Tim Wheater - INCANTATION
(Real Music)

It's orchestral maneuvers in the Light (capital "L" if you please) this time around from the famous flutist née orchestral alchemist, so let yourself melt into this magikal music for a mystical quest into the transcendent. Wonderfully ritualistic, sonically sumptuous and markedly tender, these nine tracks cast a spell that is both pagan and divine. Arranged for shamanic and angelic voices plus elaborate accompaniment (cello, crystal bowls, Celtic harp, symphony), the scintillating sounds bring together Vedic chant, Native American prayer, Aboriginal trance singing for an ecstatic celebration of spirit that renews even the most jaded soul. A former student of James Galway and a founding member of Eurythmics, Wheater is a brilliant flautist with a well-deserved international reputation as a musical scribe of sophisticated, sonorous melodies. His is the matchless gift of blending cool electronic tones with the warm, organic nature of woodwinds, horns and strings to create a stirring celestial synthesis, uniquely evoked on tracks "Uluru," "Benedictus" and "En Trance." Resting momentarily on a more romantic plane, "Pacificus" and "Love is Here" find Wheater and company delving deep into the mysteries of initial attraction, desire met and passion fulfilled. The enchantment is complete!

Michael Whalen - THE SOFTEST TOUCH
(EverSound)

Eschewing tracks culled from the enormous amount of soundtracks, collections and serious classical music that he composes and for which he regularly wins awards, Whalen here turns to solo piano styling and really sounds like he's having fun. Playing solo is a bit like playing naked; there's nowhere to hide mistakes, and the instrumentals must capture the heart and imagination without all the boom-rah-rah of an orchestra. If the composition is emotive and cohesive, then all that's needed is a good mic or two to capture the mood; if the tune is weak, then you've got a case of the emperor's new clothes. Thankfully, Whalen is as excellent a composer for large ensembles as he is for solo piano. He also turns out to also be a solid player with an instrument that starts out thick and creamy at the bottom of the harp, then continuing even and smooth to the top; a winning combination of man and technology. So, what does he create with this glorious instrument? An irresistible elongated funky blues riff called "Walking the Dog," an even funkier and hard-hitting jam entitled "To Be or Not 2B," and a new theme variation to the television program, "Good Morning America." But it all works, particularly the latter track which focuses on the beauty of the catchy melody instead of the sweeping bombast of the orchestrated version. Lest you think all is a giggle, Whalen turns in several more serious performances including a gorgeous lullaby entitled "By the Time I Close My Eyes." Listening to the entire album makes one realize what magic Whalen can make on his own. Sure, he's a studio wizard with a synth, but these solo pieces are honest, intimate and completely enjoyable, making such frills unnecessary. These are pure, beautiful solos with heart. wherein the simple understated power of the music is immediate, real and transparent.

Don Robertson - FAVORITES
(DoveSong Int'l)

You may not know the name, but almost every musician who's twiddled a synthesizer knob owes Robertson a debt of gratitude. He is an electronic keyboard pioneer, having released one of the first New Age albums in 1969 (DAWN, Mercury Records). A child prodigy who began formal music studies at age three, he turned his back on the rock'n'roll circus after deliberately blowing up his Fender guitar amp while recording at the Grateful Dead's studio and searching for the ultimate in ecstatic sound. But what Robertson really wanted to accomplish was to explore music as a spiritual, healing force. So he spent ten years teaming with notables Constance Demby, Aeoliah, and Norman Miller, and studying with Morton Feldman, Swapan Chaudhuri and Ustad Ali Akbar Khan. Along the way he recorded numerous albums of "free-spirited positive music for a new era," which aired widely and internationally, influencing a generation of electronic composers. After a lamentable absence during which he dismantled his electronic studio, Robertson put together this anthology that looks back on the good ("Taj Mahal", "Castles in the Sun"), the great ("Le Jardin Enchante", "Crystal Cathedral") and the humorous (the ambient lounge madness of "Hammond Eggs") with fondness and a suitably retro art package. While a couple of tracks dare to approach Hawkwind-like proportions with long intros and an abundance of spacey sci-fi sounds, most selections are immediately accessible with plenty of acoustic accents which modern ears seem to crave. What a long, strange, but ultimately cool trip its been!

Tom Teasley - GLOBAL STANDARD TIME
(T&T Music)

Global-jazz percussionist Teasley's third album is electrifying ear-candy; a spicy fusion of world groove, legendary tunes and imaginative approaches to playing ethnic instruments that hits the sweet spot every time. Classic compositions by John Coltrane, Sonny Rollins, Duke Ellington, Thelonious Monk and others are revived through ingenious arrangements for classical guitar, trombone, Indian bansuri flute and indigenous percussion. The kicker is that some of them are played in half time -- "Straight No Chaser", "No Moe", and "Well You Needn't" - utilizing rhythmic schemes that are kissing cousins to hip hop and New Jack Swing. The timelessly hypnotic, sensual "Caravan" has rarely been recorded hotter or more memorably, with Teasley developing its shape by rubbing an Irish bodhran hand drum into a tantalizing drone before switching to a finger snappin' tabla-playing style instead of sticking with a tipper in the traditional Celtic manner. Blending in the jingling Middle Eastern riq (a tambourine-like instrument) and deep vocalizations of African udu drum gives this bit of archetypal Ellingtonia a delicious new twist without losing the composer's original theme or intent. On the softer side, "Beautiful Love" mixes New Orleans-style polyphony with a neo-Baroque counterpoint from bass, guitar and vibraphone. There's lots to enjoy on this swinging, sweet recording.

