Music Reviews - by PJ Birosik

This month's column features something old and something new: best-of collections from some of your favorite musicians as well as wonderful debuts from new artists who will, hopefully, keep recording long enough to one day have their own anthology. 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 name for more information.

Riley Lee
POSTCARDS FROM BUNDANON
(New World Music, 800-771-0987)

Riley Lee, who captivated the world with his televised, emotionally-charged, new millennium dawn performance of the shakuhachi (bamboo flute) on the tip of the sails of the Sydney Opera House on New Year's Day 2000, is being introduced to America thanks, in part, to this "best of" overview of his stellar recording career. Lee is Australia's only Grand Master of the shakuhachi, and one of the few outside of Japan. For three years, he toured internationally as a full-time performer of taiko (festival drums) and shakuhachi with Ondekoza (now called Kodo), the most famous group of traditional Japanese musicians. Lee's studies with flute teachers in Japan have included such peculiar methods as practicing barefoot in the snow, blowing into his flute under waterfalls and in blizzards until icicles formed at its end. Therefore, it should come as no surprise that Lee is profoundly influenced by nature as a flutist, or that his music has an unusually soft, lyrical sound, which offers a feeling of meditative beauty. On this collection, Lee's atmospheric, even spell-binding, music is at perfect harmony with his image on the cover: he looks like some celestial being floating on a lily pad, making divine music! And while the shakuhachi is a simple tube with holes in it, in the hands of a master like Lee it can produce an unbelievably wide range of sounds and is as expressive as the human voice.

Kodo
BEST OF KODO II
(Sony)

As the world's most famous practitioners of the Japanese drum ("taiko"), Kodo has gathered a huge international following by combining traditional repertoire with dynamic, cutting edge music for the modern age. Since their debut at the Berlin Philharmony in 1981, the ensemble has spent two-thirds of every year on the road, and the rest at their communal home on Sato Island, practicing a spartan lifestyle that includes three-hour runs, vegetarian meals and ten or more hours of drumming each day. As a result, the troupe has a lean, muscular look and sound. Their sonic explorations into the art and intricacies of rhythm are unmatched. Using flutes, cymbals, bells and drums of all shapes and sizes (including an awe-inspiring 12-foot wide drum taller than a man), Kodo present tunes both delicate and majestic with themes like "Rainbow Traces," "Wind from the Steppes" and "Shake." With artful choreography, a Kodo live performance ranks alongside Cirque du Soleil as a must-see event. But even here, without the dazzling live movements, Kodo easily display a profound sensitivity towards sonic balance, turning humanity's oldest instrument into its song for the future.

Terry Oldfield
REFLECTIONS
(New World Music, 800-771-0987)

Featuring three previously unreleased bonus tracks, this "best of" covers 1985-95 and includes Oldfield favorites in both Worldbeat and New Age styles. From the starkly spiritual solo sound of "Pure Flute" to the deeply sensuous groove of "Spirit of India-Remix" to the angelic soprano styling of "Hear My Plea" from his all-time bestseller, OUT OF THE DEPTHS, there is much to appreciate. His use of breathy female vocals to balance a textural sonic backdrop predated Enya by several years, and Oldfield also pioneered the now popular melding of trance-ambient electronics with timeless indigenous rhythms. Listen to the sound his beloved pan pipes make on "The Listening Heaven" and draw closer to the earth! There has always been a strong worldbeat element to Oldfield's albums, too. Circling the globe, his heartfelt music blends native language vocal accents, irresistible rhythms and exotic melodies. Even on his New Age recordings like ICON you can hear a melding of gothic and indigenous styles. The hauntingly hypnotic "Resurrection" with its attention-grabbing harp/guitar riffs and deeply soulful gospel vocals was a forerunner to the style now popularized by Vas, Enigma and many others. As you listen to REFLECTIONS, you'll hear many sounds which have since been incorporated by other artists; but it is time to give Terry Oldfield his due, not only as a pioneering recording artist, but also as a vital composer who is still prolific today.

Various Artists
PLANET RAVE Vol. 1
(Triloka, 323-651-1676)

This may only be volume one of an exciting new recording series, but as it features hot tracks from some of the most popular fusion artists in the world today, surely this series' potential is unlimited. Contemporary world music artists such as Tulku, Material (featuring legendary writer William S. Burroughs), Indian fusion guru Jai Uttal, Celtic songstress Emer Kenny and Qawaali maestro Badar Ali Khan are given the re-mix treatment by some of today's most creative aural alchemists such as Talvin Singh, Bill Laswell and Steve Snow. This combination of ethnic groove and heart-pounding dancefloor rhythms is irresistible; try it for aerobic workouts, commuting, or anytime you need a quick hit of hi-NRG. But this record is not all about break beats; there's catchy melodies, beautiful harmonies and glossy textures a-plenty! Check out Junior Vasquez' tribal edit mix of "Golden Brown," which features Kenny's take on a modern rock classic by the Stranglers; one listen and you'll know why Madonna treasures Vasquez. Another winner is San Francisco DJ Sunkist's mix of "Guru Bramha" by Uttal and the Pagan Love Orchestra.

