Wednesday, October 20, 2021




Next Music 2021


"Pangaea or Pangea ( /pænˈdʒiːə/) was a supercontinent that existed during the late Paleozoic and early Mesozoic eras. ... In contrast to the present Earth and its distribution of continental mass, Pangaea was centred on the Equator and surrounded by the superocean Panthalassa." (source, Wikipedia).

Believe it or not, this is not the first "new age" album named after the Earth's initial "supercontinent." But it's certainly one of the best with those roots. Helmed by two legit superstars of instrumental music, Wouter Kellerman (assorted flutes) David Arkenstone (keyboards, guitar, and programming), with some talented guest artists sprinkled throughout the album, Pangaea can be summed up as a statement expressing how music unites the planet, much like how the original Pangaea was all one landmass. Featuring an array of global influences, no specific region dominating (which underscores the unifying concept behind Kellerman's and Arkenstone's vision), the nine tracks are superbly recorded and produced with a flawless mix and mastering job by Bill Hare (Bill Hare Productions, Milpitas, CA). You have to trust me on this – nix the ear buds and play this album loudly through quality speakers. You will thank me later.

An assortment of tempos, moods, and rhythms populate the album, yet the cohesion of the entire recording itself is obvious (at least to me it was). Part of this is the presence of Kellerman's various flutes but also Arkenstone's adroit keyboards and guitar. When rhythms are present, they vary from thunderously jubilant to smooth and pleasantly mellow. Sometimes the melodies and percussion amp up the energy, and other times there is a pronounced feeling of, well, for lack of a better phrase, "global chill." Some of the tracks feature vocals, mostly of the wordless type, and each of the singers brings his or her "A game." The mix expertly layers the instruments side by side with each vocalists' voice, which is not that easy to balance. While keyboards are listed in the liner notes, this sounds much "acoustic" so while I used the phrase "global chill" this doesn't embrace any of the typical "chill out" motifs.

As mentioned earlier, there are multiple worldbeat influences at work here, and even when they are not necessarily "subtle," I still would hesitate to label Pangaea as world fusion, since that term frequently is applied to music which over-emphasizes electronics or an overt presence of distinctly recognizable "country of origin" flavors mashed together. Instead, what elevates this album is how it overlays the global influences onto a highly accessible new age music framework. While bearing no literal resemblance to Arkenstone's masterpiece recording, Sketches from an American Journey, the two albums share a common approach to tying disparate tracks, style-wise, to a singular, unified musical statement.

At its core, Pangaea is a homage, if you will, to the universal appeal of music, rhythm, and voice, joining all citizens of planet Earth in their love for a celebration of joy, beauty, and exhilaration. Granted, given the shape our completely broken world is in now, it's more than a little Pollyanna-ish to embrace such a Utopian view, i.e. "let's all gather and sing kumbaya!" Still, even if Kellerman and Arkenstone's gift only speaks to those who share their ideals, it can only strengthen those enlightened souls to recommit themselves to making this a better place to live for all inhabitants (animal, vegetable, and mineral) of this small green and blue world. Hey, with all the work there is to do, we might as well have a great soundtrack for getting to it, right?

Finally, if you enjoy this album (and why wouldn't you?), I suggest you also look for Stephen Bacchus' Pangaea, which presents yet another vision of a unified world through a combination of new age and world beat music.

The outlets for purchase, download, and streaming are located here

Friday, September 18, 2020

REVIEW: CHRIS FIELD - Beneath the Sun

Beneath The Sun
Tosca Road, Inc. (2020)

Describing instrumental music as “cinematic” is somewhat overused and sometimes undeserved (and I include myself as a critic who may do that at times). However, in the case of Chris Field’s second release, Beneath The Sun, it is not just a well-deserved term as to the music itself, but is underscored, if you delve into this composer/performer’s background. Field’s list of soundtrack and movie trailer credits includes such monster hits as Valerian and the City of a Thousand Planets, Lord of the Rings: Fellowship of the Ring, Tomorrowland, XXX, Terminator 3: Rise of the Machines, Harry Potter, Hotel Rwanda, and more. His musical chops would be unassailable regardless whether Beneath The Sun was a recommendable recording, which it most definitely is if you enjoy, well, cinematic music.

