CD Review – Chimes of the Spirit, by Acoustic Ocean

On their third album, Acoustic Ocean offer up eleven predominantly instrumental tunes that cement their well-deserved status as one of the preeminent duos recording and performing in the New Age genre today.

 

Bette Phelan and Peggy Morgan combine their backgrounds as folk singer-songwriters with Celtic influences and the inspiration of their home base of Hawaii, resulting in a unique fusion of world music that could best be described as mystic rustic tropical.

 

The two are practically a whole self-conducted orchestra unto themselves, with Morgan playing Celtic harp, rhythm guitar, piano, and Tibetan singing bowls and Phelan playing acoustic and electric guitars, fretless bass, pennywhistles, mandolin, wave drum, hammered dulcimer, chimes, and keyboards (synthesizing Uilleann pipes and clarinet). The two also contribute their earnest, heartfelt vocals to some of the songs. They are joined as well by Anne Berliner on flute and Kay Aldrich on cello.

 

This is another excellent, engaging release by Acoustic Ocean, with a full, rich sound that soothes the soul and puts the mind at ease.

 

--Raj Manoharan

CD Review – Believe: A Spiritual Romance, by 2002

Every time I receive a mailer from 2002, I can’t wait to open the package and hear what marvelous, glorious sonic adventure I’ll be taken on. This is the third such time I’ve had the pleasure, and it’s been a charm every time. Unfortunately, due to extenuating circumstances, it took a long while to get to it, but the wait was well worth it.

 

The Billboard-charting group, which recently celebrated its 20^th anniversary, has unleashed yet another masterpiece of sonic bliss. Randy (guitars, bass, percussion) and Pamela (flutes, harp) Copus, both of whom play keyboards and synthesizers, are joined on vocals by their eight-year-old daughter Sarah, who also helped with the arrangements, including composing the melody for “A Dream Creation.”

 

The instrumentation is thick, dense, and lush, and the female vocals are angelic, resulting in a truly heavenly sound. Randy’s vocals are more grounded, and when he gets into a higher register, he sounds similar to Peter Cetera, giving the songs more of a pop-rock feel.

 

The production is flawless in its knife-edge quality, really bringing out the vocals and instrumentation and making the album a delight to listen to from beginning to end.

 

While each and every song is a treasure for the heart, mind, and soul, my favorite track is the New Age rocker “Yeshua,” a grand, propulsive, and vibrant anthem. This one has all the makings of a hit New Age radio single.

 

The album is yet another winner from these always reliable chart-toppers. Leave it to 2002 to churn out one consistent classic after another.

 

--Raj Manoharan

CD Review – Somewhere in a Hidden Memory, by Trine Opsahl

The Norway-born Denmark-based harpist presents 15 original, self-penned tracks that are relaxing, uplifting, and inspiring.

 

The compositions have a lyrical beauty that envelops the listener in warmth, resulting in a calming, therapeutic effect. This is no surprise as Opsahl has designed this music with this purpose in mind, performing not only in concert halls but in clinics and hospices as well.

 

Opsahl’s playing also seems to be a natural extension of herself, flowing effortlessly from her mind and her hands. Her tones are equally exceptional, sounding not only like a traditional harp, but at times even like an acoustic guitar, mandolin, or harpsichord.

 

This album is perfect for those who enjoy the sound of stringed instruments or just need to hear something soothing.

 

--Raj Manoharan

CD Review – Light Body, by Peter Kater

Each track on this new release is named after one of the seven chakras. I don’t know anything about that sort of thing, but I do know this: the music on this CD is excellent.

 

Seven-time Grammy Award nominee, Billboard-charting recording artist, and film and television composer Peter Kater has used his piano and synthesizers to stunning effect, creating lush musical vistas that transport the listener to a paradise of the mind.

 

Kater’s vision is brought to fruition by Paul McCandless’s oboe, English horn, pennywhistles, and saxophones, and executive producer Trisha Bowden’s enchanting vocals. Kater, McCandless, and Bowden are not rockers by any means, but they make quite the power trio of a different kind.

 

This is classic New Age music, and one of the finer, more pure entries in that genre.

 

--Raj Manoharan

CD Review – Black & White: 25th Anniversary Edition, by Danny Wright

Danny Wright celebrates his quarter-century career as an internationally renowned pianist by rereleasing several of his landmark albums, chief among them his debut CD.

 

This disc offers a mix of standards, movie music, and Broadway tunes. Highlights include “Moonlight Sonata” and medleys of George Gershwin and Barbra Streisand. Particularly affecting are Wright’s sensitive and nuanced takes of Streisand’s “People” and “Memory,” and “Don’t Cry for Me Argentina” from Evita.

 

Wright’s arrangements are tasteful, and his playing is masterful in its temperance.

 

This album is a pleasant excursion through the American pop culture songbook.

 

--Raj Manoharan

CD (Fan) Review – Fundamental, by Andy Summers and Fernanda Takai

Andy Summers’ latest album – his first with a band in nearly a decade (aside from The Police) and his first with vocals throughout (although not his) since his 1987 solo debut – is an excellent addition to his catalog.

 

The songs, written by Summers with the exception of the non-English lyrics on about half of the album, are a mix of bossa nova, pop, rock, and jazz, and are sung by popular Japanese-Brazilian singer-songwriter Fernanda Takai, whom Summers met while working on the United Kingdom of Ipanema concert/documentary DVD with Brazilian guitar legend Roberto Menescal.

 

Takai’s warm, sultry vocals blend perfectly with Summers’ typically brilliant and complex fusion guitar leads, rhythms, and solos, and the balanced sound mix allows both the vocals and the guitars to shine without drowning each other out.

 

In addition to acoustic and electric guitars, Summers plays keyboards and synthesizers, and his tight, solid band includes longtime collaborator Abraham Laboriel Sr. on bass and Marcos Suzano on drums and percussion.

 

Every track is wonderful, but my absolute, instant favorite is “Falling from the Blue.” This is what The Police might have sounded like if Takai were the vocalist instead of Sting (I’m sure Sting still would have been the bassist). Luckily for Sting, Takai was just a little girl when The Police first came together.

 

The melting pot of musical cultures and the outstanding performances of everyone involved make this an exhilarating and rewarding listening experience. Andy Summers’ fans certainly will not be disappointed.

 

--Raj Manoharan

CD Review – Gypsy Grooves, by Priyo

Multi-instrumentalist Priyo’s latest album is an intoxicating blend of rhythmic grooves from the African, Mediterranean, and Spanish flamenco traditions, with his main instrument of acoustic guitar taking center stage.

 

The CD is truly a fusion of world music, with Priyo’s vibrant guitar playing underscoring a variety of genres, from dance and pop to new age and space jazz. Priyo especially stretches out on the appropriately named, reggae-influenced “Marswalk.”

 

In addition to Priyo’s guitars, the sound mix includes keyboards, bass, percussion, and entrancing male and female vocals. By the way, the female lead vocal on “Mia Amour” is one of the most beautiful voices I have ever heard.

 

This is an excellent guitar-based album full of engaging, buoyant musicality.

 

--Raj Manoharan