Spotlight: Origin by Elise Lebec

Having possessed a seemingly inexplicable fascination with ancient Egypt since childhood, I was particularly excited to receive Origin: One World Turning Project, Vol. 1 by Elise Lebec. With two piano-based recordings to her credit, including 2014’s Heart Song (one of my favorite albums of that year), this gifted pianist and composer ventures into markedly different and mesmerizingly exotic territory on her latest effort. Comprised of nine compositions inspired by ancient Egypt and the middle-east, Origin fuses traditional Arabic music with modern electronica and other western elements, which are often complimented by Lebec’s own ethereally haunting vocals. Joining her on this magnificent adventure are nearly forty guest artists, of which include Abu Zaed, Charlie Bisharat, Mai Mostafa, Mahmoud Marv Ellis, Sheikh Mahmoud El Tohamy and Turon Davis.

“Taaly Maaya” opens the album in a somewhat foreboding mode, eventually unfolding into a mysteriously powerful arrangement of Arabic instrumentation and tribal percussion blended with distinctive electronica. Providing a majestically beautiful introduction, Lebec soon delivers an ethereally soulful melody evocative of an ancient rite or ceremony that seemingly casts a veil of enchantment upon the listener’s senses. Equally spellbinding, “Queen of Light” ensues with more English-sung lyrics silkily woven into a world groove arrangement accentuated by classical strings, which effectively evoke a cinematic quality of viewing an old film portraying a sojourn across the Sahara. The vivaciously seductive “Cairo Morning” bears distinctive elements of Raï music, as it weaves wordless ethereal vocals around that of a man’s rapping in Arabic. Seemingly slipping back into the scene of an old film where the site of the sphinx and pyramids come into view, “Bolero" is a stunningly beautiful composition and easily my favorite herein, in which Lebec delivers a sultrily sung melody amidst Arabic male vocals echoing in the distance. The equally enthralling “Rumi Song” (named for a 13th-century Persian-born Sufi mystic) features Cairo-based singer Mai whose voice one might easily mistake for that of Natacha Atlas. A powerful blend of lushly layered electronica and Arabic instrumentation, the piece seemingly transports the listener back in time where ancient temple ruins and monuments become fully restored to their glorious beauty and reverence. Named for an ancient Egyptian solar deity, “Sekhmet: The Goddess Awakens” bursts forth with thundering tribal percussion and a spoken chorus of women in poetic mantra that increasingly builds with intensity. Exuding a distinctive pagan flavor, the piece elicits imagery of the women dancing in celebration around a Saharan desert campfire. Another favorite, “The Jam: Luxor, Egypt”, is comparatively more traditional, albeit with deftly interwoven electronic textures and occasional injections of English-sung vocals which work to utter perfection. Taking another slight detour is the positively feel-good “Sufi Dance”, in which funk/soul elements, wah-wah effects and psychedelic organ are joined by English rap lyrics backed by gospel-style singing. Concluding the album is “Hob Elahy: God is Within”, which begins with a tantalizing Arabic male-vocal chant; Lebec’s equally mesmerizing lyrical melody ensues, guided by a driving rhythm that conveys an image of riding off into a desert sunset.

A masterfully crafted effort from an unquestionably versatile composer, Origin takes the listener on an unforgettable experience of sacred magic and soulful mystique that seemingly reawakens a long-forgotten era in the distant past. A top-notch world fusion album sure to appeal to many fans of the genre, Origin is also particularly fitting music for modern, fusion and tribal belly dance! ~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 06/26/17.

Album Review: Red Diamonds by Gina Leneé

Californian native and resident Gina Leneé is a classically trained pianist and composer who’s released a handful of albums since the early 2000’s. Her latest album, Red Diamonds, marks her first time working with Windham Hill Records founder Will Ackerman, which was recorded at his Imaginary Road Studios in Vermont. Comprised of ten compositions showcasing Leneé on piano, the album variably features guest performances throughout which includes Ackerman on guitar, Charlie Bisharat on violin, Eugene Friesen on cello, Jill Haley on English horn, Jeff Haynes on percussion, Jeff Oster on flugelhorn, Marc Shulman on electric guitar, Premik Russell Tubbs on electronic wind instrument and saxophone, Tom Eaton on fretless bass, guitar and vocals, and Noah Wilding on vocals.

