadian UN humanitarian Romeo Dallaire whose experiences in war torn Rwanda were reflected in a song simply titled ‘Dallaire’, while a more personal relationship was recounted in ‘House on Fire’. Cara loves to delve into traditional music and followed her rendition of the old English folk song ‘The Ploughboy and the Cockney’ in the first set with an interpretation of ‘He Moved through the Fair’ in the second. However there was time for one final twist as the encore consisted of a banjo rework of rock classic ‘Sweet Child of Mine’, a light hearted feature of Cara’s sessions back home with this much maligned but beautiful traditional instrument.

There are still plenty of opportunities to enjoy a delightful musical evening in the company of Cara Luft as she continues to extensively travel the UK this June including appearances at the fantastic Maverick festival at the end of the month, and investing a little - Various (UK, Canada and Germany)

BARTLEY KIVES, WINNIPEG FREE PRESS
“Luft possesses a strong, clear voice that's perfectly suited for this sort of semi-acoustic material. [Her CD] Tempting The Storm is much more interesting than many of the heavily financed folk-pop [albums] released by major labels this year.”

JAN BRAUN, IMPRINT (University of Waterloo)
"While wearing her folk influences on her sleeve, Luft never lets Tempting The Storm drag or fall into simply a great rendition of the expected. These are good folk tunes Luft has crafted with the ability to go beyond the fourth fret... the woman can play!"

SUITE101.COM (Los Angeles, CA)
The Scoop: Another prodigious young talent arrives on the folk scene from Canada. Luft, at times sounding like a cross between Natalie Merchant and unplugged Alanis, seems to be slightly hung up on the sea and lost love. Luft has a lovely voice—by far the centerpiece of the album—and is comfortable whether singing her own songs or reworking vocation-themed traditionals (“My Johnny Was A Shoemaker,” “The Blacksmith”). Tempting The inevitable comparison to said peers than by anything else. It’s likely that Luft’s best and most consistent albums are ahead of her.

Highlight Track: “Come All You Sailors” is a spirited opener that brings all the pieces together, featuring the whole band at their best. Especially shining here are Richard Moody on viola and Daniel Roy on percussion.

Honorable Mention: The acoustic guitar in “Send An Oar” brings to mind Ani DiFranco, even if I want it to bring to mind someone I don’t cite as a benchmark so often. As usual, Luft’s lyrics are introspective and hopeful, despite being so heavy with sadness and loss. - by Adam McKibbin - Various

BARTLEY KIVES, WINNIPEG FREE PRESS
“Luft possesses a strong, clear voice that's perfectly suited for this sort of semi-acoustic material. [Her CD] Tempting The Storm is much more interesting than many of the heavily financed folk-pop [albums] released by major labels this year.”

JAN BRAUN, IMPRINT (University of Waterloo)
"While wearing her folk influences on her sleeve, Luft never lets Tempting The Storm drag or fall into simply a great rendition of the expected. These are good folk tunes Luft has crafted with the ability to go beyond the fourth fret... the woman can play!"

SUITE101.COM (Los Angeles, CA)
The Scoop: Another prodigious young talent arrives on the folk scene from Canada. Luft, at times sounding like a cross between Natalie Merchant and unplugged Alanis, seems to be slightly hung up on the sea and lost love. Luft has a lovely voice—by far the centerpiece of the album—and is comfortable whether singing her own songs or reworking vocation-themed traditionals (“My Johnny Was A Shoemaker,” “The Blacksmith”). Tempting The inevitable comparison to said peers than by anything else. It’s likely that Luft’s best and most consistent albums are ahead of her.

Highlight Track: “Come All You Sailors” is a spirited opener that brings all the pieces together, featuring the whole band at their best. Especially shining here are Richard Moody on viola and Daniel Roy on percussion.

Honorable Mention: The acoustic guitar in “Send An Oar” brings to mind Ani DiFranco, even if I want it to bring to mind someone I don’t cite as a benchmark so often. As usual, Luft’s lyrics are introspective and hopeful, despite being so heavy with sadness and loss. - by Adam McKibbin - Various

VINTAGE GUITAR MAGAZINE
“Co-founder of the vocal trio The Wailin' Jennys, The Light Fantastic has a more rock-and-roll bent. But even with a more hard-edged veneer the basic sweetness of Luft's songs shines through. Original compositions are spiced with Celtic and Anglo/Canadian inflections that harken to her folk roots. If you liked the Jennys' first two releases, you'll love this.”

