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MUSIC REVIEWS
Instrumentals

Instrumental Ensemble  |  Pop and Proud, Yanni  |  Piano

Categories

• Instrumental: Albums created primarily with live instruments which may be amplified or slightly processed. Here the "live" element is more important than the fact that the album was created using keyboards or synthesizers.
• Instrumental Ensemble: The group is featured rather than the soloist.
• Instrumental Piano/Guitar/Flute:  Instrument is featured either with ensemble or solo.
  Instrumental Ensemble

TINGSTAD AND RUMBEL
PASTORALE: Music of Nature and Grace
    Narada Lotus
There has always been a classic nobility to a Tingstad and Rumbel album, and with PASTORALE, they've taken this refinement to new levels of grace. As the title suggests, the pieces (with the exception of the jaunty "Fisherman's Dream" with Rumbel on ocarina) are stately and peaceful, with just a touch of Celtic sensitivity. The guitar/woodwind duo performs as they might on stage, with little electronic augmentation or other instruments. The humble organ on "Chapel in the Valley" creates a holy atmosphere, but as one might pray alone.. The album ends with "Reverence"; keyboard strings create visions of the soft rolling hills of Ireland while Rumbel plays a sentimental refrain on the oboe.   Instruments: Oboe, ocarina, steel string and Spanish acoustic guitars, keyboards. - Carol Wright,  New Age Voice
 

Spencer Brewer and Paul McCandless
TORCHES ON THE LAKE
    Access Music Label
Torch is in the title, but cool is in the lines. Pianist and synth player Spencer Brewer (Narada label) and Oregon's wind man Paul McCandless (ECM) team up with a polished contingent of guest artists including Mingo Lewis on percussion, Kai Eckhardt on bass, Kit Walker on synth, Alex de Grassi, Steve Cardenas, and Steve Giovenco on guitars...plus horns and chamber string ensemble. Kicking off the album is Brewer's upbeat "Santa Fe," a free-flying excursion propulsed by McCandless's powerful soprano sax. McCandless penned the second piece, "Can You Keep a Secret," an easy-going affair -- the essence of Docksiders. Smooth also is "Valentine Be Mine." The piece seems to float along a lazy brook, with the piano twinkling like stars overhead. "Hip Hop" creates another mood with the cool funk of bass player Kai Eckhardt. With the addition of the chamber ensemble -- strings, bassoon, acoustic bass (Steve Rodby), and French horn--in "Round Robin" and "Cinematic," the album moves to more sublime spaces. These pieces seem more in touch with the broad strokes of nature, the allure of far horizons, and the anticipation of a first love. "Cinematic" moved from the plains to the discordant eddies of a stream to finally surrender its heart to the sea. - Carol Wright,  New Age Voice

KURT BESTOR
SKETCHES
    BWE Music
SKETCHES by composer/keyboardist Kurt Bestor delivers a winner with each track. Speaking of winner, Bestor won an Emmy for his theme for the '88 Olympics for ABC; he has composed 30 film scores, more than 40 national TV themes and commercials, and has released nine albums. All this to say that he's recognized for having a good eye for the note, and his music is livened with vivid visual and emotional images. Descriptive poems reveal the source of Bestor's inspiration, in this case, explorers and pathbreakers. The energetic Tesh-like "Expedition" has a bouncy country feel (fiddle by Charlie Bisharat, with Bestor on harmonica) that honors John Wesley Powell as he shoots down the intimidating Grand Canyon for the first time. Bestor is not tied to this "victorious" Tesh beat, however. "Fishing the Sky" is a luminous lovesong to the peace of a still morning on Thoreau's Walden Pond. Bestor's piano glistens, Grant Geissman's classical guitar is golden; special touches of nobility are added by Daron Bradford on recorders and clarinet. A live chamber orchestra is used on most pieces, and the LSO's concertmaster, Igor Gruppmann, plays violin solo on the rhapsodic "Stradivarius."
    As a tribute to Sojourner Truth, Bestor uses female soloist Nolanda Smauldon and male gospel choir; "Amazing Grace" is woven into the soulful song. Bestor's sensitivity on solo piano is showcased on "On Pastel Wing," an Aaron Copland-like composition which honors birdman John J. Audubon. Native American Olympic gold medalist Billy Mills is portrayed on "Windrunner" which begins with slow stretches, builds to a jog, a run, and ultimately a runner's high complete with Native American chanting. Gregorian chant defines the artistic breathroughs of Giotto di Bondone; the piece grew from Renaissance music forms (in other words, no ambient beat).  It's a fine album that will withstand numerous playings. Featured throughout is Manfred Manning on fretless bass. Instruments: Keyboards, piano, orchstra, harmonica, nylon and steel string guitars, dobro, freeless bass, drums, percussion, violin, recorders, penny whistles, woodwinds, gospel group, Gregorian chant. - Carol Wright,  New Age Voice

