| [an error occurred while processing this directive] |
| [an error occurred while processing this directive] |
 To  |
 |
 |
| Artist: | "THE KAZU MATSUI PROJECT" |
| Title: | "TRIBAL MOZART" |
| Label: | Countdown/ULG |
| Reviewed By: | Donn Jehs |
| Rating: |  |
| SHHHHHHHHHHHHHH! Don't tell my editor but this is (gasp) classical music;
Mozart even. Kazu Matsui with his wife Keiko on the piano and Derek Nakamoto
handling keyboards and percussion have taken classic pieces from Amadeus
Mozart and given them a fresh and earthy interpretation, adding sounds of
the East to this most traditional of European music. Keiko's classical background
shines through as she plays with all the skill and emotion of a Van Cliburn,
using her talents to make Mozart come alive in the midst of a new environment.
While I am not a classical student I recognized most of the Mozart works and I'm sure many of you will also. The opening cut "Kilamanjaro in B Flat" is much like the famed mountain, the music rising in majestic grandeur but with a distinct drum pulse that reminds the listener that Kilamanjaro was once a volcano and hints at the explosive power within. "C Minor For The Orcas" throbs with the raw power of the killer whale, ruler of the Earth's oceans. Kazu's Shakuhachi (bamboo flute) infuses the "Circle Dance, E Flat" leading a stately round with the piano, dipping in and out of the circle then becoming almost drumlike in the second movement as short sharp notes accompany the percussion in counterpoint to the insistence of the piano. Visions of the theme from "Lawrence of Arabia" came to mind as "G Minor Over The Mosques" wound its exotic way through the headphones, like the call to Islamic prayer echoes over the city. "Savannah In D Major" is airy and open like the veldt itself. The music expands across the horizon with ethereal accompaniment on flute and choral arrangement. The title cut, "Tribal Mozart," is a jungle rhapsody with the flute once again becoming a drum and the background chanting eliciting the feeling of being present at a tribal dance as the piano and percussion interweave in staccato splendor. Notes drop from the piano like rain from the eaves of a veranda during a summer storm on "Rainy G Minor" with the flute blowing the storm clouds across the sky. "D Major Into the Forest" is as stately as the green forest giants you wander among -- peaceful and calming but with the underlying pulse of life. "Through the Grasses with B Flat" moves with the delicate steps of the eland, graceful and light, capable of flight at any moment. Keiko's jazz flavor seeps through on this piece. The final cut, "Amadeus In the Mist" is slow and wistful, hard to grasp, with the flute giving a soft and gossamer overlay to the piano. This album was a delightful experience, giving fresh breath to Mozart and showing us another side of the talented Keiko Matsui and Kazu's willingness to experiment with classical music. My recommendation is to get out your wampum and buy "Tribal Mozart." |
 |
| Artist: | "VARIOUS" |
| Title: | "CONVERSATIONS WITH GOD" |
| Label: | Windham Hill |
| Available: | Any Major Music Store |
| Reviewed By: | Donn Jehs |
| Rating: |  |
| This is another in the seemingly endless run of theme albums from Windham
Hill featuring the many talented 'regulars', plus a few guests from off-label,
all contributing to provide another enjoyable production. The recent best-selling
author, Neal Donald Walsch, has chosen works from the various artists to
provide an aural accompaniment to his book "Conversations With God."
And if you would believe, the pieces are all inspired by those personal
conversations the contributing musicians may have had with God in the form
of their muse. Certainly the music on this album indicates the musicians
took good 'notes.' From the opening cut "Her Knees Deep In Your Mind" to the final cut "Conversations With God" Neal says, "Can anyone listen to these extraordinary musical creations and not feel that their creators were God-inspired? And, indeed can we open our hearts to their beauty without being inspired ourselves?" The phrase 'inspirational music' often carries some stereotypical baggage, but if one equates 'inspirational' with music that is beautiful, joy invoking, and pleasing, then it can certainly be said that this album is chock-full of inspiration. "Ray Lynch's" opening piece with it's marvelous title is six minutes of stately majesty, with strings and choral accompaniment. "Ghost Dancer" by "Gabrielle Roth and the Mirrors" is haunting and uses odd instrumentation to achieve its effect. Pianists are well represented with works, among others, from Jim Brickman, "If You Believe", George Winston (who will be reviewed in concert in the February issue) and Liz Story who contributes two selections. David Arkenstone lends his unique magic with "Special Place." Oystein Sevag's "Reflection" uses the soothing sound of the violin and strings to set a peaceful mood of contemplation. The acoustic guitar of Will Ackerman is so defined you can here him slip from fret to fret on "The Bricklayer's Beautiful Daughter". One of "Yanni's" most recognized pieces, "One Man's Dream" is also included here. Also appearing is my favorite "Shadowfax Piece", "Angel's Flight" with its flute and guitar duet; as soft and light as gossamer wings. "Black Delilah" is deeper, more remote as Patrick O'Hearn's music conjures up a richer image than most of the album. In stark contrast is Michael Mish's "Air", a light but vital piece which incorporates natural sounds with the music. Enya-esque-sounding "Uman" plays "The White Spirit" while "Tibet Part II" from Mark Isham open's with a cleansing storm and the mellow guitar played so slowly as to make you ache for the next note. The final cut is the title track which was written and performed specifically for this project by Liz Story. This is a thoughtful rendition which eases the listener back to reality, leaving behind an inner peace and perhaps a greater closeness to 'God'. |
 |
 |
| Artist: | "KENNY G" |
| Title: | "KENNY GREATEST HITS" |
| Label: | Arista |
| Available: | Any Major Music Store |
| Reviewed By: | Donn Jehs |
| Rating: | |
In 1982 a young Kenny Gorelick played in relative obscurity with the
"Jeff Lorber Fusion" when he was offered the chance to do a solo
album. The result was "Kenny G", soon to be followed by "G-Force"
and "Gravity." It wasn't until 1986 and the fourth album "Duotones",
however, that Kenny G realized his first major hit. "Songbird",
the first cut on this new greatest hits compilation, gives us the simple
but emotionally-charged type of instrumentation that has always been and
remains the sound of "Kenny G" to this day. The most recent Kenny G. album, "Moment", is represented
with the most cuts -- four including the Latin tinged "Havana"
with its calypso beat. This is the jazziest tune on an album which is more
reminiscent of the type of music you hear from Dave Koz than Kenny G., whose
repertoire is made up mainly of ballads with a slower more mellow beat |
Back to Contents