Music by PJ Birosik

Considering humanity's innate curiosity, it seems strange that change can be so stressful. Yet some pioneering individuals effortlessly overcome seemingly insurmountable challenges to become INNOVATORS. Now, their fascinating stories come to life in music, recorded here and recently broadcast in concert on PBS-TV. These intriguing sounds meld disparate cultures and influences, time periods and structures. You'll hear a classic melody by Bach intertwined with traditional African chant, as inspired by Dr. Albert Schweitzer's hospital along the Ogowe River; and the combined Salt Lake City choirs singing in praise of the "Three Tools" which masons, the masters of sacred geometry, used to construct the world's most beautiful churches. The liner notes detail the tales of too-successful rainmaker C.M. Hatfield, emancipated Brazilian slave Black Pete, and the meeting of legendary British explorer Sir Richard Burton with the Snake Priests of India, among others. The music is suitably adventurous, with sweeping strains to match the limitless vistas of its inspiration. This is music perfectly suited for reverie and daydreams. INSTRUMENTATION: vocals, piano, harpsichord, hammered dulcimer, keyboards, guitar, mandolin, accordion, fiddle, bass, drums and ethnic instruments from dozens of cultures.

If you want to experience an unmatched sense of pure peace, just close your eyes and delve into the mesmerizing stream of wordless vocals woven smoothly into these ten richly textured ambient soundscapes. When originally recorded in 1984, QUIET marked Chandra's debut as a composer and pioneer in the British Indipop movement. She has since become one of the most recognized world music artists, beguiling audiences with her amazingly spiritual vocal style. The genesis of her future success can easily be heard here, as the music explores a structural world of cyclic riffs and as many Oriental and Occidental tones and textures as Chandra could vocally bring to the project. With strong melodies and a decided emphasis on tranquility and transition, the music excludes the customary "drums up front" mix of Indian music without losing any of its exotic appeal. The result is a powerful and undiluted reflector of the human soul accompanied by heavenly sounds that soothe the soul. Note: all songs are untitled. INSTRUMENTATION: vocals, sitar, tamboura, dilruba, gamelan, water wok, bells, santoor, cabassa, wind chimes, cymbals and gongs, madhal, bass, piano, keyboards and percussion.

This otherworldly Canadian duo blends jazz, classical and pop styles for a unique hybrid all their own. The instrumental "Alchemy" blends flamenco-inspired guitar with contemplative jazz piano musings, dramatic neo-classical strings and a hyper-active snare drum for a delicately balanced conflict of melody and rhythm that's very enticing. "Kaleidoscope"'s deeply compelling melody line flirts with darker sonic shadings in a surprisingly attractive manner, creating spacious breaks along the way as if the notes were refracting like the titular toy. In fact, it is this nod towards more urban tones (the soulful vocal solo at the end of "Venice"; the electronic dance lines that permeate "Vision 1") that are most memorable here. Mythos must have realized this, as they created a special bonus track ("Vision II") that features actual lyrics rather than wordless vocals; the result is mysterious, sexy, ethereal and completely captivating. INSTRUMENTATION: vocals, piano, guitar, bass, keyboards

One of the most unique meldings of worldbeat and electronic music you'll ever hear, THE SILICON JUNGLE documents the saga of a wild heart removed from the interior of Africa and placed in the concrete jungle of new millennium America. Simply put, the music tells the story of technology's impact upon humanity while questioning who we are, what we've done, and where we're going. This is cinematic music for adventurous ears created by award-winning soundtrack producer Cortopassi, who is best known for a cult hit he penned ("Spazz," which was just re-issued on Rhino Records' NUGGETS boxed set). Yet Cortopassi's first love is making dynamic music that integrates cutting edge electronica with ear-catching vocal accents, as on THE SILICON JUNGLE. It is a spirited fusion of captivating world beats, epic tribal visions, intoxicating melodies and provocative lyrics. The album conjures strong and rhythmically enthralling reveries, but also possesses many soothing and richly imaginative journeys for the heart and mind. It tells a story sparked with mystery, majestic orchestrations, and influenced with classic, boundless emotions. Better headphone music cannot be found! INSTRUMENTATION: keyboards, vocals, clay flute.