“A Thousand Days Without You” opens in a graceful, unhurried manner with subtle English horn melding into the backdrop along the way. “Soulmates” continues in this gentle piano mode seemingly tip-toeing about, as accompanying violin further lends an added touch of gracefulness that perfectly illustrates a couple’s dance. Initially beginning more slowly, “Carry Me Away” eventually picks up a livelier pace with underlying percussion and a repeating piano riff throughout. Electronic woodwind and breezy wordless vocals further lend the piece a somewhat Celtic feel that likewise paints a scenery of open meadows and sunny skies. An especially lovely composition, it seems to tell of story of waiting to be whisked away by a lover whom one wishes will soon arrive. My absolute favorite piece herein is “The Moment”, clocking in at nine minutes as the album’s lengthiest track. This hauntingly sensual number treads along more ambient-jazz terrain, aided in part by drifty flugelhorn which helps to convey a deeper level of intrigue. Softly echoing percussion, subtle brushes of wordless vocals, sparse guitar notes and the mysterious melody of electronic woodwind perfectly round-out this piece, which serves as a shining example of many subtle yet perfectly placed musical elements coming together to create a truly outstanding composition. The title track, “Red Diamonds”, moves along in a somewhat galloping manner with its focal melody warmly accompanied by percussion and violin. The album’s most subtle piece, “Art of Life” is another highlight defined by a notably elegant melody graced by cello and airy vocals. And finally, “Forever” concludes the album as its most sentimental piece, led by a tender melody that’s once again accompanied by English horn.

Overall gently restrained and mostly low-key throughout, Red Diamonds elegantly sparkles and shines without the need for too much ornamental flash. Rather, many perfectly understated musical elements and subtle textures combine on this beautiful collection of pieces for a personal listening experience that is truly reflective, romantic and intimate! ~Candice Michelle

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

Review originally published on Journeyscapes Radio on 06/09/17.

Spotlight: Deep by Adam Werner

Deep (subtitled Music to Heal the Soul) is the latest album by guitarist and composer, Adam Werner, whose signature fingerstyle guitar technique has often been compared to that of the late pioneering guitarist Michael Hedges. Comprised of twelve peacefully reflective and melodic compositions spanning forty-four minutes, the album includes alternating arrangements of both solo acoustic and ensemble pieces with subtle vocals in parts, which variably feature guest performances by Samite, Kris Tischbein, Ken Verheecke, Adam Howe, Michael Manring, Kentaro Otsuka, Jim “Kimo” West and Sydney Easton.

Lending his mesmerizingly soothing vocals to the unforgettable first track, “Sage & Sand (for Tristan)”, is Ugandan singer and former Windham Hill Records artist, Samite, whose own music I’ve long been a fan of. A spellbinding fusion of contemporary acoustic and world music, atmospheric textures envelope gentle acoustic guitar, as Adam additionally lends bass and percussion while Samite plays a captivating flute melody throughout. Moving in like a gentle breeze upon a tranquil landscape is “Thank You”, in which Adam creates stretches of atmospheric tones with eBow guitar along with a rhythmic pacing on acoustic guitar, as Kris Tischbein further underscores the piece with bass guitar. “Footprints in the Fog” is another gem of a composition that exudes a misty atmosphere. Here, Adam plays guitar, bass and percussion accompanied by Ken Verheecke on nylon guitar and Adam Howe on banjo. A lushly beautiful ensemble, each distinguishable instrument becomes part of a most intriguing interplay, which is perfectly carried to conclusion by the distant sound of a cold wind gust. The one-minute “Island Swing” is the sunniest piece on the album, perfectly capturing the Hawaiian spirit with its serenely uplifting ukulele solo. The title track, “Deep”, is among the album’s handful of solo acoustic guitar pieces and arguably the most mesmerizing of its kind. Simple yet profound in its contemplative essence, warm, languid tones seemingly paint a picture of a solitary beach and sunset. Equally enthralling is “Psyche vs. Soul”, a subtly stormy piece characterized by sparse, echoing chords that additionally features Kentaro Otsuka on bass as well as Adam Howe on drums and 12-string guitar. “Early Mourning Passage” just as beautifully wraps-up the album as it unfolded. Here, Sydney Easton lends wordless ethereal vocals as repeating guitar notes drift upon a soundscape of eBow guitar, bass and percussion, ultimately fading out with Sydney’s lone vocal intonations.

Sublimely tranquil with an often-melancholic undercurrent that seems fitting for a rainy afternoon, Deep is memorably melodic yet relaxing enough to serve as accompanying music for spa and massage therapies. Echoing the spirit of many classic Windham Hill and Narada Records releases, Adam flawlessly interweaves elements of new age, ambient and world music into contemporary acoustic arrangements, ultimately culminating in what is easily one of this year’s best guitar albums! ~Candice Michelle

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

This review was originally published on Journeyscapes Radio on 06/06/17.