Why do I refer to this as cinematic music? Well, obviously, the presence of the Northwest Sinfonia strings has a lot to do with it (and they sound gorgeous – and I mean sumptuously so) but it’s much more than that. Field’s compositions, which span a wide assortment of moods, styles, and tempos, can easily whisk the more imaginative listener away to any number of “imaginary” movies (trust me on this as I did my fair share of “creating films” while listening to the album during my many playings). 

There is a visual component to the main piano melodies as well as the string accompaniments that may instantly trigger images. Here’s an example: “Summerland”, with its funky opening segueing to lush strings and infectious semi-breakbeats, could easily be the backdrop for a drive through the mountains by, say, James Bond, on his way to a rendezvous, or maybe it’s the opening credits to a thriller laced with comedy elements (the tune blends adventure with a sly sense of humor).  

“Time Will Tell” features an opening piano line with midtempo beats, underlying strings, and a sensation of mystery, before soaring off on a powerful dramatic passage with thundering drums, visually escalating into a foray of action on the screen, then descending into a dreamy flute-driven piece (ethnic wind instruments on the album are played by Sandro Friedrich). The blend of melancholy and tenderness in “From The Heart” might accompany the bittersweet reunion of star-crossed lovers, or the returning soldier as he or she walks up the block to greet the family after being away. The album-closing “In Motion” more than lives up to its title with an energetic lead synth chord melody, trap kit drums, and strings that dial up the intensity nicely, yet the piece is actually friendly in mood and tone, conveying a sensation of rushing, but not in a panic, but more out of fun and good cheer.

The only piece I had a hard time connecting with was the title track, but this is purely a matter of personal taste, as the power guitar chords and prog-rock sounding keyboards seemed out of place (for me) amidst the other the tracks. The juxtaposition of the rock elements with the strings didn’t resonate with me for some reason (odd since I have loved prog rock/prog fusion since the 1970s). But, I enjoyed everything else on the album, with the standouts for me being the aforementioned “Time Will Tell, “Summerland,” and “From The Heart,” although if I am honest, the remaining seven songs all have a lot going for them.

After hearing Chris Field’s music, I suppose I will have to become more judicious using the term “cinematic” in my reviews; unless, of course, it’s this talented composer’s next album, which I hope will arrive sooner, rather than later.

Album available at Amazon, iTunes, and for streaming on Spotify, and Pandora. Links for all are here

Monday, December 16, 2019



Advent is a holiday album released by the group Erwilian, an ensemble that I regret to say I am almost entirely unfamiliar with (I regret it because based on Advent I would enjoy their music, I imagine). Advent, however, is not your typical holiday recording, at least I suspect it will not be for most American listeners. While the maxi-EP (six tracks, about thirty minutes of music) only contains one original (by group member and acoustic guitarist Scott Melton), of the other five traditional carols, only one was familiar to me, "Carol of the Bells." The others are, I would guess, better known in Europe, and specifically, France, England or the UK. That statement has literally nothing to do with the quality of the music on the EP, or the artistry of the performances of the band members. It is merely a relative statement of the carols' "familiarity" to me, and I would imagine, the average casual holiday music lover.

Erwilian's members are the aforementioned Scott Melton (acoustic guitar, mountain dulcimer), Jordan Buetow (harmonium, percussion, soprano recorder, hammered dulcimer), Matt Garcia (harp, bass), John Hintze (celesta, drums, percussion, hand bells), Malcolm Lee (bass), Bethel Melton (hammered dulcimer, chimes), and Keely Rendle (violin, mandolin, acoustic guitar). You can judge (I hope) by the instruments, that Erwilian's sound evokes a bygone era in English folk music, and a most ear-pleasing era it is. I've always been a fan of both the recorder and the hammered dulcimer, and the musicians who play these do so with uncommon talent. All of the artists contribute mightily to the overall "whole" of the recording and the production quality (engineering, mixing, and mastering) is flawless.

