An Opus of Wind and Earth
When I put on a new Brian Crain album I know from previous experiences that it will be a creative release. Even in the simplicity of solo piano he always has his very own style, a signature. Albums like A Summer in Italy (especially the track Midsummer Night) and Sienna are very dear to me. So when I started listening to his album Piano Opus I knew that it would contain something new and fresh. And yes, it did! Here are 11 gentle tracks, beautiful beyond words. A more peaceful selection og music is hard to find.
And there is a wonderful surprise on track 12. But more on that later!
It is always interesting to get to know what happened behind the scenes when a piece of art was created. On the cover of Piano Opus Brian Crain tells about how the album came to life. He says:
When I started working on my album Piano Opus in the summer of 2008, I didn’t have the faintest idea what I wanted to compose. This being my thirteenth album, I found it challenging to write something fresh. I listened to many other composers in an effort to spark inspiration. I was surprised by how many albums lose their appeal after the first few songs. So I set out to create a solo piano album that can keep the listener’s interest all the way through.
The album contain 11 tracks with a one word title with a connection to nature, like Wind, Earth, Water, Fire and so on. And they really do keep your interest. There is this rare intensity in all the melodies, something irresistible that hides beyond music; this is a perfect soundtrack for active day dreaming. The atmosphere is relaxed and light, but there is some melancholy here as well, rapidly drifting away. My favorite track is no. 3, Water.
And the surprise I mentioned above is a special version of Johann Pachelbel’s famous Canon in d. It is played in a soft way, yet fast, without any of the usual Canon in d passion. It makes Pachelbel’s old melody feel new and refreshed.
This is indeed a piano opus that you don’t want to miss. Brian Crain is one of the finest pianists out there, and he has given us yet another great album with an atmosphere that really keeps listener’s interest all the way through.
You can sample Piano Opus here.
Album review: Harlan Mark Vale – Bright Angel
But don’t get me wrong; Bright Angel is not an easy album. It demands attention. There is a lot of improvisation in Harlan Mark Vale’s piano works, and you have to tune your ears to it. This is not background music. But when you take the time to listen – to explore the world of the angels – you are rewarded.
The title track, Bright Angel, is the perfect introduction to Vale’s style. The first sharp tones grip your attention at once. For the first 4 minutes you can hear and feel the improvisation; it is like a river of sound. I guess this is where a few listeners will quit, because of the lack of melody and consistency. But if you close your eyes and let your subconsciousness do the work, you will see that this is not random notes. Suddenly more and more elements of a melody emerge. And when it does, your mind reacts. The intertwining melodies on this first track are truly beautiful, and the piano sounds divine; the last 3 minutes are tones from heaven itself.
Track number two is called Buddha Temple. The first seven minutes are gentle and you can hear some Asian influences in the use of sharp and flat notes. For me it is like seeing the Buddha Temple manifest itself out of a fog. The structure is built by 4 minutes of powerful melodic elements. The piano is beautifully played, and definitely shows how talented Harlan Mark Vale is. The ending is quiet. Suddenly the Buddha Temple disappears into the fog it came from.
World of Good is track number 3. The atmosphere is positive and light from beginning to end, so it is easy to understand why it has such a name. Most of the song is played in a gentle way, but some parts in the middle are more powerful. The song ends with a pleasant shower of tones. Warm and uplifting at the same time.
Decisions & Fate is a dramatic song. Some elements are dark, other lighter. Here is room for the feelings of both defeat and greatness. It is interesting to hear how fast Vale can change from one theme to the next.
Track number 5, The White Phase, is like a winter day. You can almost see the falling snow and feel the cold on your skin. But it not a dark song; it has a positive vibe. After all, winter is only sleep and not death. Soon spring will come knocking on the door. This is what I feel this song is communicating.
The last part of the album is the Intuition Suite. It is divided into three songs; Delivered Fresh From Eternity, Touched By Infinite Possibility and Manifestations of the Heart. Here Harlan Mark Vale goes much deeper into his artistic project. The three tracks have the same form; an intro with improvisation, and then beautiful melodic elements. There is a weightless feeling here, which make them perfect for meditation and relaxation. I just have to point out the great sounding names on these tracks. They are very poetical, don’t you agree?
The quality of the recording is very good. You can hear that it is not a studio recording. But I think that this gives the album a more authentic feeling. After all, piano music is live music.
