Album Review: The Road Ahead by Joslin

The Road Ahead is the third album and second non-holiday recording from Dallas-based musician and composer, Joslin. Comprised of eleven compositions spanning forty-nine minutes, this 2010 release adheres to a similar formula as his debut album, The Lone Traveler, while mostly scaling back the heavier techno-dance elements in favor of more contemporary rhythms. Likewise showcasing a colorful array of electronic, global and symphonic orchestral textures, the album features a handful of talented guest artists, of which includes guitarist David Abrams, violinist Radu Cernat, and vocalists Lauren Lamb and Elizabeth Leonard.

“The Atlantic Prelude” introduces the album with symphonic orchestration and a contemporary electronic rhythm, as Latin dance and rock elements lend the composition a sultry, dramatic flair that’s highlighted by cello, classical and electric guitar. Following it up is the equally aesthetic, “Celestial Rain”, a sensual chill-out number accentuated with touches of smooth jazz and lounge. Easily my favorite composition on the album, it seemingly evokes images of a Mediterranean oceanside casted by sunshine and rain, as flowing piano notes ringing like chimes are warmly immersed in bubbling electronics and a bass-laden groove. Switching gears a bit with “Sunrise”, this contemporary instrumental piece opens with singing birds and symphonic orchestration led by piano and brass instruments. Elegantly optimistic and celebratory, it brings imagery to mind of sunlight pouring into a magnificent ballroom or dancehall. “Fall” is one of two compositions that features the vocals of Lauren Lamb; tailored to more of a pop-rock mode, she sings a catchy melody on this decisively mainstream radio-friendly song. Slipping back into an exotic swathe, “Body Language” is a sumptuous chill-jazz tune that showcases Spanish guitar and a cha-cha rhythm. Imbued with a seductively nocturnal mystique, this tantalizing piece perfectly evokes an atmosphere of a romantic evening on the pier, as one can almost feel the caressing breeze gently blowing in from sea. I’m also particularly fond of “Lonely Lovers Lullaby”, which features the wordless, aria-like vocals of Elizabeth Leonard. Led by a waltzing pace, this classically-infused number showcases a whimsically haunting piano and violin melody, as it seemingly recalls that of masked couples dancing in a vast white room. Another favorite is “Cat and Mouse Tango”, where ‘tango meets techno’ for an interesting twist. Here, Radu Cernat leads the enchantingly romantic composition with his classical violin. Closing out the album on a gently optimistic note is the title track, “The Road Ahead”. A contemporary instrumental piece that bears subtle Celtic nuances throughout, it aptly portrays peaceful scenery of a sunny and open, northern terrain.

Another top-notch production from an amazing multi-talent, Joslin seemingly immerses himself in the diverse cultures and geographical locations that inspire his lovely compositions. Always infusing his intricate arrangements with an authentic and soulful essence, I’m once again remarkably impressed by the range of his musical dexterity! ~Candice Michelle

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

Review originally published on Journeyscapes Radio on 04/11/17.

Album Review: The Lone Traveler by Joslin

Joslin Dsouza is an Oman-born musician-composer who currently resides in Dallas, Texas. Having first begun playing piano by ear at the age of four, he later enrolled in classical piano lessons, eventually studying under the academic curriculum of the Royal School of Music, London. Since moving to the United States, Joslin’s music has been featured on numerous television shows, commercials and documentaries. Released in 2006, his debut album, The Lone Traveler, was inspired by a story he learned in music class about the evolution of the modern guitar, specifically, the Arabic contributions to Spanish guitar music. Comprised of ten compositions spanning approximately fifty minutes, the album incorporates influences of world, techno, classical and contemporary instrumental styles of music, inviting the listener to embark on a spirit-soaring journey full of cultural richness and vivid colors painted throughout.

