Album Review: Rendezvous by Kelly Andrew

Kelly Andrew is a musician and composer whose latest album Rendezvous was produced by Will Ackerman, Tom Eaton and himself, as well as recorded at Will’s Imaginary Road Studios in Vermont. Centered upon themes of romance, reflection and passion, Kelly contributes keyboards, synthesizers and programming to these twelve and often jazzed-up contemporary instrumental compositions. He is joined variably throughout by a talented musical ensemble of which includes Duke Levine and Randy Chavez on guitar, Tony Levin and Bijoux Barbosa on bass, Charlie Bisharat on violin, Eugene Friesen on cello, Premik Russell Tubs on sax and woodwinds, Jill Haley on English horn and oboe, Steve Holley and Christian Teele on drums, Jeff Haynes and Christian Teele on percussion, Gus Sebring on French horn, and Noah Wilding on wordless vocals.

“Chasing Twilight” leads the album with sultry electric guitar and drifty piano notes over a slick bassline and infectious groove, collectively lending this beautifully bold opener a jazz-funk vibe. “Hand in Hand” follows next and is comparatively more sentimental, additionally featuring woodwinds, violin and acoustic guitar set to a moderately-paced rhythm. “Painted Butterfly” continues in this mode, where a warmly-lit ensemble of piano, strings and guitar seemingly capture the essence of an afternoon sunset. “Awake in a Dream” is perhaps my favorite track on the album and seemingly perfect for late-night listening. Imbued with a romantic chill-jazz vibe, the intimate and lush atmosphere of this piece is sensually enhanced throughout by a melodic interplay of piano and sultry sax. The title track, “Rendezvous”, easily paints an image of a dancing couple beneath the moonlight on an evening pier, which is seemingly illustrated by its soulful sax and chic piano riff accompanied by a lively smooth jazz groove. I’m also particularly fond of “Looking Back”, a leisurely-paced number that bears hints of nostalgia and reflection. It comparatively captures a more rural essence with its down-to-earth rhythm and acoustic multi-instruments. “Lonely Road” is another favorite in the chill-jazz vein, likewise conveying a nocturnal sultriness with its lounge-like ensemble of piano, sax and sumptuous rhythm. Closing out the album is the aptly-titled “Hope”, a positively inspirational piece featuring piano, cello and French horn.

A thoroughly rewarding album of sleek sophistication, Rendezvous seems to tell a lover’s story which moves through the course of evening, dawn and sunset. Colorfully enhanced throughout by its contributing instrumentalists, Kelly Andrew musically paints images of both scenic rural landscapes and chic metropolitan venues. Listeners, especially, who enjoy contemporary instrumental music with notable chill-jazz flavors are sure to savor the romantic spices of these delectable compositions! ~Candice Michelle

For more information please visit the artist's website. This album is also available at Amazon, iTunes and CD Baby.

Spotlight: Immortelle by Deuter

Born in Falkenhagen, Germany, composer and multi-instrumentalist Deuter (pronounced “Doy-tur”) is one the earliest pioneers of new age music. Having recorded is first album in 1971 and with over sixty releases to date, his music is especially popular in the spa and wellness industry – long heralded as being among the best of its kind for massage, reiki and various relaxation therapies. Inspired by nature and dedicated to healing, Immortelle consists of eight compositions that are each named after a medicinal plant. Deuter plays a variety of instruments throughout the album, including flutes, keyboards, piano, guitar, cello, violin, harp, strings, harpsichord, chimes and hand drums.

Named for a mint plant that exudes a spicy fragrant essential oil, “Monarda” leads the album with celestial chords and earthy cello, which are eventually joined by an arrangement of strings towards the end of the piece. I’ve long found Deuter’s music to be generally well-suited for early mornings, and this composition aptly brings to mind images of the sun’s rays peering upon the horizon of an early dawn. The mesmerizing “Sonnenbraut” follows next and is my absolute favorite track on the album. Just over ten minutes in length, delicate flute and icy bells dance among layers of ethereal chords in an almost circular pattern, as hypnotic percussion gently guides this enthralling composition along. The exotic nature of this piece combined with its frosty atmosphere feels evocative of the Himalayas, bringing to mind images of an ancient temple hidden among the misty snow-capped mountains. Named for a flowering herb, “Traubensilberkerze” is led by an arrangement of harpsichord and woodwinds, which are accompanied by synthesizers and East Asian musical instruments. Possessing a harmonious juxtaposition of Far-Eastern and medieval European elements, the piece exudes an almost folkloric and mythical quality. The watery “Lily of the Valley” is another favorite, which highlights a subtle piano melody throughout. Entrancing hand percussion gently guides the piece along, as it’s accentuated by crystalline chimes and suspended synth-tones. “Binguga” is perhaps the album’s most heavenly moment; it gets its title from a plant listed in the 12th writings on healing plants by the mystic nun Hildegard von Bingen. The composition’s mysterious swell of angelic synths seems to capture a vision of the sky opening up to reveal a beam of light pouring through. I’m also especially fond of the closing piece, “Cumaru”, with its drifty piano, softly swirling tones and wordless vocal intonations. This dreamy composition seems to paint a picture of evening, as it lulls the listener into a restful dream state.