BRUCE KURNOW
The Nature of Love
    Switchback Productions
The emotional grabber on this collection of popular love songs is the humble harmonica, which portrays the pathos from "A Time for Us" (Romeo and Juliet) with raw simplicity. Luckily for us, lovesongs convey a wide range of emotions, and loss of it makes the songs so dramatic. Bruce Kurnow plays a variety of other instruments -- synth (lots of orchestral effects), piano, harp, Gu Zheng (like a koto), and chimes -- with Bobby Schnitzer adding strength and charm on acoustic guitars. Each song is given its own unique setting. "Sukiyaki," usually overly tangy, is given a gutsy solo performance on the resonant Gu Zheng, while "Save the Last Dance for Me" gets a snappy solo treatment on the harp (it's hard to banish Tom Jones, entirely). "Can You Feel the Love Tonight" is a victorious anthem, both grounded an ethereal. The melody of "Memory" (Cats) is carried by the harp, while background surf seems to wash away the tears. The harmonica returns for "I Swear"...and you really believe it! I wish words were included, as each piece makes me want to head for the shower! - Carol Wright,  New Age Voice

JESSE COOK (guitarist, multi-instrumentalist)
VERTIGO
    Narada
From the first note of Jesse Cook’s VERTIGO, you can tell he’s into it and having a blast. Don’t mind if I join him and all his talented collaborators. “That’s Right” brings the joyous brash of Zydeco through the speakers. Stanley “Buckwheat” Dural, Jr., contributes accordion and with punctuations of the celebratory lyrics, “that’s right!” A Middle Eastern/gypsy atmosphere is woven in “Byzantium Underground”; Art Avalos guests on percussion, while Cook plays Spanish guitar, palmas, and keyboards. A somber, stately mood is created by cellist Ofra Harnoy on “Cancion Triste”; the pace picks up with the noveau flamenco “Rattle and Burn,” featuring the blistering timbales of Blake Manning. A piercingly haunting violin (George Koller) introduces the Latin-tinged “Red”; when Djivan Gasparyan’s eerie duduk plays, you might think you’ve heard a ghost. “Breathing Below Surface” features Marlo Melo on a stately parade of world percussion, but the men’s voices in the distance are riveting. Midway through the piece is an engagingly sweet duet between guitar and drums.  Each piece deserves special mention: the sassy “Avocado,” the rhythmic embrace of “Allegretto,” and the cool and sophisticated vocals of Holly Cole on Sting’s “Fragile.” The title cut is a multi-instrumental “solo” by Cook, proving that he didn’t need the collaborators after all. But then, we’d miss the fun he had with his friends. Hot album. Instruments: Spanish guitar, accordion, cello, keyboards, Latin and world percussion, bass, palmas, violin, duduk, and female vocals.  - Carol Wright,  New Age Voice

