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  Piano Vol 1

  Justin James is a classical and contemporary pianist with an affinity for the music of the 19th and 20th century periods, especially that of Chopin, Liszt, Brahms, Debussy, Ravel, Prokofieff, Scriabin and Rachmaninoff. Aged four, Justin began playing his first notes and has never lost touch with the instrument. He began formal studies at six years of age and as a thirteen year old, had mastered a considerable amount of the romantic piano repertoire with a musical sensitivity beyond his years. Piano V.1, his debut recording, is a collection of 'timeless' compositions for the piano. James says that the reason for recording these four composers is because they have always spoken to him the most, both emotionally and intellectually. 'Chopin's love of 'bel canto' and his development of a 'vocal' keyboard language, a 'singing' line that breathes, was revolutionary. We see this influence later, in the music of Debussy, Scriabin and Rachmaninoff. Chopin is a great place to begin, since he was so influenced by the greats, Bach and Mozart. I guess the album is something of a romantic piano timeline in that way. Mixing well known compositions with a selection of lesser known was a conscious decision. I wanted to share my interpretation of the Minute Waltz Op 64 No 1 and C Sharp Prelude Op 3 No 2 and also record pieces that represented the composer at the height of his genius. The Rachmaninoff Moment Musical Op 16 No 4 typifies this for me. An array of notes that are really hard to control. This piece sounds abhorrent on a bad piano and the challenge is to shape it on a good one. This is what made the recording so rewarding.' Beginning with the expressive and ornamental Nocturne of Chopin, we are taken on a poetic musical journey featuring the delicate Minute Waltz and two Preludes which include the elegant Raindrop, culminating in two of Chopin's most cherished and technically difficult Etudes. From there, we melt into the sonorous tranquillity of Debussy's first Arabesque and second Image, showcasing the natural acoustics of both instrument and venue. Two 'Chopinesque' Etudes from the lyrical Scriabin transport us to a climactic finale with several scintillating Preludes and the fourth Moment Musical of Rachmaninoff, highlighting the incredible depth and power of the grand piano. Whether you are in the car or the office, at a restaurant or studying for exams, download this to your iPod and experience it whenever you want to get away from the noise. 'One of the most difficult tasks for this reviewer is how hard to judge a self-produced recording? Being familiar with some of the "greats" of the piano world, by what standard do you judge a piano recording that, as it were, lobs in the door. Do you judge it against the Arrau's, Richter's and Argerich's of the world? In the end, although you want to make allowances, you have to listen to what they have to say and measure them up against what you have heard that such music can potentially say in the hands of such masters.' 'Justin James is a Western Australian pianist who has self-produced his first recording, with nearly 53 minutes of the works of Chopin, Debussy, Scriabin and Rachmaninoff. This might be described as a "brave" endeavour in a world flooded by hopeful and ambitious pianists. What he has produced is a statement that announces the appearance of a new Australian talent that indeed has something unique to say. There is no denying there is a clear force of insightful personality behind these interpretations. And they grow on you with time.' 'The first six tracks are all Chopin, starting with the beloved Nocturne in E flat major, with phrasing that struck me ambivalently at first, but as it proceeds it gains conviction, although the pacing is somewhat quirkily variable. The so-called Minute Waltz perhaps starts a little too fast, although without loss of clarity and ends with elegance, if again slightly rushed. However once we reach the Raindrop prelude, the variations in pacing are just right with just the right weight balances between right and left hand, then as we reach the build up in tension, the left hand assumes slightly too much ascendancy until the quiet ending, handled with great sensitivity and touch. The 20th Prelude exudes great dignity, before the Waterfall Etude (op.10 no.1) in which the waterfall wavers a little unsteadily as does the wind in the Winter Wind Etude (op.25 no.11).' 'The first of the two Debussy works is the Arabesque No.1. This interpretation perhaps reveals Justin James playing with the greatest conviction and beauty on this recording, an absolutely convincing rendition in it's authority and great balance. Then Debussy's Image no.2, book 2, the moon descending on the ruins of the Temple, starts with much less conviction and cohesion but still provided much food for thought in it's take on this enigmatic masterpiece, especially in it's latter stages.' 'The first of two Scriabin pieces, the Etude op.8 no. 2, a seeming homage to Chopin, is performed with technical precision like the second piece, the Etude op. 8 no. 4, said to be like Chopin, but in this interpretation actually seeming to look forward more to Debussy.' 'The first of four Rachmaninoff pieces that follow is the famous Prelude op.3 no. 2 with it's striking chords played with strength but without overemphasis or melodrama, striking a balance between passion and sensitivity. The reflective Rachmaninoff Prelude Op.23 no. 4 brings the Debussy side of Rachmaninoff beautifully into focus, whereas speed and virtuosity seems to have led to some sacrifice in musicality in the Prelude op.23 no. 7. In the final Rachmaninoff work, the Moment Musical op.16 no.4, the phenomenal virtuosic demands of the piece are mostly met, as the left hand gives the impression of being rushed, but this piece still manages to be a tour de force with which to end this propitious debut recording.' Four Stars Andrew Dziedzic 2MBS/FM 102.5 Fine Music.

