Review of the Album “Water and Light” by Loren Evarts

January 29, 2016 by Admin

imageLoren Evarts, who lives in Meriden, Connecticut, has a Master’s Degree in Music Education from the University of Bridgeport, and is currently pursuing a doctoral degree in Music Education at Boston University. At the University of Bridgeport, he studied jazz under award winning, National Endowment for the Arts Fellowship Grant recipient, and Grammy nominated Jazz Pianist and Composer/Arranger Neil Slater, and composition with renowned concert pianist and composer David Barnett. He has even studied jazz piano with Anthony Davis, noted composer/jazz pianist, and professor of music studies at the University of California, San Diego.

Loren has also performed as a professional musician for over forty years. Starting at age 15, as part of a Portuguese band, he has played and sung in rock, jazz, and even disco groups. He was leader, composer and arranger for the new age/jazz ensemble Confluence, and Sliders, an eight-piece band featuring five trombones. Besides keyboards, he also often performs on trombone and hammered dulcimer, and sang second bass in Chorale Connecticut. For ten years he was also the organist/pianist at North Guilford (Connecticut) Congregational Church and currently serves as keyboardist in residence at Milton Congregational Church in Litchfield, Connecticut.

Over the past 14 years, and following in the footsteps of his mentors, Loren has also taught music related courses (e.g., American music history, music appreciation, and jazz) at several public and private schools, and currently serves as an adjunct faculty member at Post University (Connecticut), the University of Bridgeport, Tunxis Community College (Connecticut), the University of Maryland, and Springfield Community College (Massachusetts).

He has also been fortunate to have been involved in performances with artists such as Dave Weckl (Chick Corea), Gerry Neiwood (Chuck Mangione), Everett Silver (Chuck Mangione), Aaron Copland, Dave Brubeck, Eddie Bert, Mike Davis (Rolling Stones), Don Elliot, Mo Snyder, Bill Reichenbach, Billy Hart, Danny Stiles (Bill Watrous), Sonny Costanzo, Fred Vigdor (Average White Band), Morton Gould, Elie Siegmeister and Gwyneth Walker.

In addition to doing studio work, Loren has previously recorded three albums of his own. His first album, recorded in 1985, “Water Music,” was a solo piano album. With the band Confluence, he recorded an album of the same name in 1988, which featured a collection of Jazz/World music influenced songs. Again with Confluence, in 1992, he recorded “Sojourn,” also featuring Jazz and World music influenced tracks.

One of Loren’s pieces was also a finalist in the London Chamber Music Ensemble competition.

Longtime friend, trumpet player, percussionist, and occasional accompanist, Don Hackett says
“(Loren) has always been a very gifted musician. — back in middle school and high school…when everyone else was still learning to play their instrument……he was writing horn arrangements for the band he put together. We’ve played together ever since.”

Loren’s most recent album “Water and Light,” which he dedicates to the memory of his parents, contains a collection of all original works; some of which are all new, and others of which are re-crafted and re-recorded versions of songs from his previous albums. This new album was produced by Grammy Award winner Will Ackerman (Windham Hill Records) at Imaginary Road Studios in Vermont, and so, as expected, the production quality is impeccable.

“I just emailed him,” said Loren of Ackerman. “It took me a while to do it, I was nervous about it. He was very accommodating and welcoming.”

While most of the works on “Water and Light” feature Loren’s Steinway B piano as the primary voice, including three piano solos, most are ensemble pieces that include a star studded lineup of accompanying artists, including Grammy award winning musicians such as Eugene Friesen on cello (Paul Winter, Trio Globo), Rhonda Larson on many types of flutes (Paul Winter, Ventus) and Jeff Haynes on various types of percussion (Pat Metheny, Pete Seeger). In addition, Grammy-nominated bassist Tony Levin (Peter Gabriel, King Crimson) contributed on two tracks. The album was also engineered, mixed, and mastered by Tom Eaton, who also performs on bass on two of the tracks.

imageOverall, we would rate “Water and Light” as an outstanding album. The music is mostly energetic, up-tempo, and lively, with a few tracks that are a bit slower and more contemplative. Even the piano solos are, for the most part, more upbeat and lively, which we truly appreciate. The music certainly has an innovative and distinctive style. And most importantly, the music is sophisticated, complex, and reflects an exceptional level of maturity that is rare. The music also shows a variety of influences, including light jazz, piano jazz, Celtic music, classical music, and ethnic music (especially in the wide array of non-traditional instrumentation used on the album).