Bright Angel is not uncomplicated or easy. But at the same time it is perhaps the most relaxing music I have ever heard. When you buy this album, you are not only getting beautiful music – you are also getting an instant meditation kit; press play and your mind takes off. Since large parts of the songs are improvisation, the replay possibilities are almost endless. You don’t get tired of these songs easily – and when you are finished listening, you know that you have been touched by an angel.
Sounds of the Mountain
Nature has always been a great source of inspiration for writers, painters and musicians. The experience of vastness and the forces of nature are spellbinding. The artist is trying to recreate and communicate this existential experience in his art. Rui Serodio’s album Sounds of the Mountain (2001) is a good example of this. Serodio found inspiration in the mountain of Arrabida, Portugal. Just by looking at the titles you can sense some of the different aspects of this experience: Sky is so close, Echoes and Sunrise in Midsummer. The nature talks through the music.Rui Serodio is using a selection of synths and piano. Fans of vintage synths will really feel at home, while other may think that the sound is somewhat dated. If you enjoy the music of Klaus Schulze, Edgar Froese and similar artists, then you will like Sounds of the Mountain for sure. It is easy to hear that Serodio also is influenced by classical music, especially in the tracks without a drum beat. The strings section on the last track, Lost Paradise, could be played by Vienna Symphony Orchestra: that would have done justice to this fine song.
The album has a nice variation in intensity, from the powerful Sky is so close to the elegant tracks A way to eternity and Water Reflections. But what I like the best is the way the melodies flow: there is this element of improvisation. This makes the album interesting, and you can play it again and again.
Serodio paints a picture of sound where the mountain comes to life. Nature sure is magical, if you just look at it the right way. And yes, the view from the mountain top is magnificent! Let Serodio be your guide to the mountains.
You can sample and buy the album here. Also take a look at our blog post about the nice Gourmetstation.com offer.
Be sure to check out Rui Serodio’s solo piano works too. You’ll find his homepage here.
Album Review : Dan Kennedy – Lantern
Lantern is a short album; 19 minutes divided into four tracks. From the very first rapid G notes on the first track you can hear and feel Dan Kennedy’s piano skills. The Steinway is played with identity, giving each song a special touch; youthful and mature at the same time.
The first track Dulcimer In G is fresh and full of life like the first day of summer. Here Glen Velez plays percussion and T-Bone Wolk bass. Samite gives a nice vocal. So the opening track is not strictly speaking “solo piano” – but the Steinway has the leading role. The thing I like best about the opening track, is that the intensity varies much; more than once you think that the track is ending – and then it starts again. A very good effect. The drum is also nice.
Track number two, Ballad, is different. It is slow and full of feelings. It is a bit sad, but thoughtful is a better word to describe it. Here you can enjoy the rich sound of the Steinway. The track is little over three minutes long, and is over before you know it. Beautiful and sad at the same time.
Dear Girl is like a love letter. In the beginning you can almost hear the boy telling about his love and his passions through the sound of the piano. Then there is a shift, where the mood becomes lighter. Perhaps the girl is finally responding with a smile? The ending is gentle.
The last track, Cycle, is fast and played quite hard. Noah Wilding’s beautiful vocal adds a layer to the song. It is a good track to round up the album with, since it has that certain element of conclusion; there is almost an ending around 1m40sec and then this theme is repeated at 5m30sec.
I must mention the high quality recording. I only got the 256 kbps MP3 to rely to, but they sound truly great. It is a statement of how great Will Ackerman’s studio is. It must be a dream for any pianist to play there.
Yes, the album is short – but not too short. I am not saying that a couple of more tracks wouldn’t be nice, but that Lantern is a complete album in every way. In a world where most new artists need 14 tracks and at least 60 minutes, it is in a way refreshing to find someone who uses 4 tracks and 20 minutes to perfection.
May this be the short start of a long and successful career.
or on CDBabyAlso, take a look at Dan Kennedy‘s site.
Interview with Ken Elkinson
BT Fasmer (*) of NewAgeMusic.nu has interviewed Ken Elkinson about his solo piano albums. Read his discography here.
* I have noticed that your music, from Midnight Conversation (1997) to the Cue (2006), tend to be very positive and uplifting. There almost no melancholy and even the sadness is beautiful (like the song Beautiful Sadness on Cue). Is it your goal to create music with a positive vibe, or is this something that comes naturally to you?
Ken: I am not sure if I can take credit for that being intentional! I think by nature I am more of a pessimist, which is something I am always trying to change about myself. I think of my four current releases Revelry and Cue are lighter, and Opal and Midnight Conversation are more serious – though even there I try not to get that dark. It is funny because right now I am putting the finishing touches on my next original piano CD – and there is one tracks I am wrestling with taking off the CD because it is too heavy. I sent a copy to my first piano teacher when I was five, to have her help make the decision.