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  Poema

  This CD brings together all my works written for cello, the instrument I simply adore. And my greater joy is to have Leonardo Altino as the performer. Leonardo Altino is an exceptionally gifted cellist, whom I consider to be the greatest discovery in the current cello scene in the whole world. Sensitive artist, fit with perfect technique yet always at the service of music, Leonardo Altino is just that, the ideal interpreter for any composer. Along with Ana Lucia Altino, they make a duo of extraordinary musicianship and superior understanding of these works. The first piece I wrote for the cello was the DESAFIO II at the request of Aldo Parisot, my good friend, the cellist, and teacher for so many generations. It was at the International Competition in Paraíba in 1968 that Aldo suggested the work, initially to be written for a group of six cellists. I went onto writing a total of fifty Desafios, virtually for all the instruments, including chamber and symphony orchestras. This DESAFIO II quickly became one of favorites among cellists, and in 2009 it was performed by all the finalists of the International Competition Carlos Prieto in Mexico. The piece is based on the idea of 'poetic challenges' of the folk singers of the Northeastern Brazil, in which the singers would challenge each other in drawn-out duels by composing poems on the spot, making them more elaborate in each turn. This centuries-old tradition, which originated in the Iberian world, namely Portugal and Spain, was transformed by the Brazilian folk culture. In my DESAFIO II, I begin with a virtuosic cadenza for cello solo followed by a type of toccata or 'challenge' between the piano and cello with a very strong contrapuntal undercurrent. The PARTITA LATINA was written in 2002, by the commission of another dear friend, the great Mexican cellist Carlos Prieto, who made it's world premiere in 2003 in Mexico and recorded it for the Urtext label. The work is based on the eighteenth-century idea of partitas with individual movements, but in this work, the movements interconnect through the initial idea introduced by the cello. I could also say that they are studies of musical character with the first movement (Lento-Estático) presenting the initial idea and developing it in increasingly complex forms. The second movement (Apassionatto) is a deviation from the melodic theme, written in a brief form, in which the cello part dialogues with the left hand of the pianist. The third (Scherzando) is virtuosic and sarcastic, and the fourth (Calmo) explores the variants of the opening theme leading to a type of crazed habanera. The fifth (Profundo) is extremely chromatic for both instruments yet intensely calm. The sixth (Vivo) is of virtuosic character and extreme contrast. The seventh (Grave) begins very slowly and gradually reaches a great sonorous climax. The POEMA III is part of another series that began in 2002, and as with the Desafios, it was written for virtually all the instruments of the orchestra to be performed either with piano or a string orchestra. The idea of Poema came from a love song I wrote for my wife Maria Luiza. At the same time, I was inspired by something Picasso said, 'I am a cubist painter, yes, but able to paint beautiful portraits.' The POEMA III is nothing more than a simple melody, a song of positive and direct nature. The work, TRÊS CANTOS DE IEMANJÁ, is based on my work, 'Beiramar" for baritone and piano, composed in 1968. I always wanted to write this piece for cello, whose particular dramatic and cantabile features would be well displayed. I made this version in 2009 specially for a concert in Rio de Janeiro to celebrate my seventieth birthday, and the debut was given by cellist Bernardo Katz and pianist Maria Luiza Corker. The CANTORIAS are also a case apart. In 2005 my dear friend, the great Brazilian cellist Antonio Meneses came to me with the idea of commissioning several composers to write works based on Bach's suites for solo cello. I immediately chose one of my favorites, the suite in D minor, then wrote my CANTORIA I, which began with the initial idea of Bach and from there entered my personal world. It is as if Bach's idea bore fruit in my mind of a work with it's own ways, finding it's way to the 'Northeastern Cantorias,' hence the title of the work. Antonio Meneses premiered the work with great success in 2005 in Sao Paulo and soon after recorded it on CD. In the same year, Carlos Prieto, commissioned a work for solo cello. I then proposed writing CANTORIA II based on the same idea of the CANTORIA I, except this time on the C major suite. While the CANTORIA I is more melodic, the CANTORIA II is extremely virtuosic and devilish. Carlos premiered it in Mexico in 2006. Then came at last TRÊS CANTILENAS. Carlos Prieto commissioned the first two for the concert he organized in Mexico in honor of my seventy years in 2009, and I dedicated them to Carlos Prieto. And the CANTILENA III I wrote a little later also in 2009, for the concert performed by Leonardo Altino and the pianist Victor Asuncion in the Festival Virtuosi 2009, in which they presented the first world premiere of the work along with the other Cantilenas. The fundamental idea of Cantilenas is simple, it uses the ancient form, the A - A' of the baroque period (to which my music has so much resemblance, not in style, but in technique). In these TRÊS CANTILENAS a simple melodic idea is introduced in all it's extent by the cello, with an elaborate contrapuntal texture in the piano, and then is repeated, always with profound harmonic and contrapuntal variations. MARLOS NOBRE Rio de Janeiro, February 2011.

