Paradise
Greycliff Music (20252)
The first Bill Leslie album I reviewed was back in 2004 when I reviewed Peaceful Journey – A Celebration of North Carolina. I was quite impressed with not just his multi-instrument talent but the way he infused Celtic/Irish elements into his "Americana" style of instrumental music. More than once (over the multiple albums of his I have reviewed) I have compared he and his guest artists to the groundbreaking fusion group on Windham Hill, Nightnoise. As a fan of that group, I couldn't dish out higher praise than that.
Paradise is (by my count) Leslie's tenth release. I'd say it is his best, but that's splitting hairs because, in all honesty, every single album from him has been a clear-cut winner. One of the elements that make his music so enjoyable is the tangible sheer joy you can deduce that he must feel composing and performing/recording this music. His inspiration frequently comes from places, both abroad and here in the US. In fact, Paradise (a perfect title for this recording) is Bill Leslie's "musical love letter" to favorite locations that he has visited over his many travels. The album liner notes make that clear as day. This is a man and musician who connects with the land and people wherever he travels. He then "translates" those feelings into wonderful, sincere, and deeply heartfelt music.
While there are undeniable Irish touches here and there on Paradise, mostly due to some of the instruments featured such as Celtic whistles, violin, and flutes, the fourteen tracks here paint a broader picture than some of his other releases. The music is suffused with elements that make it easy to visualize the assorted places. In addition, Leslie incorporates discrete usage of nature sounds at the start of many tracks. For example, the opening "Autumn in Vermont" is ushered in by the sound of a babbling brook before Leslie's acoustic guitar begins the journey along said brook with a relaxed melody which also features violin, flute, and oboe (see artists' credits below). Leslie also has developed an adroit hand at adding some keyboard textures to his songs. "April in Asheville" opens with wonderful birdsong until piano and cello take command in a slower, more serene mood than the previous track. This is music to be savored, taken in song by song, and appreciated for both the expert performances as well as the gorgeous production.
Leslie's liner notes give succinct insight into how each piece came to be, and this personal touch by the artist is one of the things that makes Bill Leslie an artist worthy of in-depth listening. The other element that makes him special is how versatile and talented he is across all his instruments, which, on Paradise, are guitar, piano, flutes, Celtic whistles, keyboards, and harmonium. The digipack features some great photos, also taken by Leslie, which adds even more impact when listening to the music, although I wish he had labeled where each was taken.
The fourteen tracks mostly hew to a relaxed tempo although liveliness does crop up here and there, but never to the point of being rambunctious, so Paradise is equally worthwhile played in the background or listened to intently. With the latter, you will more deeply appreciate both the talent and nuances exhibited by the performers as well as the great production and mixing of the album.
I have not traveled anywhere near as extensively as Bill Leslie has, but at least I can "armchair travel" thanks to his gift of this music. As with all his albums (that I have reviewed), this is simply wonderful music and I can't recommend it highly enough to those who enjoy (mostly) acoustic ensemble music with a hint of Celtic/Irish influence scattered here and there.
ALBUM CREDITS
All songs composed by Bill Leslie except
"Shenandoah" (traditional)
Arrangements by Bill Leslie except "Oregon"
(Jennifer Curtis and Bill Leslie), and "April in Asheville,"
"Blowing Rock," and "Shenandoah" (piano arrangements by
Bill Covington)
Album produced by Bill Leslie
Recorded and mixed by Thom Canova at Overdub Lane, Durham,
NC
Mastered by Steve Fallone at Sterling Sound, Edgewater, NJ
Additional recording at Greycliff Studio, Cary, NC and
Crossroads Studio, Arden, NC
ARTISTS
Bill Leslie: Lead guitar, piano, flutes, Celtic whistles,
keyboards, harmonium
Bill Covington: Piano (on tracks 2, 6, and 9)
Jennifer Curtis: Violin and guitar (on track 3)
Nancy Green: Cello
Melanie Wilsden: Oboe
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