POPMATTERS
She’s been called “Jenny Van Halen” for her shredding guitar work with the outfit The Wailin’ Jennys, a folk trio she co-founded. Cara Luft left the Jennys to satisfy her yearnings to create something truer to her inner voice; she wanted something heavier, deeper, and dirtier. The result is her solo album The Light Fantastic, released last year in Canada and unfurled in the States in 2008. The brassy Canuck’s release aims for a dustier, edgier sound, but gathering from the swirly-drawn cover art (including sunflowers, butterflies and winding vines, and inspirational quotes) and the disc’s bright overall sound, Luft certainly added dust: fairy dust. This is not to say that Luft foes the sugar-pop-country route, though her warm alto vocals are sinfully sweet. Luft is the perfect blend of lightness and gusty rock chick.

The first five tracks are gritty, soulful, well-arranged, and, at times, kick-ass rock. “There’s a Train” begins the disc with drawn-out violas (Richard Moody) and layers of female vocal harmonies that wind themselves around a soothing underlying drone. Before too long, airy harmonies become unleashed rock riffs, Moody’s fervent fiddle jousting, and Christian Dugas’ unbridled drumming. Luft jams atop the brief melee with her electric guitar. Bitter “No Friend of Mine” has cutting harmonies as Luft ironically sings, “I’m cutting you from me life / Cuz you’re not worth my time”. Thankfully, the person was worth writing a beautifully orchestrated song featuring a set of vocals that expands from duet to multi-part and back again. Hugh McMillan etches out a bassline on double bass to the all-acoustic emerging sound. Luft’s golden vocal tone has a slightly sharp edge that mimics the sound of the multiple strumming guitars.

The Light Fantastic alludes to several poems and other literary works (such as John Milton’s L’Allegro) that use the phrase to refer to revelry with extravagance. It is lightness and its accoutrement. Shaken tambourines, foot stomps, and hand claps begin the traditional “Black Water Side”. Another drone underlines the increasing tribal percussion (including Ravi Singh’s tabla) and Luft’s lofty, repetitive guitar work. Some of Luft’s richest vocal tones arise in her reaching the lower notes to the piece. Part of Luft’s inspiration for the arrangement comes from a Jimmy Page interpretation of a guitar part by Bert Jansch. The second traditional song, “Lord Roslyn’s Daughter”, follows. The murder ballad (actually, de-virginizing ballad) flows with a dark edge as Luft sings with a foreboding tone against stern violins. Sporadic upright bass offers a spooky framework, while consistent minor guitar chords provide a ghostly haze.

Several songs showcase more of Luft’s airy, dream-like side. “Wilcox” features Luft’s saccharine soprano vocal range while she softly coos about the springtime on the prairie. Light acoustic guitar fingering and resinous viola surround her poetic words. “I’ve never seen a springtime in November before”, she whispers and aches with her Canadian and Southern American accent. She recalls Deana Carter’s youthful sweet tone with more nose and more rock. “The Light” has an Eastern modal feel to its six-and-a-half-minute duration. The drone returns as the piece increases the number of instruments being played and intensity. Luft’s voice joins several other voices in unison in different octaves, eventually resulting in a light-hearted chorus of “la’s” and “dah’s”. Bill Western’s pedal steel reminds the listener that this is indeed a country record. It is the balance that Luft continually strikes that sets this album apart from most female country singer/songwriters. - by Sarah Moore

WILDY'S WORLD
Winnipeg’s Cara Luft is a musical tour-de-force that you might never have heard of if you live outside of Canada. An integral part of folk trio The Wailin’ Jennys, Luft chose to follow her own path in 2005 after three years, two albums and one Juno Award for Best Roots album. Nicknamed “Jenny Van Halen” for her raucous guitar style, Luft is as accomplished with an axe as she is behind the microphone. Her album, The Light Fantastic, is a wonderful mix of the spiritual and the mundane, the certain and the in-between. Produced by Neil Osborne (54-40), The Light Fantastic features multi-instrumentalist Hugh McMillan (Spirit Of The West, James Keelaghan), Richard Moody (The Bills) and Christian Dugas. It a rare gem in popular music; a spending musical experience with outstanding storytelling.

Cara Luft shows an ability to capture moments and - Various American

BUDDY MILLER - Producer, Songwriter, Musician
"Cara's new record "The Light Fantastic" is great, real, and heartfelt - as she is. No fluff or extra notes - just the good stuff!"