The title track, “The Lone Traveler”, opens the album with bold piano keystrokes that soon introduce a Gypsy-like melody accompanied by Radu Cernat playing violin. Immediately conveying a notion of watching a live grand stage performance unfold, an entourage of dancers seemingly enter the scene, as the piece further blossoms to life with an infectious dance rhythm. “Dance de Amour” follows next, an equally ebullient number with a romantic Mediterranean flair. Here, accordion takes the lead melody over an arrangement of strings, piano and percussion, as it seemingly paints a picture perhaps from the 1940’s, depicting a svelte couple dancing in the streets of Paris or Barcelona. Shifting gears a bit is the buoyantly energetic, “Celebrate Earth”, which aptly captures the atmosphere of a lively celebration. Notably infused with Eurodance elements, a simple piano melody that somewhat recalls Robert Miles’ mid-1990’s club hit “Children”, is similarly laid over a trance-techno rhythm accentuated by colorfully digitized effects. The next piece, “Moving Forward”, is one of my favorites on the album, likewise highlighting a dreamy piano melody that’s supported by pronounced bass and a dance-techno rhythm. An incredibly infectious tune with a soaring, convivial spirit, I could listen to it repeatedly, as I’m reminded of night life and driving through city streets. Equally compelling is “The Land of Innocence”, which aptly begins with the distant sounds of children playing amidst dreamy chords, before blossoming into a bouncy club/dance arrangement. Imbued with a fantasy-like quality evoking the innocence of youth, a whimsically whistling melody gives way to a sparking piano riff during the bridge of the piece. Taking things down a notch is the notably tenderer, “For All God’s Children”, initially beginning with gentle thunder and rainstorm, before introducing a classically contemporary instrumental arrangement that’s elegantly woven with orchestral textures. By contrast, “Underneath” is decisively sultry with its delectable Arabic and Indian musical flavors, which are further spiced-up by the exotically soaring vocals of Erin Munoz. Easily another favorite, the piece exhibits a world dance-rock flair, painting visually enthralling images of a thematic stage performance embellished with veiled dancers, flaming torchlights and temple décor. Closing out the album is the likewise fantastic, “Renegade”, which opens with the hauntingly beautiful sound of a duduk amidst a seemingly foreboding drone. Tribal drumming soon enters followed by stark instrumentation led by piano and strings, as the melody shifts back and forth from dark to light throughout until ultimately wrapping things up with a powerful, thunderous finale.

An amazing discovery from a master talent, The Lone Traveler makes for a mesmerizingly visual-audio experience, in which although the traveler may be lone, is certainly never alone. An artist whose work I find incredibly suited for live performance, Joslin is seemingly able to pull off the oft-difficult task of crafting strikingly bold and dramatic arrangements without ever becoming overly bombastic. A most highly impressive debut, The Lone Traveler will likely appeal, especially, to fans of Yanni, 2Cellos and David Arkenstone, as well as those with a penchant for Eurodance music! ~Candice Michelle

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

Review originally published on Journeyscapes Radio 04/04/17.

Spotlight: Asha by AO Music

AO Music is a world fusion group founded by Richard Gannaway and Jay Oliver, which also includes South African-born singer and solo artist, Miriam Stockley (who co-produced this album with Richard). Perhaps best known as the voice of composer Karl Jenkins’ Adiemus project (whose debut single of the same name released in the mid-1990’s went on to become an international new age/classical-crossover hit), Miriam likewise imbues AO Music with her signature, layered phonetic vocalese that deftly emulates indigenous tribal chants. Titled Asha, after a Hindi word meaning “hope”, the group’s fifth album is “a salute to the world’s youth” intended to convey a global message of unity, peace and love. Richard plays banjo and Irish bouzouki, as well as handles the synths, samples and sound design throughout, even providing his own voice on numerous tracks. Comprised of twelve compositions spanning fifty-four minutes, Asha additionally features guest singers and musicians from various parts of the globe, making for a truly pan-cultural listening experience that masterfully integrates acoustic, ambient and world music styles.

