Thursday, November 17, 2022

REVIEW: KORI LINAE CAROTHERS - On A Cold Frosty Morning

 

KORI LINAE CAROTHERS
 
On A Cold Frosty Morning
IRok’nNod Records (2022) 
 
Kori Linae Carothers makes a triumphant return to recording and releasing music after an eight-year absence with her delightful and beguiling holiday album, On A Cold Frosty Morning. This is the ideal soundtrack for the run-up to the Christmas holiday, especially when you are seeking an introspective and subtle album for de-stressing at what is (for most people) the most stressful time of the year. Even though it’s been a long time since we last heard from Carothers, to say she hasn’t missed a step is a huge understatement. In fact, for this reviewer, her control of nuance and control of melody has never been better.

Recorded at (where else?) Imaginary Road Studios under the watchful gaze and adroit production of Will Ackerman and Tom Eaton, with Eaton performing his usual mixing and mastering magic, Kori is joined by the crew of usual suspects (see credits below) and, as if it needs stating, they all preform admirably. However, while only one track (“Gésu Bambino”) is a solo piano cut, Kori is front and center on every song/carol. In addition, her arrangements of the assorted traditional carols present on the album walk the fine line between note-for-note and imaginative yet still recognizable classics. Her originals fit in perfectly with the traditional carols, too, somehow managing to sound wintry and holiday-seasonal. Another thing to note is the exceptional job done by Tom Eaton on keyboards (six of the ten tracks) applying the subtle but oh-so-perfect amount of “coloring” to the songs. His skillful fills are as textbook as they could be, coloring the piano melodies with just enough atmospheric texture without once intruding. In fact, I did a double take more than once because I wasn’t sure if I was hearing perfectly captured sustain from the piano are actual fills. Well done, Tom!

The mood here, as mentioned above, is reflective and subdued. Don’t expect a rousing version of “Deck The Halls!” As a result, the album is best suited for late night (or even early morning) listening, especially in front of the fire/hearth (what can I say? I’m a romantic at heart).

There’s no sense singling out any particular track because every one of them hits the mark. However, I would like to point out Jill Haley’s exquisite English horn performance on “Coventry Carol,” as well as Charlie Bisharat’s beautiful yet somewhat mournful violin playing on “Memories of Christmas Past.” This does not, in any way, diminish the talents of the other players, but these two performances struck a deep emotional chord in me.

Over my more-than 25 years of reviewing holiday music, I believe that On A Cold Frosty Morning is one of the best “quiet” holiday albums I’ve ever heard. In addition, it is wonderful to see/hear Kori Linae Carothers recording once more after all these years. I know she has had a hard go off it since releasing Fire in the Rainstorm in 2015. I seldom “vouch” for an artist except for recommending her/his album, but in this instance, if you are looking for a holiday carol album to add to your collection, I know Kori would appreciate the support. She certainly deserves it! In the liner notes, she writes “I have always adored Christmas music. After 7 years of various trials and tribulations, I needed to express myself through my music and was encouraged by my family and friends to make this album.” 

On A Cold Frosty Morning is about as perfect as a holiday album can be. It’s also a welcome return to recording and releasing music for Kori Linae Carothers. The album is ideal music to accompany your seasonal activities and merits my strongest possible recommendation.

CREDITS
Produced by Will Ackerman and Tom Eaton
Mixed and Mastered by Tom Eaton at Sounds & Substance
Recorded at Imaginary Road Studios
All arrangements by Kori Linae Carothers. Original songs written by Kori Linae Carothers
Photos by S. Whittle
 
Piano: Kori Linae Carothers
Cello: Eugene Friesen
Violin: Charlie Bisharat
Voices: Noah Wilding
English horn: Jill Haley
Bass and keyboards: Tom Eaton
Guitar, rainstick, and Hopi drum: Will Ackerman