Deuter is unquestionably the gold-standard of new age healing music and Immortelle is no exception to his excellent body of work. Easily one of his best in recent years, this is a landmark album for him, which is certain to join the ranks among some of his most notable and outstanding recordings. A gently moving album full of ‘high vibration’ signatures, Immortelle is not to be missed by anyone looking to heal, connect and relax – or bring the same to others! ~Candice Michelle

For more information please visit the artist's website. This album is also available at Amazon and iTunes.

This review was originally published on Journeyscapes Radio on 10/25/16.

Album Review: Beyond Words by Dan Chadburn

Dan Chadburn is a pianist and composer who has appeared on several compilation albums dedicated to various charitable causes alongside other notable and well-established pianists in the music scene. His sixth album, Beyond Words, is comprised of fourteen solo piano compositions, with each piece capturing a moment in time.

“Awakening” begins softly with high-register notes, where Dan initially lends a gentle touch to the keys before lower-register notes soon join in accompaniment. An emotional tenderness and graceful sentimentally is felt throughout the composition, likewise characterizing much of the album. Picking up the pace a notch is “Joyful Morning”, which exudes a distinct air of buoyancy and innocence like that of children playing and skipping about in the sunshine. Following next is the more contemplative “Healing Waters”, a piece that was inspired by an early morning swim at the seashore. One of my favorites, bolder mid-to-lower register chords provide a steady undercurrent for its delicately flowing higher register notes, perhaps to musically illustrate the ocean’s waves gently rolling in and out. The likewise intriguing “Crossroads” is about life’s journey and the varying paths to choose from, which is musically conveyed by its unpredictable melody that gently ebbs and flows throughout, with a subtly changing and evolving pace along its course. My absolute favorite composition herein is “Tears of Angels”, which was composed in memory of those killed and wounded at the Pulse nightclub in Orlando on June 12th, 2016. This unforgettable tragedy occurred in my hometown and directly affected the lives of many people in my community. Beginning in a solemn tone, sparse notes and spacious chords impart a sense of sorrowful comfort along the composition’s beautiful and perfectly understated melody. Interestingly, to say the least, its melody caught my attention even before I learned of the song’s inspiration. I’m also particularly fond of “Falling Forward”, which possesses a certain air of mystery and unknowing. The subtly waltzing and classical bent of the composition brings to mind that of a lone ballet dancer. Also especially noteworthy is the emotionally tender “Kal-Boy”, which was written in memory of Dan’s twenty-year-old cat on the evening he crossed the rainbow bridge. Conveying both the sorrow felt for his beloved pet’s passing along with the celebration of his life, this piece perfectly captures the emotions experienced during that most heartbreaking moment. Closing out the album with a peaceful optimism is “Lullaby for Peace”, which Dan has offered as “a prayer of hope for all of humanity to learn to live together”.

Inspired by “the people and events that shape our world”, Beyond Words is a deeply sincere and sentimentally imbued recording that subtly varies from gently uplifting to peacefully contemplative moods. Fans, especially, of the solo piano genre will likely find the characteristically non-intrusive and simple elegance of these compositions to be as overall lovely and comforting as I did! ~Candice Michelle

For more information please visit the artist's website. This album is also available at Amazon, iTunes and more.

This review was originally published on Journeyscapes Radio on 10/24/16.

Spotlight: Whispers from Silence by Tom Moore & Sherry Finzer

Whispers from Silence is the collaborative project of multi-instrumentalist Tom Moore and international flutist Sherry Finzer. Comprised of eight compositions spanning just over an hour, the duo blend synthesizers with wind instruments to create a deeply immersive and meditative soundscape that feels ancient, sacred and enchantingly exotic, with subtle earthy rhythms underscoring several of the pieces.

