Hannah’s Field latest CD Revolution Soldiers is some of the best reggae influenced material in New England. Playing a few straight reggae originals before stretching their reggae roots into some other genres, they offer their listeners a full palette of colorful original music. Vocalist Hanna leads her band mates, guitarist Aidan Moore, drummer Bongo Bliss Andrew Ardenski, and bass player John Pitblado through a myriad of approaches that keep listeners guessing where they will go next and delightfully entertained when they arrive.
Opening track “Train To Nowhere” is a mild but riffy ride down a jovial musical track. Hannah’s vocal conjures a neo-hippie vibe, laidback. Beneath her vocal is a bouncy groove, bass play John Pitblado and lead guitarist Aidan Moore keep this fun piece fun, filling every meter with bumpy lifts.
The intro to “Grateful” feels like it was recorded in the late 1960s to early 1970s era. It’s lead guitar swirl and organ rise soon retreat to make way for the band to shuffle through this horn laced number in their own way. A jaunty trombone and a sweetly tuned keyboard make for nice ear candy around an island groove. Hannah injects just enough swagger to match the swaying feel of this number.
“Light Up My Way” lets Hannah show what she can achieve vocally in a down tempo number. She sprawls her gentle croon over the music proceedings beneath her voice. Lead guitarist Aidan Moore pays out a sensitive melodic line that sums up the positive message of this song.
Title track “Revolutionary Soldiers” is a celebratory anthem. Hannah sings of the warriors for freedom. She asserts her vocal in that space between reggae’s odd beats, making her voice as much a skippy, hooky instrument as the players who pinch out a tight, marching groove that can also be danced to. Brett Wilson, from Roots Of Creation, appears to sing a rap within the song as well as unleashing a bonfire high and bright electric guitar phrase. It all comes together coolly with this tune’s tight framework.
An ode to the Jamaican resort area, “Negril” finds this happy go lucky band nudging out a ska rocking chair beat. Over that seesawing groove is a tight assortment of clicking rhythmic instruments. That snappiness gives this song its charm, a charm that makes room for other pleasant devices, like a sublime lead guitar phrase by Aidan Moore.
Guest player Conga Jay plays an enticing Djembe on “Sacred Cacao,” a tale of a sweet, imaginary creature who offers chocolate milk and chocolate love. Hannah’s Field unfurl, at a considerate pace, a wavy, groovy down tempo piece. Hannah, at one point, turns it into a rap, showing how reggae music can rock things up while still retaining their island flavor. This one is worth listening to just for the Djembe.
“One Last Spliff” is loaded with bass guitar nudges and drum quirks, making this tune move like a slinky woman on the dance floor.. Hannah sings over it with a purring vocal that tugs the ear. She has her own kind of raspy charm in her timbre and projection. The cooing chorus is quite catchy, and the measured paces of this tune keep it engaging and likable.
A folky tune, “California,” slaps its way forward with pushy acoustic guitar chords and a briskly paced groove. A chirpy lead guitar phrase makes its purty way around everything else, in true country fashion. Hannah sustains her vocals at the end of each verse, matching the sustain of the guitar, a double pronged approach that makes this song even more fun.
“Waterfall” is a jovial acoustic rock number. Here, the band members slap out their chords and rhythms with a fun looseness, reaching into the spirit of this amicably toned number. Hannah comes into a second life during the chorus, praising a wonder of nature that makes her feel she’s “jumping on air.”
“Grow Your Light” is a switching groove number. This one gives you that swaying feeling when the music is loose and light but rhythmically persistent. Hannah’s vocal widens on the smooth cruise chorus and that opens up the song as its messages grows into something that represents a new found point of view. It’s bumpy groove and the lead guitar that rides over it follow a nifty pattern.
The edgiest song on this CD has got to be “Jamaicans Machete.” Hannah makes clear, with her electronically altered vocal, not to cross this person with this kind of weapon. Assertive vocals, dangerous sounding raps, a jittery lead guitar line, and a jumping, snappy rhythm section combine into a harrowing tone inside a harrowing message. The darkness in this song can cut you up.
Hannah’s Field travel a more emotive path for “Every Heart Needs A Home.” This singer ranges from whispery on the verses to exulted beauty on the chorus. That switch makes this song feel homey while in some moments it reaches into an anthem posture. Guitar tones here ring true and sweet as this rhythm section circulates the groove with a persistent smoothness. The strength of it all is how the voice and the instrument contrast each other, smoothness, rippling, that give this piece its magic allure.
“Unite” is a skippy rock reggae tune. Its skittering beat and riffy electric guitar flow with a rhythmic charm. Hannah graces it with a smoother, fuller vocal this time around. Aidan Moore takes his sublime approach and presses it out with more edge, giving this song a strength behind the voice. The rhythm section control this in a bumpy context, keeping all their knobby notes and rollicking smacks inside a tight framework.
Sounding like an early 20th century torch song, “Jamaica” benefits greatly from guest musician Allie Bosso’s big, wide, classy trombone work. She injects enough of this fancy nightclub feel to keep the tune rooted in an earlier time in music. A second vocalist, reminds of the old crooners who entertained club goers with the latest hits as Hannah plays the dame singer crooning with a jazzy style into one of those old fashioned microphones. Her raspy delivery is more personal and plaintive here and she’s likely to convince someone to take a trip with her to Jamaica.
“True Meditation” is a difficult song to describe. Its sparkling, bright guitar lines resonate with brittle fineness as Hannah croons about inspiration in a difficult world. Her voice rises beautifully above the sonic landscape as her band mates conjure an inspired upward drift in sound. This one could be a hit on local radio stations if the on air personalities can get a hold of a copy.
Close out track, “Consciousness And Love,” finds the band back into their reggae beat driven, funk feel mode. Hannah leads this joy train of musicians through trippy lyrics and celebratory beats and funky grooves. The party vibe is complete when a bunch of backing singers chime in and we are left with a vivid reminder what this band is all about.
Hannah’s Field continue their spirited journey through the Connecticut music scene and beyond with their lively engaging vocals, melodies, and grooves. On this new Revolutionary Soldiers album, produced by John Bolduc at Massiphonic Studios in Manchester, Connecticut, they expand their essential reggae roots into old torch songs, R&B, rockers, and some funk. It’s nice to hear a band sound like they’re having fun while they are laying down some exciting songs.