The album begins magnificently with one of Loren’s totally new songs, “Innisfree.” The title is taken from the 1892 poem “The Lake Isle of Innisfree” by Irish poet William Butler Yeats. The poem is about a longing in one’s heart for the peacefulness and tranquility of being alone with nature, in a rustic cabin, surrounded by a simple garden, veils of morning due, and the relaxing sounds of lake water lapping a shore “where the cricket sings.” And “Innisfree” most assuredly captures the mood and sentiments of the poem. With its reflective, emotional, melodic, and captivating piano opening — eventually and masterfully blended with Rhonda Larson’s charming and Celtic tinged crystal flute elements — the song wonderfully conveys a sense of longing, peacefulness, calmness, and tranquility. The piano is mesmerizing and the crystal flute (a flute made from glass) provides an exquisite and truly magical sound that at times seems almost vocal. This is definitely one of our favorites.

In contrast, “Confluence” is light, energetic, fun, and decidedly up-tempo, with a powerful melody and clear “jazzy” qualities. It also makes spectacular use of Eugene Friesen’s cello as a counterpoint to Loren’s piano. It was originally recorded on the 1988 album of the same name. However, this version, which is more complex, also features Tony Levin on NS bass, and with subtle percussive contributions from Jeff Haynes on a variety of instruments, including tubano, udu, tam tam, frame drum, talking drum, rainstick shaker, and maraca. It is also definitely one of our favorites.

“Lonely Road,” which is the first of the piano solos on the album, has a strong opening, a more moderate tempo, and a straightforward and memorable melody. It is also perhaps a bit more “positive” and cheerful than the title implies. Nevertheless, it is a very engaging piece of music.

Originally recorded in 1992 on the album “Sojourn,” the song “New Irish Waltz” again shows strong Celtic music influences, and features engaging contributions from Rhonda Larson on whistle and flute, Levin on bass, and Friesen on cello, and of course, Loren on piano. However, the track also at times shows jazz influences which makes for an interesting and superbly crafted contrast with the Celtic qualities. In fact, one of the things we particularly like about this track is the way the various instruments weave in and out while reprising — with variations — the recurring theme. Nicely done!

“Windmills,” another piano solo, is very upbeat, energetic, positive, and with a fast tempo and clever, recurring piano rhythm easily suggestive of rotation and movement.

Our favorite track on the album is “The Cat and The Moon.” In fact, the backstory on this one is quite interesting.

imageOne day Loren decided to look through a book of poems by William Butler Yeats from his son’s Irish Literature course. One particular poem stood out to him, and so he decided to create a song based on it. The 1919 poem is titled “The Cat and The Moon,” and it’s about a black cat named Minnaloushe encountering and eventually “dancing with” the moon. Yeats sees the black cat and the moon as kindred spirits.

The musical track “The Cat and The Moon” is easily one of the more complex works on “Water and Light.” It is upbeat energetic, stylish, and with an exceptional use of percussion. In fact, “The Cat and The Moon” is performed on an unusual variety of instruments that includes bansuri flute (Rhonda Larson), djembe, tubano, hand drum, temple blocks, bata, shekere, djun djun, and a cowbell (Jeff Haynes), and even some Windham County black birch firewood (Will Ackerman) which Will Ackerman cut down himself. The sound of the bansuri on this track is thoroughly engaging. And overall, this is a simply an exceptional work. We truly hope to hear more like this one from Loren in the future.

Originally recorded on the 1985 album “Water Music,” the track “The Pond in Winter” is a beautiful piano solo. The title is taken from a chapter in Henry David Thoreau’s book “Walden.” It is slower, more deliberate, more contemplative, and expressive, graceful, powerful, creative, and melodic, and wonderfully captures the penetrating chill and stillness of winter. One can certainly envision walking along a snow covered road, encountering an ice covered pond, and standing there in the cold just to admire its natural beauty.