LagoonWest and Edward Clark - YOGA
(New World Music)

There's any number of recordings out there claiming to be music for yoga. But while these CDs' smooth rhythms may enhance the practice of yoga at an easy pace, one can still tell they were put together from pre-released bits and pieces of other recordings, rather than being newly composed specifically for a seamless workout. Best yoga music found to date is YOGA by LagoonWest and Clark, artistic director of the internationally acclaimed Tripsichore Yoga Theatre. There's a vibrant synergy between the beautiful sounds and the graceful stretching postures that renews the body and resonates the soul, making one's experience deeper and more positive no matter what discipline is practiced. A lavishly illustrated, informative booklet is also included with resource appendix. Each of the eight selections is referenced to particular practices, and can be programmed to repeat for an individually tailored yoga soundtrack. For example, "Source to Sea" is suitable for sun salutes, "Kama is recommended for standing postures," and "Ocean Floor" is beneficial for resting in-between strenuous movements. There's even a bit of humor on "Illusion" for those who would take their yoga (or life!) too seriously; this inverted musical course is great for headstands, handstands, or the Scorpion pose. LagoonWest is one of the few ensembles in the world who specifically compose soundtracks for yoga movement; their music evokes both the inner space of the mind and a physical space in which to perform yoga's challenging choreography.

Stephanie Bennett - BARDINA'S FOREST
(Harpworld Music)

Looking a bit like a pixie herself, Bennett crafts sweet, gentle fantasies on Celtic and electric harps with voice while immersed in her alter ego of Bardina (a bard, cousin to popular fairy Thumbelina). In true troubadour fashion, she shares the words of Hans Christian Andersen, Thoreau and others to stimulate the imagination with colorful images of love and delight, waxing rhapsodic about planets and stars, but also addressing more contemporary mythic figures. Most surprising of these topics is that of Koko, the gorilla who communicates through sign language, and whom Bardina immortalizes in the "Ballad of Gorilla and Bear." By presenting the concept that animals have feelings too, she crosses over from the world of adults to the land of childhood, encouraging one to repeat the mantra "I Can Imagine" while permitting oneself the luxury of guilt-free reverie. Her delicious daydreams in sound are so refreshingly innocent and joyful that they prove to be irresistible, especially after a particularly hard day at the office. Isn't it great to feel young again? Let yourself play, if only in your own mind, while listening to this appealing album.

Huun-Huur-Tu - WHERE YOUNG GRASS GROWS
(Shanachie)

Tanna Tuva is the region of Russia your imagination conjures up when the phrase "riding the vast open steppes" is heard. Over the centuries, these vast grasslands gave rise to a horse-based culture rich in tribal ritual, pastoral tradition, and several styles of throat-singing which involve vibrating the soft palette, tongue and esophagus. This unusual vocalization carries amazing well on the wind for long distances, enabling riders to communicate while following their grazing cattle, much like the yodeling of American cowboys. The subject of Tuvan songs is similar to those of the Old West, with the beauty of galloping horses and courting one's beloved figuring prominently (sometimes in the same song!). But their structure is not the slow drawl of Texarkana, but the mesmeric drones and intricate percussion of the Far East; for in fact the Tuvans have more in common with North Asiatics in the time of Genghis Khan than to metropolitan Moscovites. But even a cappella throat-singing is captivating; songs like "Avam Churtu Dugayimny" are deeply prayerful, particularly when paired with sounds of wind and thunder, and are reminiscent of traditional Native American chant. To add even more piquancy to this spicy amalgam, several tunes feature acclaimed Celtic musicians Mary MacMaster on harps and Martyn Bennett on pipes and flutes. Their contributions to the sprightly dances "Dyngyldai" and "Highland Tune" are so unexpected yet sound so right that they form a completely new variation on this thousand-year-old art form.

Tenores de Oniferi - POLYPHONIC SINGING FROM SARDINIA
(Music of the World)

The Mediterranean island of Sardinia may be located in the middle of European civilization, but many of its artforms are completely unique to anything that continent has produced. The style of polyphonic singing presented here has remained virtually unchanged for millennia; the intricate knit of unusual harmonies, call and response, and precise vocal patterns are positively breathtaking in their richness and resonance. While most European polyphony (literally, "many voices") was limited to religious celebration, the Tenores de Oniferi sing the poetry of the streets, improvising dance lyrics spontaneously to accommodate regional variations when traveling from one village to another. Think of them as an islandic barbershop quartet! The English translations in the liner notes reveal the timeless prose of a man's unrequited love, the need to take advantage of destiny's opportunities, and nostalgia for the rustic life. Beautiful to read, these songs are even more impressive heard in their native tongue; a world of heartfelt emotion is conveyed by the lead singer, admirably supported by the unique vocal vibrations of his partners. If you've only heard a mixed church choir performing polyphony at Christmas, you're in for a real treat. This is where it all started!

Next Article

Return to This Month's Index

Go to Homepage