SHERI BRAKE-MUYOMBA - Foothills Acoustic Music Institute
“Cara Luft was FANTASTIC... the most musical fun I have had in a long long time... [you] would be foolish not to snap her up.”

TERRY DAVID MULLIGAN - Host, CKUA
"This is her time, this is her year and THIS is the album. Ladies and Gentlemen, make room in your music world for Cara Luft. Songwriting as good as any I heard in all of 2006, begins my 2007... and just when you think you've got her style and passion nailed down she busts out in a completely different direction. Take the song Theres a train... it's like a modern day version of Buffalo Springfield's Bluebird... soft, gentle folksy beginning and then 3 minutes in, the song kicks into a rocking finish that stays with you long after the cd is over. And that's just the first track on The Light Fantastic. As I said, make room for Cara Luft...before she kicks your door down!"

JAMES PARTRIDGE - Presenter, Live at the Institute (UK)
“When Cara Luft breezes into the room and positions her multi-coloured vibrant self onto centre-stage, you somehow know that you are in safe hands by her presence and grin alone. An hour or so later, after a musical trip taking in everything from Alaska to the Blackwater, insistent riffs still jangling in your ears and melodies stuck with you forever, you are a now a part of her world and she a part of yours. That is what proper musicians do, and Cara Luft is one of those.”

JAMES HODGES, ROADSIDE ATTRACTIONS (Saskatoon)
“Listening to Cara Luft is like sipping a fine cognac, warm and smooth at the beginning, stirringly captivating by the end.”

ANDY MOREL, ROSSLAND ARTS COUNCIL
“...a truly Canadian diamond in the rough – no need for cutting or polishing.”

PAUL SYMES, THE BLACK SHEEP INN (Quebec)
"... a truly lovely concert, brilliantly performed, and an artistic success. Cara was delightful to work with in every way, and was utterly gracious and professional every step of the way. I would be thrilled to have her back!"

RICK FENTON, WESTERN CANADIAN MUSIC ALLIANCE and FORMER ARTISTIC DIRECTOR, Winnipeg Folk Festival
“Cara's voice, songwriting, guitar playing, energy, passion, fire, sense of humor, and zest for life make her a great addition to any festival lineup.”

BLACKIE AND THE RODEO KINGS
“You f*%&# blew me away!” – Tom Wilson
“I love the way Cara plays guitar and am very much looking forward to her new musical adventures, post Wailin' Jenny's. Go Cara go!” – Stephen Fearing

ROB SMITH, INTERNATIONAL GUITAR FESTIVAL OF GREAT BRITAIN DIRECTOR
“It was a privilege and a delight to present Cara Luft at the International Guitar Festival of Great Britain - It is always exciting when you see a ‘new name’ captivate an audience. A return invitation is our highest accolade!” - Quotes About Cara Luft

TORONTO STAR
"Calgary-raised and Winnipeg-based Cara Luft tempted fate when she left the successful Canadian female folk trio The Wailin' Jennys to resume a solo career. But her destiny seems assured. The Light Fantastic showcases her exceptional abilities as a guitarist and her compelling and distinctive voice. Moreover, as a songwriter she has matured since her last recorded efforts, and the 12 original songs on her second solo album, produced by Neil Osborne, are a powerful combination of imagination, rhythmic power and social commentary. That said, her reworking of the traditional English ballad "Lord Roslyn's Daughter" – the arrangement conjures up Brit prog-folk band Pentangle – is one of the most memorable in this collection. Top track: "There's a Train," a soulful lament that builds to a wild and passionate fury." - Greg Quill

VANCOUVER PROVINCE
“Yes, Luft is a Wailin’ Jennys founder but so much more too, head and shoulders above most. Think Julie Miller meets Gillian Welch on a lot of this, with an occasional bit of Linda Thompson tossed in. The Light Fantastic could be very big in Canadian roots circles.” – John P. McLaughlin

PENGUIN EGGS MAGAZINE
"This is Cara's first venture into recording since she left the Wailin' Jennys. I always wish the best to someone who leaves a going musical concern to pursue their own muse. Yet you can't help but also worry a bit that the admirers collected while part of said going musical concern will be disappointed in the new path. No such worries here. Cara recruited 54-40's Neil Osborne as the producer and together they have done her work proud. The Light Fantastic is a collection of 13 strong songs showcasing Cara's two strongest suits - her guitar playing and her wonderful voice. It's much more contemporary and less traditionally influenced than her last solo effort, Tempting the Storm. That being said, one of the album's stellar songs, Lord Rosyln's Daughter, is very much traditional in sound and style, telling a story containing enigmatic riddles and a nefarious nobleman on a "milk white steed" out to steal the damsel's virtue. A wonderfully produced and great-sounding album, The Light Fantastic is a great next step in the resumed solo career of Cara Luft." - Les Siemieniuk