The track titled “91 North,” which undoubtedly refers to Interstate 91 that runs from Connecticut, through western Massachusetts, an into New Hampshire and Vermont, features a distinctive, and repeating piano rhythm that is appropriately suggestive of driving on the highway or the spinning of wheels. Also originally from the 1992 “Sojourn” album, it is a lively, joyful, layered, energetic, innovative work, with a great melody, strong piano, and superb percussion. Great fun!

Our favorite of the solo piano tracks is “Big Black Rapids.” Also originally from the 1985 “Water Music” album, it is an energetic, upbeat, melodic, creative, expressive, vibrant, and sometimes poignant piece, with slight classical music influences.

“Sojourn,” which is another duet for piano and flute, is also a re-crafted version of a song from the 1988 “Confluence” album. It has exceptional energy, and again the masterful flute of Rhonda Larson at times sounds like an ethereal voice. In fact, the exceptinally well done blending of the piano and flute, in music with clear jazz influences, is very reminiscent of the music of Scott Cossu.

The album ends magnificently with “C Effigy.” With a superb blending of instruments, a steady stylish rhythm, a creative and memorable melody, and wonderfully attention holding percussive contributions by Haynes (tubano, bongos, shaker, congas, and tam tam) and Eaton’s electric bass, it is another of the more complex and sophisticated works on the album. We particularly like the way the various instrumental voices — piano, flute, bass, and percussion — effortlessly hand the focus off to each other. In fact, unlike many tracks we hear on other albums, this track has a real quality of “completeness” — a sense that it is truly a “finished” work. And with a lighthearted and fun mood, that perfectly demonstrates that Loren truly enjoys playing with other musicians, it makes a great ending to the album.

We very highly recommend the album “Water and Light.”

Review of the Album “Safe In Your Arms” by Scott Cossu

December 29, 2015 by Admin

imageScott Cossu, an internationally acclaimed composer, pianist, and recording artist, was born is West Virginia, in 1951. When he was very young, his family moved to the small town of Greenfield, Ohio, where he grew up with his younger brother and two younger sisters. When he was 11 years old, Scott’s father brought home a small grand piano. His parents believed it would be good for the girls. But Scott surprised everyone when he was the one who ended up taking lessons, showing not only talent, but dedication. His solid study of music really began as he studied classical music with his high school piano teacher. He took three piano lessons a week and played for many hours in the evenings on a grand piano at a local church.

He graduated from high school in 1969, eventually attending the Ohio University School of Music. While a student there, he was the keyboard player for a rock group, had his first television exposure, and learned to be disciplined about practicing piano, theory and composition. Music had become the center of his life and he knew that it would be the focus of his future.

While at Ohio University, he also met a teacher that would become the biggest influence on his music career. The teacher was Hamza El Din, who offered a class in the music of Africa. Hamza had immigrated to the US from Sudan, and became a traveling professor at several Universities in the US and Japan, teaching Ethnomusicology (the study of World Music). Hamza was just as impressed with Scott, as Scott was with him. Hamza recommended that Scott travel out west to study Ethnomusicology at the University of Washington. Off he went and then spent the next two years at Washington learning the music of Thailand, Sudan, Korea, China, Romania and Ecuador. And his new love of World Music would also send him on a three month long research trip to the Andes Mountains of Ecuador. He would hike up into the mountains to record the villagers that played ancient music on the Hoja. The Hoja is a leaf from a fruit tree that is blown into by curling it a certain way. It sounds like a reed or brass instrument.

The result of blending World Music with his jazz and classical background resulted in a new style that was unique and hard to categorize. He began to compose his own pieces and perform locally on the weekends in the Seattle area.

imageIn 1978, Scott made a recording to document his many musical influences. It was called “Still Moments.” He originally made this recording as a gift for friends and family, but unexpectedly and surprisingly, it received a lot of radio exposure in Seattle, Los Angeles and other prominent west coast cities. Later that same year, the founders of the Windham Hill record label, Will Ackerman and Alex De Grassi, gave a concert at the University of Washington. Scott was also asked to perform. Ackerman and De Grassi saw Scott’s uniqueness and talent and suggested that when they got their label up and running, he might consider recording an album with them. In fact, Scott signed onto the Windham Hill label the same day as Michael Hedges and they both joined George Winston who was just new to the label himself.