EKO
CELTICA
    Higher Octave Music
In spite of the "celtica" name, the obvious Irish roots of leader John O'Connor, the written explanations, and the liner note's olde Celtic artwork, I had to strain my ears to hear what should be knockin' me over. The album is plenty polished, tightly mixed, and sparks with life, but I was wantin' a few more jigs and ensembles that broadcast "Irish pub -- step up and 'ave a pint." The gentle waltz "Across the Pacific" nears the heart of a lament, but by the end, the tune is jazzed up and sounds almost South American. Leaving aside the cultural connections, the title tune with its snappy accordion played by Geraint Watkins has a twirl-your-partner flair; violinist/violist Bob Loveday plays with gusto. O'Connor's slide guitar turns a few pieces into dreamscapes (on "Faith" he almost goes Hawaiian), while his other guitar work is full of appealing harmonies and finger-twisting dexterity. World percussionist Alain Eskinasi and Montino Bourbon on the Indian sarod take other pieces into other cultures. Nothing wrong with world music accents, but I was expecting...well, less. - Carol Wright,  New Age Voice

POP, AND PROUD OF IT!

LORI LINE
LORIE LINE LIVE!
    Time Line Productions
If you don't want to have any fun, then stay away from this album, by all means. Please stay home, put on your dark clothes, and listen to space music. The rest of you, come with me and listen to a live concert featuring Lori Line and her Pop Chamber Orchestra. Yes, "pop." If you've got it, flaunt it! Lori Line plays a mean piano, and her orchestra is the best. They all have a blast with "pop" arrangements of Bach's "Minuet in G," a Tiger-bouncy "Joyful, Joyful," a gospel-soft building to blast-off "Amazing Grace" (sung by Robert Robinson), and other middle America favorites. Every piece is a tour-de-force for the instrumentalists, with violinists (Peter Ostroushko and Carolyn Boulay) getting hair-raising workouts on "Orange Blossom Special." I was pleased to hear Bruce Kurnow adding his signature harmonica sound to the group. What can I say...If I played an instrument, I'd jump at the chance to play with these people. The audience went nuts -- ate it up -- every word (er, note). If you need some "high" music, select any piece from this album. WBNA (wet blankets not allowed). Guys note: Lorie Line is stunning; check out the centerfold. [And check out her solo album, Simply Grand.]  - Carol Wright,  New Age Voice

YANNI
TRIBUTE
    Virgin Records America
Yanni doesn’t do anything halfway. First, consider the setting: TRIBUTE was recorded live at the Taj Mahal and the Forbidden City in China.  Second, consider the musicians: full orchestra with harp, woodwinds, and horns; several lead vocalists and a choir of fifteen; plus his band of piano (Yanni) violin, flutes, saxophones, bass, keyboards, percussion, guitars, and drums. The album opens with “Deliverance”; I could spend the whole review just describing this tour-de-force. An East Indian flute begins its embellishments against an orchestral drone. The hammered dulcimer suggests Greek music, the dramatic rhythms conjure Israeli dancing, and the vocalists take us to the Balkans and Southern gospel choirs. A HUGE piece—I’m impressed. “Adagio in g minor” depends on the sonorities of the orchestra: large, romantic, sweeping, weeping, rhapsodic. Sure to be the themesong for many proposals and reconciliations. Change gears with “Renegade”; with its drum trapset, heavy electric bass, wailing guitar, and dramatic orchestral score, the piece sounds like a setup for a gunslinger movie. “Dance with a Stranger” is another uptempo piece with a Latin jazz flavor. (Not my faves.) Ah…the title track! “Tribute” really takes flight, from the soaring vocalist to the airy stings to Yanni’s carefree piano to the playful flute to the uplifting choir to the acrobatic violinist (Armen Anassian) A knock-your-socks-off victory tune. “Prelude” features Pedro Eustache on the mournful Armenian doodook. “Love is All” is the album’s only real song; Vann Johnson belts out the lyrics with the power of a Whitney Houston, accompanied by a hot gospel choir. “Nightingale” is a melodic, yet transcendent piece, with an Oriental flavor. “Niki Nana (We’re One)” begins with acrobatic snarls of a didgeridoo; the rhythm train then arrives and you’re off on a handclapping choral celebration of the primitive. A real crowd pleaser. I have mixed feelings about the album; the world and transcendent pieces are keepers. Such jazz fusion attempts as “Renegade,” “Dance with a Stranger,” Waltz in 7/8” and “Southern Exposure” seem too, well,  commercial. Instrumental: Piano, orchestra, saxophones, lead vocalists and choir, percussion and drums, flute, harp, didg, bass, keyboards, guitars. - Carol Wright,  New Age Voice
 