WINNIPEG FREE PRESS
"After some time away from her solo career to record and tour with the Wailin’s Jennys, Luft returns with her long-awaited second full-length. 54-40’s Neil Osborne takes over production and applies a fresh coat of paint to Luft’s already charming musical base. The Light Fantastic is rooted in the folk tradition but slathered in rock ‘n’ roll. It’s evident right from the start when There’s a Train builds from a pretty acoustic-based country-folk tune with beautiful harmonies to a tumultuous rocker. All the while her clean and clear vocal (reminiscent of Kate Rusby or June Tabor) soars powerfully above the heady blend of country, folk, roots, rock and more traditionl fare. Spirit of the West’s Hugh McMillan and Winnipeggers Christian Dugas, Richard Moody and Bill Western add further colour to the project with tasteful flourishes of mandolin, viola, fiddle, lap steel, piano, pedal steel and harmonica. She may be Jenny no longer but she’s still wailin’." - Bruce LePerre

MONDAY MAGAZINE (Victoria, BC)
"The second solo album from this Wailin’ Jennys co-founder, The Light Fantastic wisely shines a musical spotlight on the album’s two biggest strengths: Luft’s sweet voice and her songwriting prowess. Anyone who enjoyed her work with the Jennys won’t be disappointed by this great solo disc; there are still strong harmonies at work here (courtesy of bandmates like Spirit of the West’s Hugh McMillan and producer Neil Osborne of 54/40 fame) and some outstanding musical contributions by the likes of Richard Moody (The Bills) and Christian Dugas (Alana Levandoski), but it’s mainly Luft who steps to the fore with her heart-twanging vocals and foot-tapping guitar playing. The Light Fantastic is a little bit country, a whole lot of folk and a surprising dollop of rock from an artist who’s quickly climbing the ranks to become one of the stars of the Canadian roots scene. If you thought it was a drag when Luft left the Jennys, check out The Light Fantastic and see what she’s been doing since. You won’t be disappointed." - John Threlfal

OTTAWA EXPRESS
"The Light Fantastic is by no means an exercise in mere volume manipulation, but rather a rich roots travelogue whose traditional heart beats with a wholly contemporary pulse. It spans the distance between the mists of English folk balladry and Middle East mysticism through to the Mississippi Delta and the rustic wonders of the Appalachian Hills with a certain fearless reverence, and no small amount of soul."

EXCLAIM! MAGAZINE
“The Light Fantastic is an appealing blend of country and roots rock. [There’s] a dash of badass rock in Luft’s hands [with] a hint of Jimmy Page in her guitar licks and a trace of Robert - Various Canadian

AMERICANA UK
"Luft is a consummate performer. Unlike so many singer-songwriters, [her] music has an urgency that can’t be denied…"

FISH RECORDS (UK)
The 7 year gap between The Light Fantastic, Cara Luft's second solo album and her 2000 debut ‘Tempting the Storm’ is excusable as she was a founding member of the Wailin’ Jennys; but is a virtue and the wait has produced an exceptional album as ‘The Light Fantastic’ is a superb and varied contemporary folk collection.

Quite a way removed from her debut disc, this album is a mature and confident set of songs, almost all are her own compositions (there are two traditional tracks) and she moves from quiet gentle arrangements right through to rockier full band tracks with ease. It’s an engaging and varied album and one that highlights Luft as an artist willing to innovate with her arrangements; it’s obvious her roots are in the folk tradition, but her tastes are much broader, and that has rubbed off onto the 13 songs here.

Her voice, as fans of the Jennys will know, is clean, pure and the perfect vehicle for acoustic songs, what will surprise many is how well she fares on the rockier guitar tracks, her voice is impressively versatile and sounds good throughout.

Guitars, both acoustic and electric, are the base for all the songs, and it’s an impressively small group of musicians that create an album with such a varied sound – mandolin, bass, fiddle, piano and tabla all add to this rich sounding disc.