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  Timeless Piano Classics (Chapter One)

  By the age of 24, composer, teacher, and performer Charles Wells had already composed four symphonies, three operas, multiple piano and organ works, a host of songs for voice and piano/orchestra accompaniment, string quartets and piano trios. He released a self-titled album in 1984, followed by Timeless Piano Classics (Chapter One and Two) in 2009, 25 years later. He traveled extensively and learned several languages, German particularly fluently. He had photographic memory, simply examine a score once closely and he'd have it memorized. He had absolute pitch, play any note, on any instrument, and he could name or replay that note instantly. Charles performed many recitals at private concerts around the world for some of the wealthiest people on the planet. He premiered and recorded works from some of the world's most exemplary living composers, most recently for Chinary Ung, the first American composer to win the Grawemeyer Award (the Nobel prize of music composition). In 1997, Charles was a student of Ung's at Arizona State University. Ung was so inspired by Charles musicality and personality that he composed seven works - collectively titled "Seven Mirrors" - specifically so that Charles, "a very gifted pianist and musician, who had a problem in one of his arms where it wouldn't really move, could hopefully help him to lift his arm." At 5:50am, Thursday, November 12, 2009, at the age of 49, Charles passed away suddenly, quickly, and unexpectedly. 13 days later, the New York Times (unaware of his death) counted Chinary Ung's December 2008 CD release, "Seven Mirrors" as one of the 22 "Must Buy" Holiday CD's for 2009. As of Nov, 2010, two of Charles albums are available online for purchase: Timeless Piano Classics (Chapter One) and Timeless Piano Classics (Chapter Two). In 1984, he released a self-titled record, which is being prepared for re-release on CD. Chinary Ung's CD, 'Seven Mirrors' (published by Bridge Records) may be purchased by Googling, 'charles wells seven mirrors' and following the links to Amazon.com, iTunes, and others. Timeless Piano Classics (Chapter One) and it's companion CD, Chapter Two, was released by Turnkey Recordings in 2009. ~ copyright 2010 Joey Robert Parks CD notes: Recorded on the Petrov grand piano at Tempest Recording, Tempe, AZ by Clarke Rigsby Mastered at Sonorous Mastering by Dave Shirk CD Design by Tony Amato, Amato Image Design CD art, Sammy Black Portrait, Tony Blei.