“Awakening Breath” opens with the toll of a Tibetan bell followed by an exotic flute solo, evoking a spirit of reverence and solitude that sets the mood for a serenely soulful and mystical journey. “Towards the One” follows next with an opening chorus of crickets and nocturnal sounds, before transitioning into an enveloping and warmly-lit soundscape of flute, sitar and synthesizers that are soon accompanied by a flowing organic rhythm. It’s one of my favorite compositions on the album, bringing to mind images of a sacred sensual dance being performed amidst an enthralling haze of candlelight and incense smoke. “Infinite Space” is another gorgeous piece that invokes a blissful and dreamlike state, as breezy flute ethereally floats among a bed of gossamer chords like clouds passing slowly across the sky. Also particularly noteworthy is the beautifully hypnotic closing piece, “An Ancient Presence”, which effectively conveys the notion of standing in the presence of an ancient sacred temple. Here, droning chords merge with deep vocal intonations before introducing a mesmerizing flute melody, as earthy percussion subtly guides the piece along in a meditative mode that seems to fuse an eastern mystical vibe with a Native American essence.

Deeply entrancing from beginning to end, Whispers of Silence is an impeccably outstanding album of perfectly executed artistic vision as well as utmost professionalism. Grounding, earth-centered, and ceremonial in nature, its compositions beckon the listener to step into a sacred space that allows the mind and spirit to feel unrestrained by time or geographical location. Easily one of the best albums of its kind to emerge in recent memory, Whispers from Silence is especially and enthusiastically recommended for yoga, meditation and shamanic journeying! ~Candice Michelle

For more information please visit the artist's website. This album can also be purchased at Amazon, iTunes, and CD Baby.

This review was originally published on Journeyscapes Radio on 10/05/16.

Spotlight: Road to Chiang Mai by Bill Wren

Bill Wren is a Texas-based musician and composer who’s released a couple of critically acclaimed albums. His third release, Road to Chiang Mai (named for the largest and most culturally significant city in Northern Thailand), was inspired by a trip to the Southeast Asian country and the start of a new life. Four of the album’s thirteen compositions were composed by Frank Ralls (whom also arranged, orchestrated and mixed the album) as well as provides drums and keyboard – while the rest of the tracks were composed by both Bill Wren and Frank Ralls. Also joining the musician line-up is Micha Gilliam on both electric and acoustic guitar as well as mandolin and banjo, John Gibson on bass guitar, Jim Farrelly on penny whistle, Aubrey Logan, Ben Bram and Tim Davis on vocals, Ben Lash and Nick Curry on cello, Ann Marie Calhoun on violin, and strings courtesy of String Mob LA.

“Enchanted Kingdom” (featuring Frank Ralls) is a sweeping and cinematic opener that boasts a full orchestra led by powerful drums with interspersed digital effects. Hovering somewhere between the realm of neoclassical and symphonic rock music, this lively and colorful piece immediately signals the embarking on a fantastic voyage. Frank Ralls also lends both his arranging and instrumental talents to the next piece, titled “The Other Side”. One of my favorites, this amazing fusion of neoclassical and electronica features piano, strings and keyboards set to an infectious staccato rhythm, with female vocals providing airy ‘ooohs’ and ‘ahhhs’ throughout. “The Beginning” is another highlight initially led by a beautiful mandolin instrument amidst sparking chimes, soothing electronics and lush orchestration, which collectively unfold into a colorfully sonic arrangement. However, “Journey around the Sun” (also featuring Frank Ralls) is perhaps the album’s most prestigious moment. Guided by encircling textures of dreamy synths and cascading guitars, which are underscored by hypnotic percussion, it exemplifies an exquisite fusion of acoustic and ambient music. A more solemn tone is conveyed on a couple of tracks – including the solo cello piece, “Longing” (featuring Ben Lash), as well as “Memories” (once again featuring Frank Ralls), which consists of both piano and cello – before the gently uplifting mood returns on “The Way It Was”, a Celtic-flavored piece featuring Jim Farrelly on penny whistle. “Ebb and Flow” closes out the album with mandolin, light bells and gentle orchestration, signifying that our enchanting celebration is quietly winding down. A childlike wonder is conveyed on this piece, evoking images of a beautiful city beneath a starry sky, as if to honor the magical memory of an enchanted land somewhere far away.

A successful blend of east-meets-west, Road to Chiang Mai incorporates neoclassical, contemporary instrumental, electronica and world music into a thoroughly rewarding musical experience. Those who possess a love of geography will additionally appreciate the CD’s inside cover artwork depicting what appears to be an old map of Thailand and surrounding area. Unfolding like a cinematic story full of twists, turns and dramatic pauses injected at all the right moments, ‘Road to Chiang Mai’ perfectly captures the sights and sounds of a country rich with beauty, culture and fascinating history! ~Candice Michelle

For more information please visit the artist's website. This album can also be purchased at Amazon, iTunes and CD Baby.

This review was originally published on Journeyscapes Radio on 09/22/16.

Spotlight: Earthlight by Jon Richards

Earthlight is the sixth album from musician and composer Jon Richards, released on Medwyn Goodall’s UK-based record label, MG Music. Comprised of eight compositions spanning just over an hour, the album showcases a beautiful array of electric guitar melodies and textures, perfectly interwoven among encompassing synthesizers, electronic rhythms and ethereal voices throughout.