The disc is full of memorable songs, the opener ‘There’s a Train’ starts as a delicate acoustic piece and builds into a huge ending; Lord Roslyn’s Daughter is a big folk ballad that has elements of British folk/rock throughout; and ‘Give it Up’ is a melody rich contemporary folk/pop song with a biting lyrics and a great hook.

’The Light Fantastic’ is one of the finest contemporary folk albums of 2007, and while Cara has already made quite a name for her self in her native Canada both as a Jenny and as a solo artist, this is the disc that deserves to bring her to a wider audience. Very highly recommended.

LEICESTER BANGS
Cara Luft helped found The Wailin’ Jennys before leaving in 2004 to resume her solo career, which began and stalled with 2000’s Tempting The Storm. Well, she’s back now, and The Light Fantastic announces the fact with a big, impressive bang. Unafraid to wander the Americana backroads; folk, country, country-rock and even some blues are featured, all are there to showcase what an accomplished songwriter Luft has become - both ‘Talk For Awhile’ and ‘No Friend Of Mine’ stand out. If I had a criticism, it’s a touch too long for one sitting, but if you wait seven years between solo albums, you’re going to have a lot to say. For the most part, it’s worth hearing.


MUSICWORKS EZINE
With the International Guitar Festival approaching, I thought I'd introduce one of the darlings of the festival, in this case Cara (one third of the Wailin' Jennys) Luft.

"Tempting The Storm" is not exactly a new album, having originally been released in Canada back in 2000, but British label Headroom Records (Steve Newman, Chilli) has picked up on it, and have licensed it for release over here in the UK.

And a very astute move on the part of Headroom indeed. Broadening their roster to include someone known predominantly for wearing their folk and country influences prominently on their sleeve, especially with the current British trend towards guitar bands, might seem commercially suicidal.

It's a well orchestrated move though, with Luft about to make an appearance with the other two thirds of the ‘Wailin' Jennys’ at the SXSW Conference, there’s bound to be more than a little interest in both the band and the members’ solo projects.

Although ‘Tempting The Storm’ does have very strong trad folk and celtic influences, much of the material on ‘Tempting The Storm’ leans towards what one suspects might be a hankering for the life of a rock star (‘Run To Your Lover’), trading Celtic folk influences for nifty rock guitar licks. Add to that Luft’s stunning guitar work, the thoughtful and well crafted lyrics and tunes, earthy vocals which are as much suited to the trad material(including reworkings of a couple of traditional folk songs) as they are to they groove laden indie rock on the latter half of the album, and you have a very listenable and highly entertaining semi-acoustica album.

Where some people might find trad folk a little boring, and the more commercial aspects of indie rock a tad worn at the edges, this album fits nicely into the folk rock category rather neatly.

fROOTS Magazine (England)
Cara Luft’s been listening to the right stuff way out there in Canada, making a smart move in relocating to Winnipeg – a city I know of old. This third album shows an abiding love of good old Brit trad and a canny way of writing her own remarkable folk rock grooves. Obviously familiar with Hark! The Village Wait, (and why not?) she covers My John - Various European

Friday, September 07, 2007

I was talking to Cara Luft earlier this week as she was on Vancouver Island headed to Duncan to pick up her '70s era Martin acoustic being serviced before her show in Courtenay.

Luft is in the midst of a tour in these parts promoting her The Light Fantastic CD, her second solo release and the first since she exited the Wailin' Jennys three years ago, the harmony trio she co-founded in 2002.

Servicing her acoustic guitar is a regular part of Luft's road routine as she plays in alternate tunings, eight or more different ones per show, and tightening and slackening those strings every few songs can be hard on the neck.

Besides being an outstanding singer and songwriter, Luft is an excellent guitarist, head and shoulders above most you hear in the young acoustic singer/writer world these days. She comes by it honestly.

Growing up in Calgary, her parents were local stalwarts in the '60s and '70s local folk scene, playing as a duo. Before that her mother had toured in the States with her sister.

"You know in that movie O Brother Where Art Thou and they have those little girls on stage singing?" says Luft. "That's kinda what my mom and my aunt did. And then her father, my grandfather, before he got married, he toured in a jazz band as a guitarist. He was phenomenal. And then his father, my great grandfather, he toured in a vaudeville show as a tenor singer. It's really interesting that there's this really strong, not just musical background, but performing background."