Let me start out with the one carol I am familiar with, "Carol of the Bells," which gets a fantastic interpretation, featuring no less than THREE hammered dulcimers playing the lead melody. This has always been one of my seasonal favorites and Erwilian does right by it, infusing it with the right mixture of haunting beauty and jaunty energy. The hand bells are the perfect touch as well. By the end of the track, the energy level and drama have ramped up before coming to a wonderful fade out. "Wexford" kicks off the EP with the droning harmonium counterbalanced by twinkling celesta notes and the main melody on violin. The mood at the outset is pastoral, evoking a gentle snowfall over rolling hills, switching to an uptempo cheeriness enhanced by hand percussion and hammered dulcimer. Simply delightful! Recorder also contributes to a truly festive musical atmosphere later in the song, and one can envision the countryfolk dancing in joyous celebration. "Whiteout," the original composition by band member Scott Melton, reminds me of any number of midtempo tunes by the duo Tingstad and Rumbel, owing to the fact that it features acoustic guitar and recorder (although, technically, Nancy Rumbel plays the ocarina, but the similarity is still there to my ears). Gently rollicking, the main melody is also covered by violin, the music should elevate the listener's mood nicely – it does mine.

The next two tracks have their origins in France, I believe. "Animaux: La Crèche" (here translated as The Friendly Beasts but I think it can be loosely interpreted as the animals which appeared at the Nativity, and "Animaux: La Faune" (which, per Google translate, means "wildlife animals." Both are listed as traditional and the latter is noted as a Burgundian carol. "Animaux: La Crèche" is a lovely slow tempo carol, featuring guitar, celesta, dulcimer, and recorder, and I could picture the various animals (frequently featured in paintings of the Nativity) at rest beside the manger. "Animaux: La Faune" immediately elevates the energy level of the melody and rhythm, making it easy to see how the two carols diverge, i.e. "friendly beasts" compared to their "wilder" counterparts. This song sounds like an English folk dance melody (as do some of the other here). Lively and spirited, but also possessed of a haunting mood at times.

The EP concludes with "Nova" which per the liner notes is "Westminster Quarters (Traditional)." The opening bells (sounding like church bells) obviously convey a joyous holiday spirit, as does the hammered dulcimer. The mood here is the most celebratory of all the tracks, with a more pronounced underlying rhythm and a "kick up your heels and let your hair hang down" feeling of joyfulness. It's great ending piece.

Advent may not be your typical American collection of holiday music, but I recommend you expand your musical horizons and give it a virtual spin. If you entertain family or friends, I have to think this would make great music for the gathering as it paints an appropriate festive mood but does so in unexpected ways when compared to the usual fare.

Advent and other Erwilian albums are available from CDBaby, Amazon, and iTunes.


Santa Plays The Stick

It wasn't until I checked his discography that I realized how prolific a recording artist Chapman Stick player Michael Kollwitz is (well over 20 albums released!). Santa Plays The Stick is his second holiday music album (the first being Frosty the Stickman, if I am interpreting his website store correctly). Obviously, if you are unfamiliar with what a Chapman Stick® (invented by the man for whom it was named, Emmett Chapman) is or how it sounds, just go to your streaming app of choice and plug in the artist's name. I have enjoyed Kollwitz's albums (I have heard the first three "Serenity" series recordings) as well others who have played this instrument, most notably Jeff Pearce's excellent releases.

As for whether or not Santa Plays the Stick will be your cup of tea depends on whether you enjoy the "Stick" itself. Since I do, and I also enjoy most holiday carols/songs, you can guess that I found a lot to enjoy here, including four originals penned by Kollwitz. Obviously, when it comes to "original" holiday music, it's difficult to state with any certainty if the song in question "sounds like a Christmas/holiday carol." There are no true "Christmas" motifs except in copying the classics, which most artists who attempt originals tend not to do. That leaves the listener to basically either find that the original fits or doesn't, thematically, with the abundance of traditional classics. In this regard, while none of the four stand out, the flow from an original to a classic is well-done.

Kollwitz concentrates more on the religious carols ("Away in a Manger, " "Angels We Have Heard on High," "We Three Kings," "Silent Night" are among the ones he chose) than the secular ones (present here are "Deck The Halls," "The Twelve Days of Christmas," "We Wish You a Merry Christmas") as well as his aforementioned originals ("Pile of Presents," "Snow Ride," "December Wedding," and "Basket Full of Joy"). All the classics are easily recognized, i.e. he does not needlessly embellish them (a smart decision, that) nor deviate from the main melodies. As a result, I found myself thoroughly enjoying his versions of these holiday favorites. As far as his originals, again, they fit in well and if they don't necessarily resonate as "holiday-ish," they don't jar the listener by throwing a deliberate curve in tone, mood, tempo, etc. To be honest, I would've preferred a few more secular carols instead, but most solo artists who release holiday albums do include a number of originals, and who can blame them?