Spotlight: Jazz Meets the Classics by Alan Storeygard

Jazz Meets the Classics is musician and composer Alan Storeygard’s fifth recording and first classical album, his previous four releases having primarily featured jazz piano arrangements and original songs. Comprised of nine reinterpreted classical compositions, including several lengthier medley-styled pieces, the album spans over seventy-two minutes and features covers by some of the greatest classical music masters in history such as Sergei Rachmaninoff, Ludwig Van Beethoven, Frederic Chopin, Johann Sebastian Bach, and Peter Ilyich Tchaikovsky. Alternating between solo piano and symphonic orchestration throughout, Storeygard is additionally joined on varying compositions by Brain Wolverton on bass, recording engineer Dave Rogers on drums, Danny Fletcher on guitar, and recording engineer Eric Chesher on orchestration and synthesizers.

“Rachmaninoff’s Prelude in C-Sharp Minor” offers a bold, stark opening full of dramatic, sweeping piano accompanied by cymbals and brass instruments. Initially conveying a setting of being in a large auditorium while viewing a dazzling live stage performance, the mood shifts at about the halfway point to that of a more intimate piano-bar setting that incorporates notably jazzier elements. Winding down towards the latter part of the piece with a solo piano jazz riff, the composition signs off with one last exertion of swelling neoclassical symphony. Arranged as a tone poem, “The Moldau Symphony” by Bedrich Smetana and Hector Berloiz opens with delicately twirling piano in the higher registers, which slowly descend into a more reverberating fullness. Conveyed by the expressive sound of grand piano, the piece eventually unfolds into a lovely classical jazz ensemble. The slower-paced classical number, “Beethoven’s 9th Symphony”, is given an interesting spin by being fully rendered into a jazz ensemble framework. Perfectly suited to a couple’s dance, the piece seemingly conjures images of a romantic evening spent dining at a quaint café. The nearly twelve-and-half-minute medley, “Chopin’s Ballade 1 in G Minor, Nocturne 2 in E-Flat, and Waltz 6 in D-Flat”, is perhaps my favorite composition on the album, noted by a subtle waltzing pace that is alternated with a more rubato approach, as solo piano dances up and down the registers with a graceful extravagance. The most curious inclusion on the album is perhaps “The Star-Spangled Banner”, a definitively bombastic yet well-rendered composition that ultimately concludes with Giacomo Puccini’s classically famous “Nessun Dorma”.

Presented in appropriately colorful and detailed gatefold packaging, Jazz Meets the Classics overall succeeds in its daunting effort to harmoniously interweave its prevailing styles of neoclassical and traditional jazz music, and will likely appeal, especially, to fans who enjoy both genres! ~Candice Michelle

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

This review was originally published on Journeyscapes Radio on 06/01/17,

Album Review: Solo Piano Destruction by James Woolwine

James Woolwine is a pianist, guitarist, songwriter and teacher who began taking piano lessons at age seven. Comprised of eight original and two cover solo piano compositions, his debut album, Solo Piano Destruction, variably incorporates elements of pop, jazz and rock music into highly engaging contemporary classical arrangements.

“Overkill” is a dramatic and lively opener that follows along a relatively unpredictable path (as do many of James’ compositions), expertly weaving all his classical influences into one while displaying bold touches among an intricate melodic arrangement. The aptly-named “Ivory Dance” follows next, skipping along in a buoyant manner to the many nuances of James’ dynamic and intricate finger-work. The pace slows down a bit with Katy Perry’s instantly recognizable “Firework”, on which James skillfully employs his own unique embellishments. Comprised of the same four chords as the original song but with variation on the bridge, the piece is distinguished throughout by its insertion of powerful keystrokes, with special emphasis towards the latter part in the lower registers. Serving somewhat as an interlude is “Meadows of Dan”, which lends subtle contrast to the former piece with its simple opening notes and more rural, down-to-earth vibe. Dedicated to James’ mother who likewise named the piece, it takes its inspiration from a place called Dan in his home state of Virginia. Originally written as a guitar piece, “Happy Accident” sprang forth from several spontaneous ideas that ultimately resulted in a solid composition. Reminiscent of sunlight pouring through the open window of a cottage in the countryside, the fresh scents of nature seemingly fill the air, as James’ fingers move like spinning tops throughout the registers of this spritely, sunny tune. Showing considerably more restraint is “New Bach Etude”, the album’s most elegant composition, as well as my favorite, with its subtle intrigue and new age overtones. An additional Katy Perry song is rendered on this album, with James lending his own twist to the catchy “Teenage Dream”, which was the first composition he did a formal arrangement of. “From Andy” closes out the album with a sophisticated effervescence, serving as an ode to guitarist Andy McKee of whom this composition was inspired by.

Classically intricate yet dynamically straightforward, there is certainly much to appreciate about James Woolwine’s compositional arrangements and piano-playing techniques. Positive, upbeat and packing a lot of oomph, Solo Piano Destruction would be particularly well-suited to a live performance setting that personally engages his audience. With a guitar-based album also currently in the works, I suspect this is only just the beginning of more rewarding musical outputs to come! ~Candice Michelle

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

Review originally published on Journeyscapes Radio on 05/09/17.

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.