Scott’s first record for Windham Hill, “Wind Dance,” released in 1981, was produced by George Winston and featured Alex de Grassi, among others. It was a big hit. The Boston Globe called it “a sparkling record.”

Then, in 1983, Scott released “Spirals,” with blues, Latin and jazz influences. “Islands” came out in 1984 and made it to #1 on the JAZZ National airplay list. It was also used as the music for David and Albert Maysles documentary film “Islands.” The film was about Christo’s (and Jeanne-Claude’s) 1983 public art exhibition “Surrounded Islands” for which they completely covered eleven scrub pine islands in Biscayne Bay, Florida, with 6.5 million square feet of bright pink fabric.

In 1986, Eugene Friesen joined Scott on “Reunion.” Not only did this album also soar to the top of the charts, but the track “Shepherds’ Song,” was used in the movie Chocolate War; and another track “Gwenlaise” went on to be so popular that it has been included on dozens of music sampler collections released by Windham Hill, BMG and Sony.

In 1987, some of New York’s finest musicians joined Scott on “She Describes Infinity.” Then, in 1989, Scott released “Switchback” which soared to #4 on the New Horizons Pick of the Year and made #1 on the Billboard charts. He became a popular artist in the concert circuits and by the end of 1989, he had sold out shows in Germany, England, Japan and Chile.

imageRight at the time that Scott was at the top of his career, with extensive radio play, glowing reviews and just as he was about to embark on a forty city world tour, he was struck by a car while crossing Wilshire Blvd. in Los Angeles. Fortunately, he was near UCLA Medical Center and went right into surgery. He had a severe traumatic brain injury. It was life threatening, required months of hospitalization, and several more months of intensive rehabilitation. It would take another couple of years for him to work through the memory loss which had even effected his recollection of some of his own compositions. With much love and support from family, friends and fans, Scott amazed his neurologist with a miraculous recovery.

Returning to the studio was an important step in his healing process. In fact, just eighteen months after the accident, Scott began writing new music and collaborating on a nature video about Mt. Rainer with the acclaimed producer Peter Roberts. Not long after, Scott, with Van Manakas at his side, was again touring — this time Spain, Alaska and Hawaii. And then, in 1992, “Stained Glass Memories” was released. For Scott, it a was a joyous celebration of recovery and powerful evidence that he had regained mastery of his musical language.

In the year 2000, Scott was honored with Ohio University’s Achievement in Music Award. It is given once a year to someone who has made outstanding contributions to music.

When the Windham Hill label was sold, Scott signed with the well-known distributor, Allegro-Music in Portland, Oregon and joined their Alula Visions music label. Since then, he has released “Emerald Pathway (2002),” “When Spirits Fly Again (2004),” and “Tides Between Us (2008).”

Scott has also been doing a lot of recording of music for television advertisements, film documentaries and nature videos. For example, in 2010, Allegro Music released a Blue-Ray/DVD, titled “Edge of the Earth, Corner of the Sky.” It is the work of the award winning photographer, Art Wolfe. It showcases 300 of his most amazing photographs, taken throughout the world. It is a high definition digital art show and the imagery is accompanied by the beautiful music of Scott’s CD “Emerald Pathway.”

Also in 2010, the world’s largest printed music publisher, Hal Leonard, put out a “Piano Solos for All Occasions Songbook.” Scott’s composition, “Purple Mountain” was included in this book. And he is in good company, since this book also included artists such as John Lennon, Beethoven, and Duke Ellington.

Nowadays, Scott spends most of his time composing, recording, performing, and kayaking, as well as giving lessons, (yes, he loves to have a few piano students). Also, in 2012, Scott went in a very different direction and released “Jazz, Boogie, and Deja Blues,” a superb, pure piano jazz, “jam session” album that is uptempo, upbeat, and way up on the “fun” scale.