Piano

Kevin Kern
BEYOND THE SUNDIAL
    Real Music
BEYOND THE SUNDIAL offers lovesongs without words. Composer Kevin Kern performs on piano (sometimes solo and accompanied by keyboard orchestra), while Paul McCandless offers stately nobility on the oboe and English horn. The first three tracks, "Beyond the Sundial," "Threads of Light," and "Where Paths Meet" beg to have a movie written around them, the melodies and arrangements are that touching. With its fluttering phrases, "A Flurry of Golden Leaves" is more impressionistic, similar to the nature-inspired improvisations of Michael Jones. McCandless soars with the melody on "Kristen's Serenade," full of bittersweet longing, while a undercurrents of passion are at play on the gently rhapsodic "A Time Remembered" and "Into the Realm." Kern works in mystery using high strings and harp arpeggio on "Sundial Awakening"; here, McCandless plays French horn to soar to resolution over Kern's questioning piano theme. No doubt about it, love is everywhere you hear on this album. Kern's songs, rich with depth and polish, already feel like standards. Breathtaking!Instruments: Piano, keyboard orchestra, French horn, English horn, oboe.  - Carol Wright,  New Age Voice

DEAN EVENSON and TOM BARABAS
BACK TO THE GARDEN
    Soundings of the Planet
"Peace through Music" is the motto of Dean Evenson and his Soundings label. The pieces on this album are as tranquil as swinging on a hammock or tangling a toe in a brook – with nary a 'skeeter' to brush away. Evenson plays flute and provides birdsongs, while Tom Barabas plays piano and keyboards. Adding the soothing sounds of other woodwinds (flutes, clarinet, saxophones, and pennywhistle) is Carole King sideman Richard Hardy. Together, the piano and wind instruments swirl lightly, gently breaking through leaves. Set differently, the music could be jazzy; the trio, however, plays as butterflies brushing against the same flower, and the mix brings the sound melded even closer together. The music captures many moods, from the bittersweet "What Grass is This We Lie Upon" to the exotic "Gypsy Behind the Shubbery" with its Middle Eastern flavors to the bluesy lines on the title cut. Soothing and nurturing and sophisticated. Perhaps too lovely for airplay? Instruments: Keyboards, piano, flutes, woodwinds, pennywhistle, harp, nature sounds. - Carol Wright,  New Age Voice

DANNY WRIGHT
HOT SUMMER NIGHTS
    Moulin D'Or Recordings
As one might guess from the title, this album of covers by pop pianist Danny Wright will bring up memory of summertime romances, dances on the beach, or sultry evenings. Wright mixes the selection from the classic "Summertime" to romantic clinchers such as "An Affair to Remember" and "September Song." A medley of two Beach Boy tunes, "California Girls/In My Room" cap off the nostalgic album, which is sure to stir up some interesting recollections. ("A Summer Place" was played for our high school modern PE class.) Wright has a fine and elegant touch here, but nothing jumps out. My friend (who sings the old standards with a pianist to accompany him) was captivated with Wright's discerning use of chords and stayed around to hear the whole album. Instruments: Solo piano. - Carol Wright,  New Age Voice