Wednesday, March 16, 2022

REVIEW: Jill Haley - Wrapped in Light

JILL HALEY
Wrapped in Light
Coranglais (2021)

With the Covid pandemic shutting down mostly everything in 2020/2021, Jill Haley, a fantastic musical interpreter of the awe, wonder, and beauty of the National Park system, was not given the opportunity for another artist-in-residency position to draw inspiration from for her next album. Since she felt a desire to compose and record just the same, Haley turned inward for a wholly different, yet strangely appropriate, source of beauty to inspire her muse. In this case, Jill delved into the Book of Psalms, which provided her with a literate source of the beauty of nature. In fact, in the liner notes, each track's title is lifted from a specific Psalm and the Psalm number is listed along with the specific instruments played on each track.

I found Wrapped in Light to be Haley's most soothing, serene album to date, lacking the occasional invigorating or playfully dramatic song featured on her national park series of recordings. Another aspect that makes Wrapped in Light different is that it's her first album featuring synthesizer (played by her). Sometimes, the synth provides texture via washes, synth strings, etc. and other times, it's used more directly as a melodic keyboard instrument, e.g., the pleasant bell-like tones at the start of "Forest Sings For Joy." Since this is the first time I heard Haley play synth, I was quite impressed with her dexterity on the instrument.

Jill plays her usual English horn, oboe, and piano, the latter which (to my ears) features more prominently than on any of her other releases. Also on the album are husband David Cullen (guitar and bass) and son Graham Cullen (cello). Only two tracks feature "just Jill" while Graham plays on seven of the ten songs. His cello playing keeps getting better with each album, and, of course, David's guitar playing is his usual stellar work.

Even though the mood of this album (compared to, for example, The Waters of Glacier or The Winds of Badlands) is more serene, don't come here looking for somber or melancholic soundscapes. This is music suffused with warmth and, at times, palpable but subtle affirmation. It's just more low-key in essence than her previous work (although all her albums feature similar tracks, just not as pervasive as on Wrapped in Light).

The synth fills on the opening title track are spot on, and piano plays the most prominent role with a slight but discernible cheeriness, while "Clouds Rise" has David's fingerstyle guitar dominating at the beginning, again with some discrete synthesizer in the background. The first time I played the album, and this song in particular, I thought the music would take a dramatic turn due to the song's title, but any drama, either on this track, or throughout the album, is always subdued. As mentioned earlier, the bell tones/chimes at the start of "Forest Sings For Joy" are classic new age keyboard ones, which made me smile, taking me back to that great period of the genre in the late '80s and early '90s. I just wish that they were sprinkled throughout the track, not just at the intro. "Wings of Dawn" opens with some wonderful synth strings but Haley holds them in check so their effect does not overpower the album's overall sensation of peace and calm.

It shouldn't need stating that Haley's superb woodwind playing (on all but one track) displays her abundant talent, but her piano playing proves to be ear-pleasing as well, and it's featured on all but one song ("The Mountains Rose") which has synthesizer, oboe and cello. It's easy to see why Jill Haley appears on so many other artists' albums when it comes to playing oboe and English horn. She plays them with equal parts emotion and talent, but never in a melodramatic or showy manner.

I'm sure we all want the pandemic to be over soon for any number of reasons. I, for one, can't wait to see Jill Haley once again being invited to be artist-in-residence at another National Park. Personally, I'd love to see her gain one at Acadia on the coast of Maine, because it would be interesting to compare what she comes up alongside one of my all-time favorite recordings, that being pianist Jim Chappell's release, Acadia (1996). Having visited the park myself, I have no doubt Jill's interpretation would equally enjoyable.

CREDITS:
Co-produced by Jill Haley and Corin Nelsen
Music by Jill Haley
Photos by Jill Haley
Piano, synthesizer, guitar, and bass recorded by Glenn Barratt at Morningstar Studio
Oboe, English horn, and recorder recorded by Corin Nelsen
Mixed and Mastered by Corin Nelsen