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  Friend of the Moon

  "A great song speaks to the depths of the soul. There is nothing like hearing a live performance of a great song by a masterful artist. A good listener transcends the experience of being 'entertained' and becomes a participant in an exchange of energy that elevates the spirit. This is the realm of inspiration that, in today's American culture, is becoming frighteningly scarce." ~Jorge Udler John Katchur became a notable force on the San Diego singer/songwriter scene in the early 90's, winning the San Diego Music Award for Best Acoustic Artist. His music blends singer/songwriter sensibilities with powerful rock textures and haunting atmospheres. Acoustic guitars delicate and fierce, smooth airy vocals, crunching electric guitars, organic keys and organs form "lush soundsacapes like magic flying carpets" ~San Diego Troubadour John's recordings offer complex depth and emotional dimensions soothing and severe. Those who take to a John Katchur album tend to wear them out. His works offer a submersive experience transcending the sum of it's parts. As a performer (commonly solo) John has a strong reputation for impeccable and captivating delivery. The San Diego Troubadour says, "... (John Katchur) plays guitar with equal measures of grace, complexity, and fearless confidence... (with) an unbelievably effortless, sonorous, aching voice."

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  Colombia

  The interpretation achieved implies a profound comprehension of music and a significant expressive capacity of their instruments, with the necessary precision, subtlety, sonorous qualities, and balance. Sergio Mesa (Composer) The Vinasco (clarinet) - Ruiz (piano) duo started in 2004 with the idea of playing Latin-American music. Their main focus has been the research, interpretation and recording of pieces such as the ones displayed in this first CD. The recording is dedicated to Colombian composers and you will clearly see the exploration the duo has made on performing and musical statements. The duo has played in Mexico City's main halls as well as performed in music festivals in Latin and North America.

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  East Side Rhapsody Liszt/Enescu

  Eri MANTANI, piano 'Eri Mantani fascinates us with her great sensitivity, liveliness and sonorous harmony." (Ongaku no tomo / Friends of Music) 'The Japanese Eri shows a lively nature, brilliant, even electric, an intense personality." (Anne Queffelec, pianist) "Eri Mantani won the 2nd Prize at the 4th International F.Liszt Piano Competition (the 1st Prize was not awarded), showing musical culture, knowledge of European interpretation traditions, sensitivity and piano professionalism." (Juliusz Adamowski . pianist, President of F. Liszt Society in Poland) "Huge young talent to follow." (Classiquenews.com)