With his background in classical music, blues, and jazz, and by incorporating elements of ethnic music from various cultures, Scott Cossu has unquestionably developed a truly distinctive, innovative, articulate, intelligent, and energized musical style.

imageFor the great impressionist painters (Monet, Renoir), their subject matter was typically “simple landscapes” en plein air (outdoors), using a basic palette of colors, and with an emphasis on depiction of light and its changing qualities. This effect was achieved using short and darting brush strokes and freely merged contrasting colors – so that the overall “impression” would take precedence over lines, contours, and details. In a similar way, Scott Cossu’s music creates simple sonic landscapes built around straightforward but innovative melodies, using a palette of contrasting instruments (e.g., keyboards, piano, guitar, flute) — often adding short, darting and seemingly improvised musical phrases — and with an emphasis on the implied impression, atmosphere, movement, and mood, rather than the mundane details of the soundscape.

On Scott’s most recent album, “Safe In Your Arms,” he has re-recorded seven of the most-requested pieces from his Windham Hill years, and added five new songs. The new works have the same “keyboard led,” acoustic supported, jazzy, improvisational, unpredictable, and at times mildly “chaotic” qualities that have become Scott’s signature sound. In sum, the album demonstrates that Scott is indeed an outstanding artist with a superbly honed sense of composition.

Scott is accompanied on the album by thirty year music partner, guitarist Van Manakas, alto flutist Ann Lindquist, and John Croarkin, who adds bass, concert flute, and harmonica

The album begins fittingly with the title track, a new work, which is well-crafted, moderate in tempo, and with a simple, but nonetheless memorable and catchy melody. Scott’s keyboard is magnificently supported by Manakas’ occasional electric guitar riffs, Scott’s own improvised acoustic piano phrases, Lindquist’s flute, and other electronic accents. With its overall “impression” of tenderness, it is easily one of our favorite tracks on the album.

One of the seven re-recorded tracks from Scott’s Windham Hill Days, “Angel Steps” is a keyboard and flute driven “lullaby” with noticeable improvisational jazz influences, light support by acoustic guitar, and masterful instrumental layering, creating a light, airy atmosphere. Again, the melody is fairly straightforward, but nevertheless clever and memorable.

“Fawn,” originally from Scott’s “Islands” album, is a slightly more up-tempo, flowing, and occasionally improvisational jazz influenced work, with a sweet melody, and exceptional layering of the instrumentation. Occasionally, some of the instrumental components (guitar, flute, acoustic piano) quite cleverly break off and go in a slightly different direction, only to rejoin with the main melody later on. With its quite beautiful “mood” of gentleness and playfulness, and its mildly unpredictable qualities, “Fawn” is another of our particular favorites.

image“Little Sunshine Girl,” another of Scott’s new works, features exquisite acoustic guitar contributions by Manakas in support of keyboards, piano and flute. Also with a simple, keyboard driven melody, this track does a exceptional job utilizing the simple palette of contrasting instrumental voices – as each moves to the front to have their short say, only to recede into the background as another voice steps forward to speak.

“Purple Mountain,” which originally appeared on Scott’s “Wind Dance” album nearly 35 years ago, is a bit more down tempo, and leaves a more reflective, emotional, and melancholy impression. In a manner similar to “Little Sunshine Girl,” it strikes just the right balance between “melodic” predictability, and the mild chaos of improvisation. Occasional spirited guitar accents from Manakas and short fluttering flute riffs are nicely integrated into an overall outstanding work. This is another of our favorites.

Another of Scott’s new songs, “Sweet Pea Lullaby,” has a strong piano opening, a beautiful keyboard driven melody, an outstanding blending of instrumentation (acoustic guitar and piano), and creates an overall impression of peacefulness and contentment. It is easily one of strongest overall tracks on the album and it is certainly our most favorite of the new works.

“Gwenlaise,” which was originally recorded in 1986, is re-crafted and re-recorded on this album as a magnificent trio for piano, guitar, and flute. It easily recaptures the magic of the original version — the magic that has made it Scott’s most well known work and definite New Age Classic – and one of our all time favorite pieces of music. With its powerful layered flute opening, distinctive and unforgettable melody, and superb integration of various instrumental voices, it easily stands out as the single best work on the album.