Between lineage and growing up in a household of folk records and musicians it seems her direction in life was sealed early on. Indeed, she's been playing guitar and singing since adolescence and really got excited when she discovered Led Zeppelin. The juxtaposition of folk, especially '60s Brits like Martin Carthy and Bert Jansch, with rock is fairly evident in her acoustic music.

Not for nothing did she select Neil Osborne of alternative rockers 54/40 to produce The Light Fantastic.

"I wanted to work with someone outside the folk genre," says Luft. "I didn't want to make a record that sounded like everybody else's record. It was really cool to have a totally new perspective on folk recording. It was one of those experiences that kinda brings together the melding of the world."
- John P. McLaughlin - Vancouver Province

Canadian folk music isn't normally the domain of rivalries, but it's easy to pick up a trace of self-satisfaction when hearing Cara Luft talk about her first solo album since leaving the highly acclaimed band the Wailin' Jennys.

While the Winnipeg native doesn't overtly bear a grudge, Luft doesn't hesitate to describe The Light Fantastic as the best thing she's ever done.

"I found that the band was going in a direction that I didn't want to be associated with," she says. "It was really becoming more focused on image and perception rather than music. As a result of that, there wasn't as much room for people in the band to bring their entire musical sensibilities, so I felt like I was only offering about 20 per cent of who I am. I needed to get back to playing music that had some substance and guts."

Although Luft didn't have immediate plans to make a solo album when she left the band two years ago, the opportunity quickly presented itself when she met up with The Light Fantastic's producer Neil Osborne, front man of Canrock mainstays 54-40. "My mom actually knew a member of his family, so she sent him my demos and he said he'd love to make the record with me," Luft says.

"He brought such a fresh perspective, being someone outside of the folk community. He really had no rules when it came to how he felt the album should sound, apart from saying that if we couldn't get something in three takes, we should leave it alone. It was the complete opposite approach to how we recorded with the Jennys, which was always really painstaking. It was such a positive experience, and that meant more to me than whether people would potentially like the record or not."

For all of its relative looseness, The Light Fantastic does feature contributions from several of Canada's best acoustic musicians, including Luft's current touring partner, Hugh MacMillan, of Spirit Of The West. Yet the album remains a showcase for Luft's own inventive guitar playing, best displayed on her cover of the British folk nugget Black Water Side, which has challenged guitarists ever since Jimmy Page laid down his interpretation on the first Led Zeppelin album.

"Neil really pushed me to try to combine the Zeppelin version with the traditional version of the song," Luft says. "It was a lot of work to pull off, but it felt great in the end to give it a new appearance. British folk-rock bands that took that kind of approach to traditional songs have always influenced me. That was something Neil grasped right away too, which added to the excitement of making this record."

That sense of discovery is evident in Luft's original material as well, as she was keen to finally flex her songwriting muscles. "There are a few songs that I had written for the Jennys that were never going to be played by them, but the majority was written during a six-month period after I'd left the band. I went to this small town in Saskatchewan and wrote, just because I needed to release all this energy that had been suppressed for the previous few years." - Robert Reid and Jason Schneider - Kitchener/Waterloo Record

WINNIPEG’S Cara Luft has had a bad case of wanderlust since the release of her CD The Light Fantastic, criss-crossing the country and heading overseas with James Keelaghan on a U.K. jaunt.

The record even begins with There’s a Train, a bittersweet ode to hitting the road. But the former member of acclaimed folk trio the Wailin’ Jennys says she really doesn’t mind not spending much time in her home base.

"We joke and call it a motivating city to live in, because if you spend the whole year there it’ll drive you bonkers," says Calgary-born Luft, who makes her first trip out East this week since a brief visit with the Wailin’ Jennys to the Lunenburg Folk Harbour Festival.

"It’s an extreme city in terms of weather, but also it’s just so far away from everything. It’s a great city to be based in, 24 hours away from Vancouver or Toronto, but it doesn’t take long for me to get itchy feet. These days it seems like I’m away 80 per cent of the time anyway, so it always feels good to touch down at home."

Those itchy feet will cover a fair bit of ground over the next week, starting on Friday in Petite Riviere as part of the Little River Folk concert series. On Sunday Luft is at the Mersey House in Liverpool, followed by shows at Stayner’s Wharf in Halifax on Wednesday, the Spitfire in Windsor on Thursday, Nov. 8, Coldbrook for the Borden Street Concert Series on Friday, Nov. 9 and at the Union Street Cafe in Berwick on Saturday, Nov. 10.