The sun rises on the lively and rhythmic, “Jabulani”, immediately unveiling a colorful world of exhilarating beauty and warmth, as the yodeling voices of Yushu children weave around Miriam Stockely singing in the South African Zulu language. “Love Knows the Way” ensues with Richard and Miriam singing both English lyrics and phonetic vocalese, as Kimba Arem lends Australian didgeridoo throughout. Integrating many ethno-tribal elements, this hazily melodic composition evokes images of driving through the outback, or on a safari, all while taking in the beauty of surrounding nature and wildlife. Following next is the mesmerizing, “The Wildest Dream”, a folksier tune that features Ashwin Srinivasan on Indian flute, as well as Vladiswar Nadishana on jaw harp and Hang-hand pans. Miriam gently sings a simple, soothing melody in English with a couple of lines in Gaelic, as glinting synth sounds mimic twinkling stars over gathering performers around a desert campfire. One of my favorite pieces on the album is “Quixote”, which features Mark Holland on Native American flute in addition to Richard, Miriam and David Leflar on vocals. Impressively showcasing an eclectic integration of complementary elements, I’m somewhat reminded of certain works by Peter Gabriel, a comparison further noted by the song's crooning, earthy vocal style. Following up this outstanding offering is the equally enthralling, “Gael Medley”, which as its name suggests, emphasizes a notably Celtic flair. Here, banjo, flute and Irish bouzouki accompany Miriam’s phonetically beautiful vocalese, collectively painting rural scenery of horses running free in an open field. Picking up the pace a notch towards the latter part, the piece transitions into the spirited rhythm of a traditional Irish step dance.

Perhaps the most riveting moment on the album is the captivatingly serene, “Though We Are Here Now”. Featuring Julie Fowlis on vocals, she sings lyrics adapted from a poem taken from the Translations of the Gaelic Society of Inverness in traditional Scottish Gaelic. Jay Oliver provides acoustic piano and string arrangement throughout, while Tim Lorsch lends violin and Neal Merrick Blackwood plays Native American frame drum. Exuding an inexplicable depth in its simplicity, the middle of the piece slips into an ambient suspension with singing birds accompanied by Miriam’s ethereally layered vocals. At this pinnacle moment on the album, an aerial view of earth being restored to its original state of glory and wholeness is seemingly transferred, until gently reverting to the initial acoustic and vocal melody that ultimately culminates in a profoundly touching encounter. The familiar names of award-winning duo Al Jewer and Andy Mitran appear on the next piece, “The Inbound Trail”, with Al lending his signature Native American flute while Andy plays the kalimba and metallic tongue drums throughout. Closing out the album is the more subtly ethno-ambient title track, “Asha”, a piece gently guided by improvisational flute, piano, and Native American frame drum. Here the sun has set upon the earth and every tender creature, as a euphonious tribal chorus provided by Emily Tessmer, Miriam and Richard seemingly lull the world to sleep.

A simply magnificent display of trans-global textures and scintillating soundscapes, listening to Asha makes me want to get away and explore the world numerous times over. For the time being, this album has accompanied me on the road and around town ever since it arrived, always infusing my day with added radiance, joy and warmth. Although refreshingly unique unto its own, AO Music will appeal, especially, to fans of Adiemus, Deep Forest and Afro Celt Sound System, of which I’ve long been among. Stopping at nothing short of tantalizing, Asha is arguably one of the most rewarding world fusion albums to emerge in recent years! ~Candice Michelle

For more information please visit the artist's website. This album can also be purchased on Amazon, iTunes and Google Play.


This review was originally published on Journeyscapes Radio on 03/28/17.