BRADLEY SOWASH
BITTERSWEET
    Bradley Sowash
These lyrical piano inventions by Bradley Sowash are, indeed, bittersweet. The melodies seem familiar enough to make you lean back trustingly--but just as you do, Sowash pulls out some brilliant touch that pulls you to the edge of your seat. On his Bosendorfer grand, Sowash can afford to be brash ("Thirty-Three), and even the tenderist moments of the title cut have a strength that will not let you go. Sowash covers a lot of emotional territory: funky on "Red Ball Jets," moody and dour on "Pinky's Dream," trampolinic on "Summer's Last Song," last-call-blues on "Bijou," and poignant on "Blackberry Winter." The album is not so over-produced that the sense of live performer is lost. Try a few cuts; you'll probably stay for the whole album. - Carol Wright,  New Age Voice
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  Instrumental Guitar

Jeff Pearce
THE HIDDEN RIFT
    Ancient Sun Music
Reelaaax. Caverns, clouds, and plateaus of resonant tones pulled me loose from all restrictions of space and time. To create this effect, composer Jeff Pearce played the basic notes on guitar; these arpeggios and melodies were then extended -- more like caressed -- into lush sonic atmospheres. The pure tonal quality offered a sonic massage, an effect that could be enhanced by positioning oneself between the speakers. An album like this could slip one into the hypnotic realms, but Pearce colored the piece with enought gentle dissonances and piquant turns to keep the mind sharp. The effect is like an angel tightrope walking in heaven. - Carol Wright,  New Age Voice

Levi Chen
CELTIC ZEN
    Yin Yang Records
CELTIC ZEN is by Levi Chen (electric guitar and gu zheng), harpist Lisa Franco, and Michael Masley on cymbalom (a chromatic hammered dulcimer played with special strikers attached to each finger). Guest artists include harpist Tina Tourin, percussionist Brent Lewis, Lin Cheng and Karen Hwa Chee Han on the erhu violin, and other musicians playing an incredible variety of instruments: flutes, drums, chimes, bells, pan pipes, cello, and viola da gamba. The album offers neither the romance of Celtic nor the emptiness of Zen, but the group emphasizes layers of exotic harmonic inter-twangs creating a magical essence of the Orient. Over the years, Chen has mastered his technique on his Stratocaster guitar to mimic the koto-like sounds of the gu zheng, and his liquidy passages make the album deliriously mouthwatering. Track one of "The Beauty: Peace" features a lovely Chinese melody played by violinist Lin Chung; track two blossoms like a liquid metal music box. Brent Lewis's unique melodic percussion patterns on the 22-note Ikuma drum set creates a hypnotic sequence on "Baskali." Although "Chinese" is the predominant sound, the lonely "The Wind, the Wolf, and the Wild" features wolf howls and Lakota flute. Another departure is the mystical and melancholy "Black Rock Concierto," based on the Rodrigo classic; here, the pan pipe (played by Peter Oranne) takes the melody, while Chen echoes canyons of sound in the distance. In many ways, CELTIC ZEN is similar to Popol Vuh's 1981 Hosianna Mantra. - Carol Wright,  New Age Voice

Scott Huckbay
PEACE DANCE
    Soundings of the Planet
The first time I heard PEACE DANCE, I was amazed at how much guitarist Scott Huckabay was able to get out of his 12-string guitar. I wondered how many overdubs were required...I looked at his photograph, and—Stop the Presses—this lefty plays a SIX-string acoustic guitar with NO overdubs. Whoa! Huckabay is able to express rhythm guitar, rhythm section (with struck percussion on the guitar), bass, and lead guitar on one instrument—no overdubs. His technique has earned him the honor of BAM magazine's Guitar Player of the Year in Los Angeles. Huckabay's music is rather trance inducing; bass notes and chords (some bowed) keep a drone quality moving, while the melodies are played on the high strings or emerges through the progression of chords. Some pieces are sublimely peaceful, while others (ie,"Universe") explodes at a blistering speed. Daniel Paul on tabla and Jeremy Heaven on cello sit in occasionally, but for the most part, Huckabay presents a grand and high spirited solo exhibition. Added interest comes from his healing through working with dolphins. He plays live a lot, so watch for him on tour. Instruments: Acoustic guitar, cello, tabla. - Carol Wright,  New Age Voice