Some tracks are uptempo and cheery in mood, some are serene and/or somber, although the originals tend to be the former and the religious carols the latter. Kollwitz deftly applies some sparse ambient textures, e.g. a wash of synth strings here and there, which help a lot in fleshing out the singular sound of the Chapman Stick. Again, my preference is that he used these "extras" a tad more, because their presence in a track is always welcome.

Santa Plays The Stick would, I think, work best to be played during more festive times of the holidays, as opposed to, e.g. quiet repose in front of the fire. It strikes me as a somewhat whimsical recording, except for the more somber of the religious carols. If the Chapman Stick® is not your thing, obviously, pass on this album, but I would certainly give it a listen, especially if you enjoy the traditional holiday/Christmas classics. Kollwitz is as talented on this instrument as I imagine anyone is, and his playing is both artistically pleasing and technically adept. 

All of Michael Kollwitz's albums are available from the artist here.

Wednesday, October 16, 2019

REVIEW: Gina Leneé - Revealed

Gina Lenee

Revealed is pianist Gina Leneé's second album produced by Grammy-winner Will Ackerman and co-produced, engineered, and mastered by Tom Eaton. All but one track was composed by the artist (the exception being her cover of the famous romantic ballad "On the Wings of Love'). As would be expected of an Imaginary Road Studio effort, many of the IR's usual suspects are present in varying roles: Charlie Bisharat (violin), Premik Russell Tubbs (soprano sax and EWI), Jeff Haynes (percussion), Eugene Friesen (cello) Jeff Oster (flugelhorn) as well as Ackerman (acoustic guitar) and Eaton (electric bass). As she showed on Red Diamonds, Leneé displays a deft touch and superb control of nuance and tone, and never allowing her playing to exhibit meaningless artifice or unnecessary pyrotechnics. The guest artists are used sparingly, but as one would expect, their talents contribute to the overall aesthetic of the album whenever they do appear on a song.

Whereas Red Diamonds focused on melodies glowing with soft shadings of romance, Revealed's sound tends to evoke a more pensive, somber mood on most tracks, making the album more reflective and even, perhaps, meditative. Leneé's playing style is not truly minimalist, but tends to be more sparse than some of her contemporaries. And boy, does she make every note count. The prevailing mood of introspection is immediately discerned on the opening "Undeniable" on which Leneé is joined by Oster who colors the tune with a soft glow of jazz/blues. "Finding Me Again" continues the reflective aspect of the first song, albeit with a slightly warmer melodic approach. Leneé's playing on this song flows nicely, as if a river wending its way through the countryside under a twilight's amber-shaded sky.

Before delving into a few more of the songs, it's important to quote some of the artist's liner notes, which go a long way to explain the overall tone and mood of Revealed. "Revealed is a musical dedication to empower YOU, the listener, in the darkest moments when pain, rejection, self-doubt and isolation weakens your spirit and leaves you the most vulnerable." You can understand, now, why the main thrust of the album is a musical portrait of self-exploration and a balancing act of somber melancholy as well as a show of subtle strength. "I Want to Get Closer" exemplifies this duality as the song traverses the opening somberness with a palpable climb to subtle drama, characterized by not just Leneé's piano but Tubbs' softly soaring sax playing. On "Over," Bisharat's violin embellishes the piano melody with just the right amount of tenderness without injecting any sense of the maudlin or faux sentimentality.  "Run Away With Me" is a lighter, cheerier tune, with a slightly sped-up tempo (in comparison to most of the songs on the album). Oster's horn work adds just the right amount of something extra, an element of romance to fuse with Leneé's piano lead.

Throughout the entirety of Revealed, what stands out to me is the depth of feeling and sincerity of emotion that Leneé brings to the fore. This is the work of a mature artist, someone who is quite comfortable in opening her soul to the listener, pouring out her memories as notes on the keyboard. As the winter approaches (for us in the northern climes, at least), here is an album that almost begs to be listened to as the days grow shorter, the nights grow colder, and the outside world slowly goes to sleep. So, set a fire in the hearth, pour yourself a glass of wine, dim the lights, and indulge in the richness that is Revealed.