Luft couldn’t even stay in one place while making The Light Fantastic, which was recorded in Winnipeg, mixed in Vancouver and mastered in Toronto. The producer’s chair was filled by 54-40 frontman Neil Osborne, with instrumental accompaniment by Spirit of the West’s Hugh McMillan, who also joins Luft for her Maritime dates.

"We were contemplating recording at Neil’s house in Vancouver, but he has a dog and a cat, and I’m allergic to both, so it would suck to be sneezing in the middle of every take," laughs Luft. "So I brought them to Winnipeg to a studio that I felt comfortable and at home in, and it was a really positive experience.

"My Jennys recording experiences were quite stressful, because they were very much perfection-oriented, doing 25 takes until you got it perfect. Neil’s philosophy was the opposite; he felt that after three takes you really start to lose the energy and the momentum and the spark behind the song."

There is certainly a spontaneous feeling about The Light Fantastic, with Luft’s acoustic roots frequently joining forces with her inner rocker. She says Osborne pushed her past her comfort zone and helped her explore new areas of self-expression that might not have happened without his prompting.

"He really understands the importance of a song, so a folk-roots record wasn’t too much of a stretch for him . . . he has a deep respect for roots music and songwriters, and really likes acoustic music.

"But because of his rock background, he could see that I really loved rock music too, and really encouraged me to express that in the recording. When we were trying to decide who would play the electric guitar parts, Neil was adamant: ‘Cara, I’m putting my foot down, you have the spirit of Jimmy Page! You are playing every electric guitar part on this record!’ " - Stephen Cooke - The Chronicle Herald (Halifax, NS)

After some time away from her solo career to record and tour with the Wailin’s Jennys, Luft returns with her long-awaited second full-length. 54-40’s Neil Osborne takes over production and applies a fresh coat of paint to Luft’s already charming musical base. The Light Fantastic is rooted in the folk tradition but slathered in rock ‘n’ roll. It’s evident right from the start when There’s a Train builds from a pretty acoustic-based country-folk tune with beautiful harmonies to a tumultuous rocker. All the while her clean and clear vocal (reminiscent of Kate Rusby or June Tabor) soars powerfully above the heady blend of country, folk, roots, rock and more traditionl fare. Spirit of the West’s Hugh McMillan and Winnipeggers Christian Dugas, Richard Moody and Bill Western add further colour to the project with tasteful flourishes of mandolin, viola, fiddle, lap steel, piano, pedal steel and harmonica. She may be Jenny no longer but she’s still wailin’. - Bruce LePerre

The second solo album from this Wailin’ Jennys co-founder, The Light Fantastic wisely shines a musical spotlight on the album’s two biggest strengths: Luft’s sweet voice and her songwriting prowess. Anyone who enjoyed her work with the Jennys won’t be disappointed by this great solo disc; there are still strong harmonies at work here (courtesy of bandmates like Spirit of the West’s Hugh McMillan and producer Neil Osborne of 54/40 fame) and some outstanding musical contributions by the likes of Richard Moody (The Bills) and Christian Dugas (Alana Levandoski), but it’s mainly Luft who steps to the fore with her heart-twanging vocals and foot-tapping guitar playing. The Light Fantastic is a little bit country, a whole lot of folk and a surprising dollop of rock from an artist who’s quickly climbing the ranks to become one of the stars of the Canadian roots scene. If you thought it was a drag when Luft left the Jennys, check out The Light Fantastic and see what she’s been doing since. You won’t be disappointed. - John Threlfal

This is Cara's first venture into recording since she left the Wailin' Jennys. I always wish the best to someone who leaves a going musical concern to pursue their own muse. Yet you can't help but also worry a bit that the admirers collected while part of said going musical concern will be disappointed in the new path. No such worries here. Cara recruited 54-40's Neil Osborne as the producer and together they have done her work proud.

The Light Fantastic is a collection of 13 strong songs showcasing Cara's two strongest suits - her guitar playing and her wonderful voice. It's much more contemporary and less traditionally influenced than her last solo effort, Tempting the Storm. That being said, one of the album's stellar songs, Lord Rosyln's Daughter, is very much traditional in sound and style, telling a story containing enigmatic riddles and a nefarious nobleman on a "milk white steed" out to steal the damsel's virtue.

A wonderfully produced and great-sounding album, The Light Fantastic is a great next step in the resumed solo career of Cara Luft.
- Les Siemieniuk - Penguin Eggs