GOVI
GUITAR ODYSSEY
    Real Music
Govi takes his guitars on a luscious world expedition on GUITAR ODYSSEY. His flamenco guitar sings sweet lovesongs on such cuts as "Dolphin Escort" while "Magellans Beat" explores noveau flamenco with a liquidy fire. The saucy churango and panpipes set an Andes feeling on "Sails of Joy," while the electric guitar wails like a sailor sighting land. His electric guitar can also sing with mouthwatering passion on "Lovers Moon," "Turquoise Galleon," and "Your Lingering Touch."  The album ends with a peppy "Rhumba de la Noche" with fingering and Latin percussion as crisp as the lovesongs were silky. GUITAR ODYSSEY rings out with good vibes and is delicious enough to eat. When Emily Dickinson wrote "inebriate of air," perhaps foretold its musical vibrations. What a pleasure! Guest musicians include Ed Conner on 6-string fretless bass and Ettore Freri on piano on "Lovers Moon." Anugama and Karunesh helped with the arrangements. Instruments: Flamenco guitar, electric guitar, churango, keyboards (panpipes), percussion, fretless bass, piano. - Carol Wright,  New Age Voice

Bernward Koch
FLOWING
    Real Music
German composer Bernward Koch-Böhm offers a touching selections of love songs and light jazz pieces for sampled grand piano and other keyboards. The piano occasionally sounds bright, and this works both for and against the pieces; it offers a surreal quality on "Yearning" and "Bright Light" yet could use the warmth of wood on the lovely "Festive" and the romantic "Reminiscence of a Motion Picture." Some pieces, "Ever Returning" and "Dancing Atoms," offer a light bossa nova beats, and the sounds here are sweetened by live flute (Christiane Böhm) and soft rhythmic percussion (Christoph Koch). As the title suggests, the Koch's music is relaxing, but not trite and I enjoyed the variety. I wanted to hang on every haunting note of the bittersweet "Grave and Lucid River" and "Weeping Willow." "Mysterious Remembrance" is very impressionistic, like being floated down a river surrounded by rose petals. Most delightful of Koch's compositions is "Rotation," which fizzes and zings like electrons at a party. Kind of made my eyelashes spark. Instruments: Sampled grand piano, keyboards, flute, percussion. - Carol Wright,  New Age Voice

JEFF BURAK
CHANGE OF PACE
Gallery Records
Guitarist Jeff Burak's CHANGE OF PACE offers strong melody lines, love songs, and themes full of hope -- a change from pace of the hectic and the pointless. Burak plays his Spanish, steel string, 12-string, and electric guitars with a tangible and winning presence. The uplifting "Morning Star" and "Second Chance" showcase Burak's finger picking versatility, while the lovely "Song for Bria" weaves in children's laughter. Mars Lasar provides lush keyboard sting arrangements with touches of up-tempo percussion; Greg Vail offers soft touches with flutes and smoky saxophones ("Daybreak"), but neither of my sound systems allowed his part to claim center stage.  The resonance and warmth of Burak's tones fill the room; his deftness phrasing and crisp technique engage the consciousness -- a perfect blend of romance and sophistication. Instrumentation: Classical, 12-string, steel string, and electric guitars (Burak); saxophones, flute, keyboards. - Carol Wright,  New Age Voice