“A Child’s Eyes,” from the 1989 album “Switchback,” has a gentle, rolling quality, with various instruments occasionally serving as the lead voice, and with some particularly interesting and attention getting harmonica and guitar riffs by Croarkin and Manakas, respectively. Somewhat less melodic than other tracks on the album, and with more interweaving of instrumentation, it nonetheless achieves a decidedly “haunting” atmosphere that catches your attention and holds it.

Another of our particular favorites is “Christo’s Theme” originally from the “She Describes Infinity” album. It is probably the most melodic work on the album, with an especially strong opening, and much less improvisational qualities. It is also a particularly good example of Scott’s use of varied instrumental voices making short, seemingly improvised, clever, and perfectly placed expressive contributions that together suggest and build toward the overall impression left by music.

The album concludes with “Sanctuary,” also originally from the album “Switchback.” And what an ending! With a pronounced and more steady rhythm, much stronger jazz influences, an exquisite melody, and a strong equally well-spoken trio of instrumental voices (piano, flute, and guitar), “Sanctuary” is a magnificent way to cap off a stunningly magnificent album. We very highly recommend Scott Cossu’s “Safe In Your Arms.”

Review of the Album “The Light Inside My Dream” by Tom Grant

December 21, 2015 by Admin

imageTom Grant, an extraordinary pianist, vocalist, composer, and world renowned jazz musician, was born on February 22, 1946, in Portland, Oregon, to a musical family. His father was a tap dancer who made his musical debut in vaudeville and in Hollywood in the chorus line of Busby Berkeley movies. Tom’s older brother Mike (who went on to found the international Hare Krishna movement) was also a musician – an avant-garde jazz pianist — and he introduced Tom to the many different facets of jazz.

Later, Tom’s father opened Madrona Records in Portland and, as a mecca for jazz and rhythm and blues fans, the store became the backdrop of Tom’s childhood. Lines of records served as his personal music library, and it was here that Tom learned about various musical styles.

Tom was particularly captivated by the music of pianist Erroll Garner. As a result, he began learning the piano and drums at age four. But instead of learning to read sheet music, Tom learned to play by ear. While his father taught him the basics, Tom admits that his piano skills are largely self taught.

“The key was that I liked it – the playing, the sound,” Tom said. “When I started taking lessons, I liked it a bit less, but I stayed with it because I loved the piano.”

After graduating from the University of Oregon, he spent some time working as a substitute teacher, and playing late night jazz gigs where he would “jam” to loyal fans, often until 2 AM. But soon, waking up for 6 AM phone calls to check for substitute teaching jobs became less and less palatable, and this motivated Tom to consider focusing on music full time.

Then a big break came in 1970 when he was invited to travel to New York City with the late Native American saxophonist Jim Pepper to record the chant classic Witchi-tai-to. Off he went.

Later, he would return to school to earn a Master’s degree in education, and was teaching high-school social studies in Portland, when another big opportunity was presented to him. The great Woody Shaw heard Tom playing at a weekend after-hours gig and promptly offered him a job with his band. Tom was on his way — as this experience soon led to more extensive work over the next few years with jazz greats such as Joe Henderson, Dexter Gordon, Charles Lloyd, and Tony Williams.

In 1976, Tom recorded his first solo album, “Mystified,” and then in 1979 he formed his own band — The Tom Grant Band. Throughout the 1980s and 1990s they toured all over the US. Their travels were highlighted by appearances on CNN and the Tonight Show with Jay Leno.

Since the release of his first album, Tom has become an incredibly prolific and wonderfully successful musician. He has released at least 25 albums of mostly “jazz-infused” instrumental (or vocal) music – each in his signature style – a style that has variously been called “New Adult Contemporary”, “Quiet Storm”, “Contemporary Jazz” and/or “Smooth Jazz.” In fact, Tom is often considered “The Father of Smooth Jazz.” And his music has broad appeal, crossing over easily between the genres of jazz, New Age, Pop, and Rhythm & Blues. Several of his albums, including the popular “Mango Tango,” “Night Charade,” “In My Wildest Dreams,” and “The View From Here,” have spent many weeks at number one. Over the years, he has also contributed many of his songs to compilation albums, especially those raising funds for charitable causes.

