As much as I try to appreciate all forms of music, sometimes I
\nfind all-instrumental music boring. It’s not the lack of vocals
\nthat is the problem, it’s that the music doesn’t show any
\nadditional imagination or life in place of a voice.<\/p>\n
And then, there’s
\nReflections<\/i>, a disc that just hit the stores. Featuring
\nseven artists of different styles from around the world, they
\ncombine their talents on solo tracks to make an album that is
\nsurprisingly cohesive, as well as creative and fresh – and I can’t
\nstop listening to it.<\/p>\n
Three of the selections come from Manuel Iman (whom I am told
\nhas a solo album coming out soon). Iman’s addictive style of
\nSpanish guitar, as well as just a touch of Latin funk when it’s
\ncalled for, make these tracks stand out. “Slow Gypsy” is a track I
\nwould have liked to see stretched out a bit longer; to my ears, it
\nwas far too short, though it was incredibly charming
\nnonetheless.<\/p>\n
If any player is under-represented on
\nReflections<\/i>, it is classical guitarist John Mills. The one
\nselection he performs, “Tremolo,” brought back memories of the late
\nMichael Hedges and his jaw-dropping skills on the harp guitar. If
\nany one player might be destined for superstardom in the world of
\nguitar work, Mills is my vote for the leading candidate.<\/p>\n
Another artist who establishes a name for himself right off the
\nbat is John Adorney, whose three compositions on this disc might be
\nthe most new-age based, but are equally as beautiful and powerful
\nas those by his counterparts. “Moving On” flows so smoothly, you’ll
\nhardly believe that six minutes have passed when the track
\nends.<\/p>\n
Whether it is the captivating sounds of the cello on Ron
\nClearfield’s “Soliloquy” and (as provided by Wendy Velasco) on
\nStuart Hoffman’s “Gone,” or the chime-like keyboard work on
\nKazuhiko Ikegami’s “Mau,” or it is the Mideastern influences
\n(complete with tablas) on Nigel Holton’s “Remembrance,”
\nReflections<\/i> is an incredible disc that reminds me what I
\nfirst heard in the field of new age music that I loved.<\/p>\n
You see, at one time, new age music did not mean Yanni leading
\nhis version of Heaven’s Gate followers into the pits of hell. New
\nage music was the capturing of a particular mood, style or place,
\nand through its performance made you feel like you were there.
\nIndeed, if the music hits me just right, songs on
\nReflections<\/i> make me feel like I’m standing on the shores of
\nJapan, taking part in a fiesta in Madrid, or even standing outside
\nthe Taj Mahal (whoops, we’re back to a Yanni reference). This is
\nthe beauty of new age music – beauty I think even the most diehard
\nheadbanger could appreciate.<\/p>\n
\nReflections<\/i> is a wonderful collection of artists whom I
\nsincerely hope we hear more from in the very near future. Until
\nsuch time, this disc is a wonderful sampler of their work, and is,
\nso far, high on my list as one of the best albums of the year.<\/p>\n
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