Music

The drone is the basis of healing music. When a drone instrument like didgeridoo is sounded, we begin to vibrate and it affects us on physical, emotional and spiritual planes. Pioneering sound healer and noted author Gardner has made it her life's work to discover the curative benefits of Drone Zone, and this impeccably researched booklet-with-music recording package is not only an eye-opening introduction to the mesmerizing powers of such sounds, but a truly transcendent listening experience. Gardner notes that besides the root tone, or tonic, there are a vast array of tones above the tonic, climbing in a predictable, arithmetical sequence; these are called overtones, or harmonics. Our ears and bodies immediately respond to the drone's basic sound, but the overtones subtly touch us where the physical body ends, in that electromagnetic field popularly dubbed the aura, balancing the body's energy centers (or chakras). Though they all produce overtones, some of the instruments in Drone Zone create more prominent overtones than others. For instance, the harmonically-rich tamboura, an Indian instrument, produces a rich cascade of sounds with each pluck of its strings. This scintillating sound captivates the ear, focuses the attention and inspires reverie while non-invasively acting in a therapeutic mode. To get the full curative benefits of Drone Zone, stretch out on the floor or bed and let the soothing vibrations of the music surround and fill you. Kay notes that wooden floors over a basement or downstairs room will act as sound boards, picking up the speakers' vibrations and sending them through the body. If there is an area where you hold stress (like neck, shoulders or lower back), imagine that the drone sound is a rainbow penetrating that area and vibrating or "melting" the tension away until it disappears. Singing or toning along with the drone increases this healing function. Relaxation is a way of life, something we must strive for on a daily basis, and Drone Zone is one of the most powerful and enjoyable tools to achieve a tension-free lifestyle that I've ever come across. It is no wonder that almost a million Americans have discovered the marvels of sound therapy! It works!

Rising above Germany's mystical Black Forest are five peaks which, like that famed sacred site, Stonehenge, were used by ancient peoples to chart the movements of the sun, moon and stars. Serving as a meeting place for earth-centered, seasonal festivals, the summits echoed with the sounds of joyous music for thousands of years. Guitar-keyboardist Friedemann Witecka continues this tradition with his jubilant and sometimes achingly lovely instrumental ode to the Belenos quintet. Accented by marimba, clarinet, sax, timpanis, flutes and more, the music takes one on a joy-filled journey through fairy graced glades, snow-kissed mountain tops, and a pastoral pasture filled with heavy-hung fruit trees ripe for the picking. Luscious and cinematic, this recording is a sensually-rich repast which rewards repeated play.

Flamenco guitar, Celtic aires and "Angels" combine to lift this notable recording above obvious stereotypes to a realm where disparate styles are a mark of ability, not indecision. This impressive guitar-flute duo admirably handles the instrumental demands of the energetic "Tarantella" with as much ease as they slide into the calming "Sunset Solitude," making the most of each mood not just for themselves but for the listener's personal pleasure. Such an abundance of talent is rare, and therefore everyone will find at least several selections to cherish on this eclectic outing. I, myself, favor the impossibly pretty closing cut with its spicy Spanish overtones and scintillating melody. The intuitive interplay between these artists is awesome, making for most enjoyable listening.

Aussie d.j. Jaslyn Hall is at the forefront of world music down under. On her popular radio show, she has debuted recordings featuring the unusual and exotically appealing sounds of Filipino bamboo jaw harp, Japanese stringed koto, and a West African xylophone called a balafon. Collecting her favorites must have taken some time, but Hall makes for a terrific tour guide; some of the music on this eclectic sampler is sassy, other selections are more spiritual, but all of it is consistently interesting and attractive to the ear, making this Australian anthology an entertaining success story. Of particular note is the fusion piece, "Aman," by Sydney percussionist Michael Askill and Turkish oud player Omar Faruk Tekbilek. This music is intensely rhythmic and perfect for trance dancing late into the night.

Classical guitarist Weber is well known for his impressively complex, yet intensely colorful melodies which paint intricate sound portraits. So the lead-off track on this new release may sound familiar, but also a bit odd at first. It's the tuning. By deliberately selecting intensely unusual but not quite dissonant chordal patterns, Weber forces our imagination down rarely traveled roads to discover a deliciously off-kilter world of aural adventure. Like a quick sketch artist, he rapidly tunes into a subject -- dog dreams, a district attorney, the Yellowstone River -- and captures its essence with such instrumental eloquence that only a hint of the occasional cello, bass or harp is needed to flesh out our appreciation of his finished work. The dreamily paced "Season's Change" and thoughtful "Anniversary Waltz" are both exceptional works by a musician who deserves kudos for pushing the boundaries of contemporary music.