The title track, “Earthlight”, opens like an approaching dawn, introduced by warm, enveloping synthesizers and gentle guitar plucks. Encroaching drums soon give way to a steady electronic rhythm, as the piece takes on a more cinematic quality full of keyboard layers and soaring electric guitar that collectively impart a feeling of flight. “Falling Star” continues in this mode while introducing cello, as exotic female vocals lend a touch of world to the piece. The leisurely-paced “Daybreak” is one of my favorite compositions, which showcases a gorgeous electric guitar motif along with cello and airy bells. “Satellites” takes things up a notch with more dynamic electronic elements, as the familiar female voice injects a worldlier feel into its spacey arrangement. “Afterglow” is especially dreamlike, in which choral voices and ethereal guitar soar among echoing drums. The aptly-named “Solar Winds” opens with the sound of cosmic winds that eventually morph into a melodic and mesmerizing chill-style arrangement. “Eternity” is initially led by the sound of Dakuk, a gorgeous instrument from Armenia that I’ve long been particularly fond of. Clocking in at nine-and-a-half minutes, it’s the lengthiest track on the album, in which all of the familiar elements mark their presence throughout. “Majestic” signals the end of our stratospheric sojourn, concluding with a mystical female voice that seems to represent Gaia herself transmitting a secret message into the ethers.

Infused with a global spirit and cosmic sensibility, Earthlight seems to behold our earth in all of its glory. I was often reminded of Mike Oldfield’s longtime seminal work, “The Songs of Distant Earth”, especially with regard to the album’s overall concept, as well as the electric guitar as its lead instrument. Magnificent and moving from beginning to end, Earthlight is easily Jon Richards’ best album to date, as well as one of the most beautifully inspiring recordings I’ve had the pleasure of listening to all year! ~Candice Michelle

For more information please visit the artist's website. This album can also be purchased at MG Music and Amazon.

This review was originally published on Journeyscapes Radio on 09/20/16.

Spotlight: Alchemy by Crystalline Dream

Alchemy is the third installment of a five-part album series by Crystalline Dream, a musical project conceived and composed by Richard Ross. Incorporating both electronic and indigenous instruments on the album, Alchemy spans styles of ambient, ethno-tribal and electronic-space music variably throughout, as its ten compositions take the listener on an extraordinary journey far-removed from the hustle-and-bustle of daily life.

The album opens with the title track, “Alchemy”, as whistling flutes and ghostly whirling voices are led by echoing electro-tribal drums. Shamanic and ritualistic in nature, the listener is immediately whisked away to an exotic destination – one that I can envision located somewhere deep in the Himalayas. This mood continues into “Pb-Au”, where bubbling synths and buzzing chimes impart a sense of entering a deep cavern encrusted with stalagmites as waters churning below. Electronic sequencing in the style of classic Tangerine Dream takes the foreground on “Enhormonium”, a traveling piece that conveys a notion of traversing the night sky. Kicking things up another notch is “Contrapuntos”, a piece led by a horn-like instrument, which infuses electric guitar and electro-tribal drumming with a bit of psychedelia. The following track, “Aelous”, is quite a stunner and possibly my favorite on the album – once again channeling the spirit of Tangerine Dream (as well as TD protégé Alpha Wave Movement). This classic electronic-space number feels beautifully expansive and majestically nocturnal, with its ethereally melodic chords set upon layers of dreamily rhythmic sequencing. “Musica Universalis” is another particular standout which bears a remarkable similarity to the music of Jonn Serrie. A classic ambient-space piece, it commences with slow-shifting tones and cavernous drones that seem to capture the resplendent mystique of the Aurora Borealis. Ending the album much in the same way it began, the familiar introductory elements return on “Alchemy (Reprise)”. This piece seems to create an impression of venturing through a portal, as if finally having arrived full-circle on our journey to a secret subterranean paradise.

Listening to Alchemy felt like entering another realm, with its otherworldly passages seeming to convey the essence of a culture long past and tapping into its ancient wisdom. In fact, while a couple of tracks on Crystalline Dream’s previous release, Journeyman, inexplicably made me think of the mythical land of Shambhala, such impressions came to mind even more frequently while listening to this album. At times slightly forbidding and consistently trance-inducing, these beautifully sublime compositions seem to have come together quite organically. Immediately becoming my favorite installment thus far in the Crystalline Dream saga, Alchemy is a mesmerizing musical journey simply not to be missed! ~Candice Michelle

For more information please visit Threshold Studios. This album can also be purchased at Amazon, iTunes and CD Baby.

This review was originally published on Journeyscapes Radio on 09/17/16.