Music

This dream team of Celtic musicians is joined by bagpipe player Eric Rigler for more than sixty minutes of excellent holiday music from the northland. Sansone's evocative interpretations on hammered dulcimer are admirably supported by Petteway's fluid acoustic guitar musings and Rideout's fantastic Highland fiddling on tunes which embrace the many moods of Christmas. The tartan disc boasts rare gems like the irresistible reel, Bottom Of The Punch Bowl, tagged onto the end of the more well-known carol, Here We Come A-Wassailing, while What Child Is This (more popularly known as Greensleeves) is given a uniquely 18th century Scottish version during the final jig. Inventively selected, cleverly arranged and impeccably performed, this is one of the best seasonal recordings released in a long, long time.

Now here's something fresh! The surprisingly soothing swing of R&B/blues sets seasonal favorites on their ear through Powers' soulful, soaring acoustic and electric guitar strains backed by piano, bongos, tablas, bass and even hubcap percussion on a collection of truly updated classics that will have you smiling as you dance down the customer-jammed aisles. For example, the old chestnut about a little drummer boy is recast as Mississippi Strummer Boy while God Rest Ye Funky Gentlemen speaks for itself. Rarely has high holiday humor been so well presented, or well-played. These guys really cook! Destined for tons of smooth jazz airplay, this crowd-pleaser is an upbeat alternative in a year that lacks many distinctive Christmas recordings. Note: Powers has hit the Top 20 on the Gavin Radio charts for his solo work, and his shared billing with Herbie Hancock, Ray Charles, and other jazz legends.

This always interesting, cross-cultural music makes listeners re-think their concept of the typically blond-haired, blue-eyed angelic image in favor of an ethnic angel approach, to good effect. Drawing upon the compositions created by Spanish missionaries 400 years ago, this eight-member mixed choir and Native American percussionist make some unforgettable songs that positively radiate with spiritual power and melodic invention. Having specialized in singing colonial Latin American material for six years, the choral ensemble has no trouble pulling off the intricate polyphonic harmonies in concert with Casillas' stellar rhythms. The result is a refreshing listening experience that puts a new spin on the holiday season. Highly recommended. Note: Historically accurate instruments like Aztec log and African bata drums were used in the making of this recording.

Creator of the popular Music of the Angels and Music from The Pleiades recordings turns his talented hands to celestial orchestrations of the most haunting and memorable themes from the Baroque era. Celebrated compositions by J.S. Bach, George Philip Telemann, and Arcangelo Corelli are graced with choirs of angels and monks -- as well as the sounds of harpsichord, harp, guitar, dulcimer and strings -- for seasonal music that can be enjoyed all year long. Markoe seems to have found a new wellspring of inspiration on these classical cuts, as his soothing arrangements seem especially lovely and stress-reducing when listened to at either normal or low volume. Responding to the public's renewed love affair with angels and music from a bygone age, Markoe's latest album is bound to be a hit.

These Instrumentals for a New Age by famed Yellowjackets saxman Russo begin with the slow cadence of a grandfather drum setting the stage for his deeply soulful musings into songs popular (It Came Upon A Midnight Clear, Angels We Have Heard On High) and rare (Lo, How A Rose E'er Blooming). So soft and sweet does his sax blow that, when eyes are closed and peaceful night has fallen, archangel Gabriel himself can be imagined listening. Not content to stay within the confines of tradition, Russo artfully ventures into new arrangements which add a comfortable yet contemporary edge to these instrumental melodies. His music box style on Jesu, Joy Of Man's Desiring reminds us that this was originally a delicate, not overpoweringly triumphant, tune; by presenting the honest face of Bach's intent on flutes, Russo displays not only his own versatility but his fertile imagination as well. We could use more holiday recordings like this one.

Exotic sand-dance flourishes rifle the powdery gold ground as spinning feet stamp and gleaming bodies sway in homage to the pyramids on this alluring new album. Performing on synthesizer, e-bow guitar, didgeridoo, chicken flute, Tibetan singing bowls and other exotic instrumentation, Thornton presents us with a contemporary view of these sacred monuments in a style that flirts with today's international rave scene while giving a nod to ancient Nile processionals. The slow, deeply sensuous grooves of Through The Ankh embody Mystery herself, while Ramzy's mesmerizing percussive skills on tabla, finger cymbals and electronic drums make the rapid paced Cobra's Dance a scintillating delight. If you're looking for something different, the high pitched, wheedling Egyptian quarter tone accordion strains and blistering skin drum beats of this seductive outing can't be beat!