Like David "Talking Heads" Byrne, Mickey Hart and Peter Gabriel before him, Kitaro has inaugurated a series of new recordings by heretofore unknown but world class musicians. The first in this series focuses on Chinese violinist Yu-Xiao Guang, whose virtuosic talents were featured on Kitaro's Golden Globe award winning score for the Oliver Stone film, Heaven And Earth. Breathtakingly sweet, the sounds of silken strings beckon one into a blissful world of perfumed gardens, bright bird chatter, and tranquil flowing streams. The new arrangement for "Caravansary" is one of the prettiest instrumentals I've heard in ages; classical guitar, tambourine, harp and chimes combine with sweeping synth textures to elevate the huquin's (ethnic name for the violin) poignant melody into the realm of timeless pageantry. Easy on the ears, this exotic, expressive album is utterly enjoyable. I can't wait to see who Kitaro produces next in this promising series.

The Indian santur is similar to a box zither or hammered dulcimer, but contains up to one hundred delicately shimmering strings which are played both melodically and rhythmically on this audiophile collection of a main raga and three shorter pieces. To appreciate the instrument's refined nature, Tarun begins this exceptional recording by plucking a series of two-note chords before a brilliant cascade of melodious strumming introduces the Carnatic raga proper. If you thought ragas had to be led by a sitar, you're in for a wonderful surprise. Under Tarun's talented fingertips the instrument glides and slides, soars and whispers in the exotic Eastern scales of classical North Indian music. The result is pure ear candy.

After a tempest in a teapot intro, this innovative album presents the wildest symphonic palette I've heard in years thanks to percussionist Raz Mesinai, bassist John Ward, vocalist Ursula Ward and Grant Stewart on sax. Looped tape chants propel squeaks, clicks and drones into dance music that is slower than reggae-dub, much slower than ska; think of it as music for the Prozac generation. But before you skip the rest of this review, note that a truly angelic piece -- "Rising Dub" -- comes on after the funky weirdness and one is irresistibly drawn deep into Ursula's magical lyrics, captivated by her witchy vocals. I'd love to have a dime for every time this track is gonna get played at a New Age, pagan or yoga dance gathering! One of the best examples of what New Age dance music can be when the fledgling style really matures, this 6:29 minute song alone is worth the price of admission.

Okay, I admit it: I tune into P.B.S. annually to catch Championship Ballroom Dancing, mostly to catch the bubbly, infectious sounds of the Latin division competition. Watching those impossibly svelte, sinuous and flexible dancers slide across the gleaming floorboards in perfect time to the ricky-ticky-ticky rhythms and beep-bop-bip beats always makes me smile. Over the last few years there's been an infusion of traditional Cuban selections to the score, making for some intricate moves indeed, as the style's Spanish and African heritages boast double-quick timing paired with a velvety smooth melody line usually carried by a lead voice and backing ensemble chorus. These four recordings present an abundance of Cuban songs and instrumentals to cherish. If you're new to the form, start with "La Charanga de Cuba," which is more accessibly melodic and boasts some truly tasty Latin guitar licks in addition to sparkling five-key flute solos.

These urban electronic panoramas from the U.K. boast "found" vocal snippets, fluid keyboard melodies accented by what sounds like the softly repeated hiss of a leaky airhose, and telephone dial tones manipulated into surprisingly pretty patterns for a cutting edge trance music style that will satisfy the most adventurous of listeners. While the rave scene promoted an overly loud, rather aggressive form of techno music that failed to find fans in the New Age marketplace, this new English dance music is ethereal enough to mesmerize yet still sway the soul. S.F.T.G. manages to walk the razor's edge between peaceful and progressive, compelling and contemplative with their unpredictable, at times exhilarating, art. So if you're up for an eclectic walk on the wilder side of ambient, embrace the unusual and let this music play.

Submissions for review consideration may be sent to: PJ Birosik, MUSIK INTERNATIONAL CORP., 154 Betasso Road, Boulder, CO 80302-9606. Since 1977, Birosik has been a music industry consultant specializing in marketing, promotion, publicity and A&R/foreign licensing; she is a member of NARAS, NARM, NAIRD, CMC, IMA, and a past Board of Director of Los Angeles Women In Music who has been profiled in 11 international editions of Who's Who. Calls may be placed to her at (303) 444-9575 between 9:30am - 5pm MST regarding review criteria, consulting services for signed & unsigned musicians, and data list rentals.