Arto Tuncboyaciyan
EVERY DAY IS A NEW LIFE
(Living Music, 800-437-2281)

Introduced to American audiences thanks to the currently Grammy-nominated album by Paul Winter and the Earth Band, JOURNEY WITH THE SUN Tuncboyaciyan here makes his solo debut as both vocalist and percussionist. Described by Winter as "one of the most complete musicians I've ever known," Tuncboyaciyan may be in the spotlight now, but still keeps one foot in the village -- specifically, in the Armenian community just outside Istanbul where he grew up as the younger son of a poor shoemaker. His experiences there as a member of his brother's band helped shape Tuncboyaciyan's artistic style into a form of avant-garde folk that rings as true and heartfelt as it is innovative and far-reaching. An incredible singer, his vocals sound like a cross between Tuvan throat singers and an African chorale on the gentle tune "Take My Pain Away," then transmute into a hypnotic peal as rapid hand-drum patter underscores the cry of a wild sax -- courtesy of Winter -- on "Wooden Leg Grandpa." The unusual yet utterly cool "Baby Elephant" matches a polka-like rhythm, tuba and trumpet accents with lovely performances by guests Eugene Friesen on cello and Jim Bear on keyboards. Such variety is delightful, yet, overall, one is left with a final impression of the sheer soulful power of Tuncoyaciyan's voice. His impeccable ability to manipulate a melody line is truly spectacular.

Elaine Lucia
SINGS JAZZ AND OTHER THING
(Raw Records, 360-385-9600)

After the loss of jazz divas like Ella Fitzgerald, Sarah Vaughan and Betty Carter in recent years, it's great to see the spotlight shining on a new generation of stars like Diana Krall, Cassandra Wilson and Dee Dee Bridgewater. But, jazz purists will note, each of these stand-out vocalists sing in the lower register. Not since the legendary Nancy Wilson has a clear-voiced, upper register singer broken out of the pack ... until now. On her recording debut, Lucia performs with all the vitality, freshness and inventiveness that reminds you why standards are standards! Featuring the legendary Bud Shank on alto sax and percussionist Babatunde Lea -- as well as top ensemble players whose credits include everyone from Chuck Berry to Santana and Larry Coryell to Ernie Watts -- SINGS JAZZ AND OTHER THINGS reflects an arch of diversity from bossa nova to bluesy ballads to Peggy Lee's driving jam, "I'm Gonna Go Fishin'." Other highlights include Jobim's classical "Agua de Beber," and Leonard Feather's "Love is a Word for the Blues." When singing new versions of rare tunes, Lucia shines; then, when she does a classic, the arrangements stray far from the original, yet remain accessible. It's great to hear a rising star having such fun with the tunes!

Paul E. Beck
OF THE FOREST
(Red Lodge Records, 406-446-4932)

Folk-rock seems to fade in and out of fashion, but has never really gone out of style. As long as there are artists inspired by nature (human and the wilderness kind), there will be songs created that rock folk out of their comfortable little niches, tunes that make people listen once and think twice and, maybe, see the world just a little bit differently afterward. Beck's music sends a powerful message that folk-rock is still a thriving musical genre. This debut album is thoughtfully crafted mixing guitars, banjo, dobro, violin, piano, Native flute and rhythm section together with an earthy, appealing voice and unique perspective on life. Like Leo Kottke, Arlo Guthrie and Loudon Wainwright III, Beck has a way with words that is wry, dry and slightly off-center. Take "Hunting," for example, a bouncy track that could easily be misconstrued when casually heard. But the lyrics are no more about shooting in the woods than kd lang's award-winning "Pulling Back the Reins" is about riding horses; both are intimate, soul-searing portrayals of the search for truth within a romantic relationship. "Faster than a Race Car" is similarly thought-provoking and deep, being a lament about how fast children grow up. Some people can't see the forest for the trees, but Beck peers confidently into the wild landscape of the heart and finds beauty, truth and, ultimately, innocence.

Vicki Richards
TEMPLE DWELLER(
Temple Street Music, 305-662-1860)

While this may not technically be a debut recording, it is the first of Richards' work to reach a wide audience -- and deservedly so! This violinist/singer has gathered together an impeccable array of players and repertoire. Together, they reach into the mystic heart of the sacred and seduce us with their sensuous, shamanic soul search. Joining her are critically-acclaimed guitarist Amit Chatterjee (of Joe Zawinul's band), drum goddess Layne Redmond, and the New String Quartet, among others who perform on log and frame drums, clay pots and additional percussion on original material as well as a notable interpretation of John Coltrane's popular tune, "Naima." This beautiful melody is deeply moving, fitting in well with originals like "Montserrat" (inspired by a visit to a Benedictine monastery there), "Wellspring" (a nod to Ravel's motif) and the Native American-influenced "Earthwalker." That she can successfully pull off a pastiche of Hindu, Diné/Navajo, jazz and classical styles indicates that Richards is not only ambitious, but also a tasteful arranger whose future is bright indeed.

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 member of the Board of Directors 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.