*What inspires you? Describe your creative process. Do you write notes, use a computer, etc.?
Ken: I know this may sound hard to believe, but I am not usually inspired directly by anything when I compose. It is not like I write a happy song because my kids were born, or I write a depressing song because I got into a fight with a relative. I usually sit down and come up with a riff or an idea. Sometimes I am able to expand on the idea immediately, sometimes I agonize for months. I record all my “writing” sessions with a mini-disc player, yet I rarely go back and try to revive anything I have not turned into a complete song. I don’t use my computer at all in terms of my piano writing, but I do play around with creating some electronic music using loops. That stuff has not seen the light of day, as I am so busy with my piano music, I never have time to finish anything else. However after I release my next original CD I am planning on a break from piano to do other types of music.
* This year you have released two albums with music composed by others, Borrowed Tracks and Generations of Yuletide. Still you have a personal touch on each track. How do you make a classical song, like Eleanor Rigby or Send in the Clowns, “yours”?
Ken: That is a good question, I am not sure. I listen to music pretty much around the clock, and I am always looking for songs to interpret on the piano. I have a pretty good ear, and that combined with all the free chord charts you can find on the internet – gives me a good start. I try to pick songs that have not been done a hundred times – but even then sometimes that is not avoidable if I love the song. What I try to do with the arrangements in general on a cover song is to make the song as different as possible, while still being recognizable. I really respect people like Sting who can take a song, change it almost to the point of not knowing what it is, and still have the song come out awesome.
* Your new Christmas album is quite different from most other releases, with a historical selection of songs: it is like a travel in time and geography. Tell us why you choose to do it this way.
Ken: I was a little wary going into recording a Christmas piano CD – as there are about a million of them out there, and a large number of them are pretty boring and repetitive. I am not claiming my CD is like the Beatle’s White Album of Christmas music, but I don’t think you can call it boring or a re-hash of everything else out there. I got some ideas from friends who are really familiar with the genre of Christmas music, and then I found some sheet music books with a wide range of songs. I tried to find some songs that were fairly obscure. I scoured over the internet and iTunes to see how many versions I could find of some of the lesser known songs I did. I think I succeeded at least partially, as one reviewer who claimed to be the foremost authority on Christmas music in the world said he had never heard of one or two of the songs I picked. In terms of the order, I just decided to put them in chronological order. However, I gave my father-in-law a copy, and he said that he was much more familiar with the newer stuff at the end. In hindsight, perhaps I should have gone in reverse order. Maybe when I sell out of this printing, I will go back and change it up!
* To record piano is not easy. What kind of equipment do you use? Have you received any help in the studio?
Ken: I recorded my first CD Midnight Conversation on a Steinway. I remember sending a copy to one of my solo piano contemporaries, someone who I really liked their music. He wrote back and asked my CD was recorded on a keyboard, because he thought the sound was not that good. I said from that day forward, there would never be that question again. I discovered Bösendorfer pianos and it was love at first play. The two affordable studios in North America that had Bösendorfers were in Saskatchewan and West Palm Beach. I hate cold weather (sorry Norway!), and I have a grandmother who lives in Florida, so I chose that. I did my next 4 CDs on that Bösendorfer with Neumann mics and very little effects. That piano does not really need much. It is a mother/son team who ran the studio, and both are amazing musicians and freaks for good sound. In the middle of recording my upcoming CD, the mother and son went their separate ways, and the mom moved the piano to New York City. I was a little nervous because the piano went from being in this immaculate studio to a living room that was not even sound proofed. The newer songs turned out fine, though you may faintly be able to hear a dog barking in the background. Just kidding! However, I did my Christmas CD on a Yamaha out here in LA, as with 1 year old twins, it was hard to find the time to get to NYC for a few sessions. The Yamaha also had a good natural sound, which was helped along by Trevor Saddler’s mastering. He did a lot of the Narada stuff, and really knows how to get the most out of a piano record.
* You have one track with vocal, Beautiful Sadness with Tom Freund. Will there be more vocal on your coming albums?