High on the word-of-mouth meter comes this quirky chamber-jazz outing that carves a new niche in American acoustica by integrating elements of gypsy honky-tonk, tango, Viennese waltz and Left Bank café music. Though this Bay Area trio became critics' darlings last year for their MEMORY IS AN ELEPHANT debut, the group's sound has, thankfully, remained eclectic. For example, the title track is a superlative guitar seduction flavored with sinuous violin sighs and earthy accordion tones. But "Sand Dog Blues" is a dobro-lover's dream, tapping into the group's natural affinity for bluegrass with a nod towards zydeco and, if you can believe it, a middle-break that sounds suspiciously like acoustic prog-rock! Recorded almost completely without overdubs, HELIUM is intellectual music for poets; or, if you prefer, poetic music for intellectuals. Either way, it works, especially the bonus track "Helium Reprise," which features a complexly layered arrangement and vocal licks by Tom Waits so smoky they'll make your toes curl! INSTRUMENTATION: accordion, piano, pump organ, marxophone, harmonica, violin, viola, guitar, dobro, banjo.

The king is dead; long live the king? Those still mourning the untimely loss of Nusrat Fateh Ali Khan can begin to take heart, as a new generation of Indian and Pakistani singers comes to the fore. Here, Shafqat Ali Khan's (no relation) soulful debut melds the serpentine melodies of his Punjabi heritage with an enticing electro-acoustic instrumental mix. This young singer performs in the "khyal" ("imagination") style, whose elaborately ornamented form demands flexible improvisation as well artfully nuanced intonations. The East-meets-American West flavor of "My Restless Heart" is brimming over with refreshing innovation and an undeniably perky beat. The traditional, familiar refrain from "Dance of My Soul" melds marvelously with its darkwave foundation and is perfectly mirrored by soprano saxophone musings. But it's the minimalist ambient introduction to the bouncy "Valley of Memories" that allows one to appreciate the full resonance and dexterity of Ali Khan's voice. With rhythms reminiscent of INXS or Peter Gabriel, this tune has polish without being too slick. INSTRUMENTATION: vocals, keyboards, guitars, bass, tabla, sax, cello, banjo, dumbek, talking drum, udu, and ethnic percussion.

Traditional Maori music from down under meets the modern world on this intriguing showcase for half-aboriginal vocalist Hinewehi Mohi. Hewing closer to Japanese pop on "Hinerakatauri" than the operatic stylings of fellow Kiwi chanteuse Kiri Te Kanawa, Mohi's voice is youthful, vibrant, soaring, flexible and very appealing. Paired with sometimes dissonant instrumental arrangements and atonal backing vocals, her sweetness helps craft a complex, compelling harmony. By blending native instruments, chants and lyrics with techno-roots dance beats, Oceania's unique sound combines national pride and spirituality while venturing into uncharted territory. For example, the track two version of "Kotahitanga (Union)" features a female chorus of the timeless Haka, a men-only chant that is truly terrifying to behold when performed by New Zealand's All Blacks rugby team! Maintaining the integrity of the Maori component of each track was essential, and songs like the proverb-based "Kihikihi (Cicada)" and mythically-grounded "Pepepe (Moth)" are true to their roots. INSTRUMENTATION: vocals, keyboards, violin, oboe, banjo, guitars, ocarina, bass, strings, electronics and traditional Maori instruments: pahu, putorino, hue, pukea, koauau and putaatara.

With so much piano music around, can anyone truly be considered a pioneer? Sure, especially when it comes to making therapeutic music that is also incredibly beautiful and spiritually uplifting. Noting that the earliest recorded use of sound healing was when David, the young shepherd boy, eased the ailments of the king of Israel with his harp in 1000 BC, Brown explains that his restorative music isn't to be played in public like commercial piano music, but should be enjoyed as "a time apart from the weirdness of the world." This refreshing panacea begins with the cheery "Give Us a Smile, Alicia" and continues into one of the most lovely instrumentals recorded in recent memory, "Remind Me to Breathe." Tastefully accented with cello, this gorgeous tune is more effective than aspirin on headache when programmed for repeated play. Blue hearts will be perked up by the graceful "Waltz Flowers," and angry hearts soothed when they realize "Some Things are Better Left Unsaid." In fact, there's a piano tune here for most common emotional ailments. What could be better? INSTRUMENTATION: piano, electric piano, acoustic guitars, bass, percussion, cello.

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.


by PJ Birosik This month's column is dedicated to music-on-the-edge: those singers and players whose artistic vision continues to push back the boundaries of accepted musical forms. As always, if you have trouble finding these or any music recording reviewed in The Monthly Aspectarian at your local retailer, please call the phone number listed next to the record company's name for more information.

Next Article