Album Review: Reflected In A Flowing Stream by Kathryn Kaye

Reflected in a Flowing Stream is the sixth full-length album from notably accomplished and award-winning pianist-composer, Kathryn Kaye. Co-produced by Windham Hill Records founder Will Ackerman, Tom Eaton and herself, Kathryn’s latest release was recorded at Will’s Imaginary Road Studios in Vermont, as well as mixed and mastered by Tom. Comprised of eleven compositions spanning fifty-five minutes, a talented team of guest musicians are variably featured throughout, of which includes Eugene Friesen on cello, Charlie Bisharat on violin, Tony Levin on bass, Jeff Oster on flugelhorn, Jill Haley on English horn, Jeff Haynes on percussion, Tom Eaton on accordion, and Will Ackerman on guitar. As always, the most visually suited cover artwork was chosen to represent her album, with this one perfectly capturing a gentle repose, observant of nature and the seasonal cycles of the year.

“A Lark in the Last Night of Day” offers a gently spirited solo piano introduction with notable classical touches, delicately alternating between drifty notes and bubbling, flowing key strokes. Capturing a sense of nostalgia seemingly reflective upon the past, an allusion to the end of a season is conveyed, as further indicated by the title of the next piece, “As Seasons Change”. Here, a solemn touch of cello is accompanied by bass, preceding a lovely piano melody that becomes more formidable, yet remains ever graceful, before softly winding down again. The next composition, “Procession of Moon and Stars”, is likewise aptly-named, as it moves along in a procession-like manner with a marching stanza in the lower registers. Alternating between major and minor chord shifts throughout its main melodic riff, this exquisite number is further enhanced by accordion and cello, as the caressing sound of flugelhorn lends an interval of dreaminess. Bookended by sparse piano notes, “The Stillness Before Dawn” ensues, while a more clearly defined melody exchanges subtle gestures with English horn nestled in-between. Noticeably brightening up the mood is “No Reason Not to Dance”, an optimistically lively, moderately-paced ensemble piece joined by accordion, bass, percussion and violin. I’m especially fond of the closing piece, “Arctic Night”, which is likewise accompanied by cello and bass. As if having saved the best for last, this mysterious number beautifully paints a nocturnal landscape, while brooding minor chords softly cast a shadow upon cascading influxes of improvisational piano throughout.

Reflected in a Flowing Stream gently nudges the listener to take a pause for quiet reflection. It never becomes bombastic or overly imposing in nature, but rather feels intimately subdued. Executed with utmost elegance and an expertly refined restraint, Kathryn’s prepossessing compositions feel innately unhurried and mindful of every detail within the present moment. Her compositional style, along with the moods she creates, often bear reminiscence to the works of Chad Lawson, as well as those of early David Lanz, such as his Narada-released album, Nightfall. Existing fans of Kathryn’s work will note much to praise about this album, while newcomers will find a perfect place to start, especially, those who enjoy classically-infused, contemplative new age piano music! ~Candice Michelle

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

Album Review: Color Me Home by Darlene Koldenhoven

Darlene Koldenhoven is a Grammy award-winning vocalist with an impressive resume that includes her role as the soprano soloist in the Yanni Live at the Acropolis performance, as well as having appeared in the movie Sister Act portraying a choir nun. Her ninth album, Color Me Home, is an exquisite eleven-track excursion which Darlene produced, engineered and composed the lyrics and music for, as well as sings, plays piano, synthesizer, native drums and shakers on. Beautifully and thoughtfully packaged, the CD includes a coloring book depicting images of nature, perfectly illustrating a spectacular collage of diverse arrangements and instruments. In what could perhaps be best described as a fusion of classical crossover, contemporary instrumental and new age vocal music with an often-touch of subtle world elements, the album’s track lineup alternates between sung lyrical compositions and instrumental pieces that feature wordless vocal intonations. Joining Darlene on this musical adventure is a team of talented artists, of which includes Tom Scott, Brent Fischer, Ricky Kej, Wouter Kellerman, Charlie Bisharat, David Arkenstone, Rocky Dawuni, Gayle Levant, Jeff Oster, Al Jewer, John Sarantos, Mike Miller, Lyn Bertles, Nick Vincent, Courtney Jacob, and Vanil Veigas.