If you were moved by Michael Nyman's phenomenal score for the film The Piano, you'll find equal inspiration and joy in Gratz's latest acoustic piano reverie inspired by the many moods of the sea. Also performed on synthesizer, his eloquent melodies are accented by cello, bass, English horn and percussion in artfully nuanced arrangements that keep the keyboards dominant, yet delicate. This gift for making grand melodic statements in the most gentle of manners is uniquely Gratz's own; his long-term and obviously deep affection for the ocean blue is evident each time tinkling ivory keys conjure up images of frothy silver surf, or when his deeply resonant, repetitive phrasing calls to mind the endless lapping of waves along the shore. This is a great album because it is potent yet subtle and eschews overkill for suggestiveness. Don't make the mistake of overlooking its quiet brilliance because the trend is towards more dramatic and loud piano records.

The internationally acclaimed musician and author of Harp Full Of Stars presents new music to activate, heal and harmonize the chakras, aided by scientist Marcel Vogel. Together, the duo create solo harp music based on notes and tones which subtly alter the body's physiology for enhanced well being. These musical activators are described in sacred Hindu texts, identified along with the seven energy centers known as chakras -- Sanskrit for "wheels of fire" and noted to affect specific nerve groups and organ systems. Acting as the connection between the spiritual and physical body, the chakras must remain open and balanced for proper universal life energy flow to occur. What amazes on this recording is not only the healing aspects of the music, but Andrews' supreme ability to create a rich tapestry of sound that is soothing, energizing and lovely to listen to all at the same time. He is truly an especially talented composer, making this album a powerful recovery tool.

This soundtrack to what is arguably the most controversial Indian film ever -- about a notorious female Robin Hood-like outlaw -- boasts one of the most deliciously intoxicating scores ever. Considered the greatest living exponent of Qawwali (Islamic devotional singing), Khan's impossibly lovely and flexible voice has graced other soundtracks such as Peter Gabriel's Last Temptation of Christ and Dead Man Walking, on which he collaborated with Pearl Jam's Eddie Vedder. Here, his unique vocal gymnastics form the basis for 26 short, stark, yet highly emotional tracks that stand apart from the film as a testament to the power of song to draw us closer to the Divine. White's inventive arrangements for native Pakistani musicians is nothing short of inspired, but the spotlight deservedly falls square on Khan's bulky body and heavenly voice.

Ever notice the similarities between the music of cultures separated by geography, politics, even centuries? Why are they reminiscent of one another? How can thousand-year-old North Indian sitar ragas remind one of Louisiana jazz guitar licks? This compilation of North American and European based artists illuminates this seeming paradox in delightful ways by displaying how influential artists connect the dots between 12 bar blues and classical Hindu music, British folk and Pygmy chants, Spanish flamenco and Hungarian gypsy rhythms. An unabashedly upbeat fusion celebration, this exceptional Putumayo 20th Anniversary collection features some of the finest musicians on earth, including banjo player Alison Brown, sarod master Ali Akbar Khan, and guitarists Strunz & Farah. The way these artists meld influences is breathtaking, especially on tracks like The Red Earth, where Brown's jazz banjo and understated bluesy guitar solo heighten the poignant cry of Bill Miller's Native American flute. Brilliantly arranged, it is songs like this that make you wonder why no one else has merged such divergent instruments and genres before.

This wonderful collection is a nostalgic journey through the last eighteen years of the celebrated harpist's artistic life, beginning with her underground New Age debut (now considered a classic), Seapeace, and culminating with a recent ode to the joys of a quaint Croatian cafe, Mala Kavana. That Kelly's performance style is one of the most honestly heartfelt in the world is beyond debate, but this album enables us to enjoy her expanding influences as well, beginning with 1979's Tarashanti, which is based on an Indian raga and tamboura line. Her choral pieces, such as the two excerpts from The Sounds Of Spirit included herein, demonstrate growing sophistication while her 1990 version of Greensleeves with natural and spontaneous birdsong demonstrates the hint of whimsy that I've always associated with Georgia. Her childlike ability to surrender to wonder and mystery (listen to Winter Waltz) is as welcome today as when she began recording almost two decades ago.

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.