Ken: I definitely hope so at some point – not on my next piano CD, but maybe after that. I have been plugging away at some vocal tracks for years, but can’t seem to finish them. My two biggest challenges have been that I have a terrible voice, and that I am really bad at writing lyrics. Since my first CD, I always want to do a vocal track. I was a big fan of Tom’s work, and never thought he would agree to it. He plays with Ben Harper, Jackson Brown, Victoria Williams – all these great people and has amazing albums himself. Beautiful Sadness is actually his song, originally done with just guitar and vocals. I re-worked the song for piano, and he just breezed into the studio, did two or three takes and we were done. His timing is so great, he is like the Sinatra of folk/pop/rock. A few other somewhat well known artists have expressed an interest in doing some vocal tracks, so hopefully I can pull that together at some point.
* What kind of music do you like? Do you enjoy new age music in general, or only solo piano?
Ken: I don’t actually listen to that much solo piano, or new age music in general. My kids have a radio in their bedroom, and they listen to the Spa (Relaxation) Channel on Sirius Satellite Radio round the clock. So that is mostly where I am exposed to that type of music. In terms of piano and/or new age artists, I love Keith Jarrett, George Winston, Ludovico Einaudi – maybe a few others. The rest of the time I listen to a huge variety of music – from rock to alternative to bluegrass to rap to Hawaiian to Brazilian samba. Some of my favorite artists are Steely Dan, Bruce Springsteen, Jose Gonzalez, Tori Amos and Sting. I can’t stand being without music for even one music, so if I go into a parking garage and my satellite radio goes out, I switch to CDs immediately!
* Thank you for the interview, Ken. Keep creating great music!
Don’t forget to visit Kenelkinson.com.
Piano photo copyright by WizData – used with license from BigStockPhoto.com.
Novel Blue Dream
It seems that few instruments can compare to a piano for personally illustrating the emotion and feeling of what an artist wants to share with another. The piano is a divine instrument to play or to simply listen while others perform. I am certain many readers like myself have also had the opportunity to play the piano as younger adults either willingly or unwillingly under the guidance of their parents, which ended with varying degrees of success. The noteworthy artist I would like to highlight today has achieved unbridled success playing the piano, reaching the number 1 spot in World New Age radio charts across 9 countries, achieving the Best Piano Album in the NAR lifestyle music awards in 2006, and winning the classical / jazz category in the Music OZ Awards for 2008. Accomplishments even her parents never would have dreamed possible.
Fiona Joy Hawkins has also received multiple nominations as finalist in classical jazz categories in 2007 and 2009 in multiple genres, among her respectable achievements as an Australian born composer and pianist. Her most recent 2008 Blue Dream album on the Little Hartley Music label, described as world fusion piano, puts the listener into a reflective relaxed state with many refined variations ranging from the poignant quiet moments of thought, to moments with varying rhythms, styles and many orchestration phases in the 22 song album which merge together skillfully. While already widely recognized, she hopes this album will break into international markets.
my favorite track 9 blends powerful, yet soft vocals, only to crescendo into a moving inspirational piece, blending into the next novel chapter.
One can consider the 22 songs contained in this album as chapters in a book, that after reading each chapter, the next phase of this story becomes more revealing when finishing all verses while working your way towards the final chapter.
my favorite track 9 blends powerful, yet soft vocals, only to crescendo into a moving inspirational piece, blending into the next novel chapter.
All song chapters and illustrations in this book will hold your interest by preventing you from putting the book down, and my favorite track 9 blends powerful, yet soft vocals, only to crescendo into a moving inspirational piece, blending into the next novel chapter. Farther in the storyline Track 12 opens with a classic piano solo interlude as accompanying vocals add definition, and as the plot thickens, additional momentum begins to increase the readers awareness of a chance encounter, as additional instrumentals and rhythms divulge increasing amounts of dialog of this narrative.
Recorded and produced by Grammy Award winner Will Ackerman, plus an addition of many other talented musicians to their credit, who solo and accompany Fiona Joy Hawkins, influence the beauty and refinement of the album, without ever exceeding the award winning pianist intentions and the message she masterfully portrays with the 88 ebony and ivory keys provided for her on a Steinway concert piano.
Besides her professional career as a pianist, Fiona Joy Hawkins is also a painter with her own online art gallery, where paintings can be purchased, along with her 4 available CDs. The novel website to visit is Fionajoyhawkins.com.
Visit New Age Music World
- New Music – Family Values by Craig Karolus
- Marc Enfroy – Dreams of the Forest
- Cinematic Piano Music by Marc Enfroy
- Sounds from the Circle – New for 2012
- What is New Age Music ?
- Mysterium Tremendum by Mickey Hart Band
- Gandalf & Steve Hackett Live Album – Gallery of Dreams
- Gandalf & Steve Hackett – Live Concert
- Mickey Hart Band – Concert Tour 2012
- Yanni Concert Review – Live at El Morro