“First Light” opens the album with the rolling, soothing sounds of ocean waves coupled with singing birds, before soon introducing a lovely ensemble comprised of piano, keyboard, oboe, flute, piccolo and violin. Further enhanced by its radiant wordless vocals, the composition seemingly paints an image of golden sunrays pouring through the trees of a lush forest, in what feels like a magical storybook having come to life. “The Pleasure of the Mourning Dove” follows next, a piece that aptly begins with the cooing of a dove. Here Darlene offers up a lyrical melody, her soprano voice perfectly complementing the song’s elegant arrangement of piano, violin and viola. “Kalahari Calls” is easily one of my favorite compositions herein; its African safari flavor and leisurely chill vibe conveying a sunny, tropical terrain filled with luxuriant jungles and rainforests. A mesmerizing ensemble of flute, piano and tribal percussion is further accentuated by airy wordless vocals that seem to whirl about its beautifully exotic landscape. The sound of wading through water introduces “Song of the Swans”, another lyrical song that possesses a somewhat mythical feel. Darlene’s soaring soprano vocals in tandem with the classical touches of clarinet and harp seem almost cinematic, as if a narrative has unfolded about a fairytale princess or sleeping beauty who has found herself in an enchanted land. Characterized by native flute and drumming, “Indian Summer” is another one of my favorite pieces on the album. Here I’m reminded of a glorious sunset softly illuminating a vast canyon. This image is further crystalized by sparking piano and swirling chimes, along with both siren and tribal-esque voices that seem to soar above the terrain. Equally captivating is “Ode to Our Orb”, another piece accentuated by Darlene’s soaring wordless vocals, as well as features the additionally amazing talents of David Arkenstone on guitar, along with Ricky Kej and Vanil Viegas on keyboards and rhythm. The composition’s earthily sensual and shimmering soundscape combines elements of ambient, world and contemporary instrumental music, and feels as blissfully rejuvenating as that of standing beneath a waterfall in a paradise lagoon.

Imbued with a brilliant radiance and richness throughout, listening to Color Me Home is akin to observing light hitting a giant crystal prism that emanates all colors of the rainbow. Immaculately produced, the album’s sound quality is superb and the guest performances outstanding, overall culminating in a soulfully rewarding experience that’s filled with joy, serenity and global adventure! ~Candice Michelle

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

This review was originally published on Journeyscapes Radio on 02/23/17.

Album Review: Into Eternity by Jim Gabriel

Into Eternity is the sophomore release from pianist and composer Jim Gabriel, and follow-up to his debut album, Sojourn. Comprised of twelve compositions recorded at Imaginary Road Studios in Vermont, Into Eternity was co-produced by guitarist Will Ackerman and multi-instrumentalist Tom Eaton. Both are also guest musicians on the album (with Will on acoustic guitar and Tom on electric guitar, bass and accordion), along with Jill Haley on English horn, Jeff Oster on flugelhorn, Gus Sebring on French horn, Eugene Friesen on cello, Charlie Bisharat on violin, Tony Levin on bass, and Noah Wilding on vocals.