ART TURNER
STORY WATER
    Passage Records
Art Turner plays acoustic guitar on STORY WATER. But let’s note he has great company: Eugene Friesen on cello, Manfred Manring on fretless bass, Hugh Marsh on violin, Fergus Jemisen Marsh on Chapman stick, and Dave Gilbert and Rick Lazar on percussion. “We-no-nah” opens the album; Turner sets down powerful and zinging rhythm thump riffs on his steel strings; the real acrobatics are given to violinist Marsh, who soars and skitters over the patterns. On “Pikaia, New Mexico,” Turner offers a dramatic chord strumming; Manring’s bass pulses with undulating sultriness, while Marsh cuts through the higher altitudes with his violin. Cellist Eugene Friesen (also on synthesizer) brings shimmers and slipperiness to the musical palette. “Lost Village” is a watery world, with squealing bubbles and bowed calls the humpback whale. His dreamy vocalise on “Gateway” roll around headily with his sensuous bowing. A third of the tunes feature Turner on solo guitar. His finger-pickin’ style is similar to Will Ackerman’s, but not as showy. “Before Sunrise” is a musical memory of a bareback horse ride, while “Story Water” offers images of drips and rivulets of water. “The Spirit Enters,” again with Turner and Friesen, combines the broad lines of a hymn’s chorale, a racing heart, and the flutelike soaring of spirit. It’s a tasty album showcasing some mighty talented folks. Instruments:  Acoustic guitar, fiddle, Chapman stick, fretless guitar, percussion, cello, vocalise. - Carol Wright,  New Age Voice

  Instrumental Harp (see Celtic page for Celtic harp)

LISA FRANCO (now LISA LYNNE)
SILKEN WINGS
    IC/Diget Music GmbH, DA Music
Lisa Franco has played her harp in rock bands and was formerly with Celestial Winds. The ten introspective pieces offered on SILKEN WINGS range from the wistfully ethereal to the abstract darker shades of space music. Backing her on keyboards to give orchestral presence is Peter Seiler, who also composed "Foreign Sources." The album opens with the title cut, and as the words promise, the piece is melodic heaven. Somber and introspective tones are conjured "Secrets" and "Seven Seconds." On "Foreign Sources," percussionist Walter Helbig plays gongs, chimes, and thunder rolls to create a mysterious and spacious sonic cavern; Franco's harp seems to be feeling the way by fingertips. "Mountain Dew" brings the harp to its Celtic roots, while the cheery "Shanghai Pearls" sparkles with the charm of the koto or Gu Zheng. The album, subtitled "Romantic Harp Music," really takes one into more reflective spaces. The final piece, "Reflections on Autumn," alternates between dewy intimacy and a soulful anthem.  - Carol Wright,  New Age Voice
 

  Instrumental Flute and Recorder (see also World Flute on World Music page)

CELESTIAL WINDS
BLISS
    Universe Music
I've yet to hear David Young play in person, but it must be amazing, for he can play two  recorders at the same time. His harmonious recorders create the signature sound for Celestial Winds. The group has changed personnel recently with the addition of Christine Tulis on the electric harp. The album begins with a spacious invention on an aire by someone familiar...an aire by Bach? All right, it is a "Bouree" by Bach. The gently strummed mandolin, bass drum, and harmonious recorders conjure images of the Andes. "Calling the Great Spirit"  jaunts along at a cheery llama lope, then surprises upon a plateau of angel voices. Lovely! Two top guest musicians also help paint the magic -- M.B. Gordy on drums and percussion and John Phillip Shenale on keyboards and bass. A "round-em-up!" sound on "The Gift of Wisdom" could accompany a showdown with the inner child, while claps and castanets lure one aside to the inner cantina  on "Orion's Quest." (Okay, so my visions don't match the titles.) Tulis's harp -- with a lovely, rich sound and exquisite phrasing -- comes to the fore on later on the album. "Come with Me" offers delicious duets between the two (or in David's case three) instruments, while "Fantasy on Aran" offers both fanciful glissando and stately court dance themes. The album ends with "Heart of a Rose," as velvety and sensuous as its name. If I could characterize the album in one word, it would be "embraceable."  - Carol Wright,  New Age Voice