imageMore recently, Tom — an official Yamaha artist — has focused on composing music for film and TV (primarily documentaries and independent films), and maintained a busy schedule performing throughout Oregon and Washington. He has also dedicated himself to numerous charity projects for the under-funded public schools in the Northwest, Potluck in the Park, a charity that feeds hungry people in the Portland area, and the Edwards Center for handicapped adults. In fact, the United Negro College Fund has established a scholarship in his name. Also, in 1999 Tom was given the Humanitarian Award for Dedication to Music, Health and Children by the New York Presbyterian Hospital/Cornell University Medical Center.

Tom’s most recent album, “The Light Inside My Dream,” moves his music in a decidedly more “New Age” direction with more obvious “relaxation, chill, healing and meditation” elements and much less pronounced jazz influences. Conceived and “gifted” as a love letter to his beloved wife, the music is at once charming, innovative, complex, sophisticated, stylish, relaxing, memorable, and always an easy listen. While existing fans of Tom’s more energetic and”jazzy” music may not find this “new” direction to their liking, we nevertheless consider the album an outstanding work. Exceptionally well produced, it marvelously reflects the style and quality of the contemporary instrumental music that we feature on GAIA Prime Radio.

As Tom says “I want my music to be more personal. The tunes I’m writing now are less raucous, more introspective. I’m sort of mellowing out.”

The opening track, “Anandi,” displays clear East Asian influences, and begins with a light acoustic guitar, followed by “ethereal” voices (humming) that gradually give way to a “chanting” repetition of the track title – “Anandi” – with occasional variations. With light piano accompaniment, a steady, repeating rhythm, a moderate tempo, and creative and catchy phrasing, the result is a very mellow, relaxing, and spiritual sound. This quite appropriately and effectively frames the album as having a different overall “vibe” than what one would expect to hear from Tom. It is also one of our favorite tracks on the album.

In contrast, “Tide Pools,” is a bit more down tempo and largely piano driven, with clearly more “smooth jazz” and “improvisational piano” influences, and with steady but light percussion (snare drums, cymbals), electronic accents, and occasional bass, as accompaniment. It is also a bit more reflective and emotive.

The title track, which is quite distinct from the first two, begins with a strong and attention getting keyboard “rotation-like” theme, which then forms the background for the entire track. Light percussive sounds, piano – again with some light “smooth jazz” elements — and occasional bass accompaniment — give this track a “haunting” and “dreamlike” quality that is quite engaging, and makes it another of our particular favorites.

One of the two best tracks on the album, “Star Whisperer” is similar to the title track in that it features a steady, pulsating, rhythmic “electronic sound” foundation that is carried throughout the track, along with innovative, light, and “smooth” piano riffs that masterfully play off of the foundation as a complement. It is also one of the more melodic tracks on the album with creative, strong and repeating phrasing that gives the track an air of solitude, isolation, and deep introspection.

Similar to the third and fourth tracks, “Solstice” features a steady, repeating, rhythmic foundation, but a foundation that is much more thoroughly integrated with the light, jazzy “electric piano”, occasional acoustic guitar, and bass elements that smoothly weave in and out as the lead voice. Very nice!

“The Source” is similar to the opening track, with strong East Asian influences, but with percussion as the primary voice, eventually accompanied by electric piano, synthesized sitar, and occasional ethereal chanting voices. The steady, pulsating, rhythmic qualities and up-tempo characteristics make the track almost dancelike.

“Breathing In The Love,” which is easily the strongest track on the album, is actually a longer and more fully developed version of a song that originally appeared on Tom’s 2010 album “Delicioso.” It is the fastest moving track, with a steady and catchy rhythm, light percussion, clever electronic accents, and a creative and memorable electric piano driven melody that displays obvious jazz, groove, and funk influences. It is also certainly the most complex track on the album, with masterful layering, and is a particularly strong finish to what we rate as an “exceptional” overall album.

With an album cover that features a gorgeous painting by Tom’s friend Mary Suzanne Garvey, “The Light Inside My Dream” is an album that we recommend without hesitation.

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