“From the Rising of the Sun” opens with gently tip-toeing notes in the higher register, eventually blossoming into a vibrant and colorful melody. A gently uplifting introduction, this piece is one of a handful of the album’s solo piano compositions, of which are interspersed among other elegant ensemble pieces. “Winter” is an especially beautiful piece that bears a similar feel to some of George Winston’s works and other classic Windham Hill recordings. Beginning with trickling piano droplets in the higher register, accompanying cello and French horn lend a touch of nostalgia to the composition, which is led by a flowing piano melody that seemingly captures the essence of hurrying through the snow in a winter wonderland, or possibly even a figure-skating couple dancing in an icefield. I’m also especially fond of the title track, “Into Eternity”, a notably atmospheric and contemplative number that features drifty piano chords enshrouded by ambient guitar textures. “First Light” is another particular highlight in which pulsating piano notes in the lower register underlay the composition’s main melody, perhaps mimicking that of an approaching beacon of light. Further complimented by ethereal wordless vocals and suspended flugelhorn notes, the piece brings to mind that of a ship at sea sailing towards a lighthouse in the distance. The likewise especially noteworthy, “Midnight”, is a Coldplay cover that feels appropriately nocturnal and introspective, which Jim has beautifully rendered on solo piano. By contrast, “Americana” is one of the album’s brightest and boldest compositions featuring English horn and cello. Possessing a certain hymnal quality, this piece feels both patriotic and inspirational, as it seemingly paints an image of an old chapel in the countryside. The ninth track, “Goodbye for Now”, lends a wonderful seasonal contrast to the comparatively snowy, “Winter”, with its air of warmth and leisure that’s further enhanced by acoustic guitar and accordion.

Overall reflective with a gentle dynamism, Into Eternity seemingly shifts through the moods and tonalities of both day and night, as well as captures essences and landscapes of various seasons. Each contributing artist lends a delicate touch of added dimension to the listening space, as Jim Gabriel’s often flowing and always elegant piano melodies remain the focal-point of these lovely compositions! ~Candice Michelle

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

Review originally published on Journeyscapes Radio on 02/17/17.

Spotlight: Shapeshifter by Cole & Coffman

Shapeshifter is the collaborative release by Scott Cole and Matthew Coffman, who create an intriguing blend of music that ranges from experimental ambient to acoustic, avant-garde and instrumental world fusion. Comprised of thirteen compositions, the album features an eclectic variety of instruments played by the duo, which include mountain dulcimers, bass, electric and acoustic guitar, synthesizer, keyboard, sitar, flute, reed instruments, didgeridoo, ukulele, cajon, melodica, guitarron, resonator, udu, and other percussion.

“Arc” opens the album with oscillating pulses, immediately reminding me of Steve Reich’s seminal Music for 18 Musicians recording. Sitar, percussion and bass guitar soon join the ensemble to form a minimally melodic and experimental world fusion soundscape that’s not too unlike the ‘fourth world’ music of Jon Hassell. “Strength Will Come” ensues with nocturnal calls and droning, earthy sounds. One of the most intriguing pieces on the album, it progresses into a rhythmic pattern of spinning strings and atmospheric textures, seemingly flowing organically along an improvisational and unpredictable path. Following next is “Emerging”, a more discernably melodic piece that begins with the peaceful sound of ocean waves and gentle acoustic guitar, which are soon accompanied by reed instruments and percussion. The duo also lends an interesting twist to the popularly rendered song, “Scarborough Fair”, which opens with dreamy synthesizers and prominent bass guitar. Flute and reed instruments provide the lead melody among oscillating effects and a pulsating rhythm, curiously bringing to mind that of sailing away at sea while simply allowing the currents to guide their own course. Supported by guitar, synthesizer and subtle percussion, “Calm H2O” is another highlight characterized by lovely liquid bell tones, which not only perfectly conveys the water element, but also reminds me a bit of Balinese music. Closing out the album is “View of the Valley”, an upbeat tune with a rumbling-type rhythm that features didgeridoo and electric guitar. A likewise particularly intriguing piece, it seemingly blends indigenous Australian and Irish music with hints of psychedelic rock.

Fusing contemporary and world instrumental music throughout, Shapeshifter possesses a certain bohemian essence; one that seems to paint visual collages of nature and its cycles, the ebb and flow of the tides, and blossoming and dying of flowers. Characteristically minimal and seemingly improvisational in its approach, Shapeshifter is a genre-defying album that is worth checking out, especially, for fans of Steve Reich, Jon Hassell and Al Gromer Khan! ~Candice Michelle

This album can be purchased at Amazon, iTunes and Bandcamp.

This review was originally published on Journeyscapes Radio on 02/04/17.