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  De la Noche

  ERNESTO GARCIA DE LEON (1952- ) Ernesto Garcia De Leon can be considered as one of the most innovative, creative and imaginative composers alive today. His influences which range from The Beatles to Mahler, nature sounds to Mexican folk songs have shaped his harmonic language to bring to live a language as unique and distinct as those of Debussy and Scriabin. He has unique ability to bring to live music that can be described as otherworldly and totally inspired (not formulaic ), this music on repeated listening easily becomes intoxicating. The Preludes and nocturnes recorded on this CD represent some of Ernesto's most exquisite and inspired writing for the Solo guitar. These pieces draw the listener and the performer into the private secrete and sacred sound world of the composer. Here all is sound, the Gods of music speak the secretes of life and creation to us in gentle sound that seem to ascend and descend in varying degrees of tone colors, until we become a part of that sound itself....sometimes this brings to mind the Scientific discovery of the theory of everything .... "The String Theory" where everything in the universe is sound waves. To enjoy these pieces it is best to suspend all preconceptions of sound and Music and allow the music to speak to you in it's sublime and effulgent language of beauty, joy and timelessness. To enjoy these pieces it is best to suspend all preconceptions of sound and Music and allow the music to speak to you in it's sublime and effulgent language of beauty, joy and timelessness. De La Noche (Nocturnal) -Fantasy No.2, Opus 20 is an extended concert work in four seasons depicting a tropical night. It is an evocation of warm and sonorous nocturnal noises and sensations, luminous nostalgic moonlight, and a brilliant, improvised costal dance. Dos Piezas (Two Pieces), Opus 24 are a prelude and son in a happy and nostalgic mood. It was written in 1987 for the composer's recital in the "Fifteenth International Cervantino Festival" in Guanajuanto, Mexico, where he premiered it. Preludio y Toccata, Opus 25 features two movements- the first poetic and lyrical, the second dramatic and rhythmic. It was commissioned by it's dedicatee, the superb Mexican guitarist Roberto Limon, who had it published in the English magazine "Guitar International." Veinticuatro Preludios (Twenty-four Preludes), Opus 37: Por una Calle de Camaguey (19). In a dream, I was walking down an unknown and unidentified street with someone. I saw it was my Cuban friend Martin Pedreira-composer and guitarist. Therefore, I deduced I was in Cuba, in the city of Camaguey. That day, when I awoke, I composed this piece. Martin is one of my favorite composers. I believe he and I have many things in common. The characteristic features of this piece have a lot to do with the music of Cuba and the Caribbean in general and Martin's music in particular. Observando Sombras (2.Watching Shadows) was composed when I was thinking about an old practice of the ancient Mexican shamans or sorcerers that has lasted until our times- the practice of observing the shadows all around things. This results in an altered state of perception that allows one to see reality in a different way. It is dedicated to my dear friend Alexander Mendez, a fine and open-minded guitarist. Son para Desarmar (8. Dance to Take Apart) has elements and passages of the "Son" in the Prelude and Son No.2, Opus 30 for two guitars that I composed for Roberto Limon and Jaime Marquez, and which is a "son" which can be played as is or by interchanging it's sections as if you were taking it apart. It has a free part in which improvisation is invited. Grupos de Maranones (21. Groups of Cashew Trees) contains themes from the Tropical Suite, Opus 17, especially from the second movement "Maranon." In the jungle, trees growing in groups of the same family unify and beautify their surroundings. This piece is dedicated to the Veracruz guitarist Enrique Salmeron. Observando Distancias (16. Watching Distances) is another development of "2. Watching Clouds." This piece is dedicated to my friend Elben Macari, one of my favorite composers. His music does something special to me. It seems to have a unique freshness and spontaneity. Perhaps it could be catalogued as "New Age" or "Techno-Etno." Un Regalo de Poder (7. A Gift of Power) is dedicated to the Polish guitarist Miroslaw Franczak. This prelude is not about power, not that of western civilization, but instead that of the ancient aboriginal people of our lands, which they conceived of as an entity in the environment capable of manifesting in our favor, giving gifts. Miroslaw lived in Mexico for two years and experienced many good things. I told him he had been given a "gift of power." Preludio para Adriana, Opus 26 This sweet page of music written in 1988 was inspired by and written for Adrianna del Angel who performed a piece by Garcia de Leon in a recital of the students of Alfredo Rovelo. The day after the recital, the composer presented the Prelude to it's dedicatee and later that year he premiered Opus 26 as an encore to a recital he played in the Manuel Maria Ponce Hall in the Palace of Fine Arts in Mexico City. MANUEL MARIA PONCE (1882 -1948) Manuel Ponce is one of the major influences in the world of 20th century guitar music. His collaboration with the great Spanish guitar virtuoso Andres Segovia who helped extend the guitar repertoire a great deal, his output included works for solo guitar, duos with harpsichord and even a guitar concerto. We owe much of these works to the prompting by Andres Segovia who himself revolutionalized the Art of playing guitar by moving away from the dry metronomic repetition of written notes into a world of limitless possibilities where technical prowess surrenders to the imagination to create poetry, intimacy and freshness. Sonata III must have been completed about mid 1927, the Segovia edition on which this recording is based was first published by B. Schott in 1928. The first movement has a rather neo-romantic character that is reminiscent of Chopin's op35 sonata for piano. The second movement is a song, very simple and modal, similar to the theme of the Sonata for Harpsichord and Guitar by Ponce. The third movement is caste in the style of the French Harpsichordist where the main theme is repeated after every episode, though French in form the theme used is Spanish in character. In a letter to Ponce Segovia wrote about this Sonata .... ".....All the Sonata is quite beautiful and it is an important work for the Guitar, the Artist and the Musician. I thank you wholeheartedly..." ---Andres Segovia TORU TAKEMITSU (1930- 1996) Maestro Takemitsu, a Tokyo Born self taught musician had this to say about music. " Music is either Sound or Silence. As long as I live I shall choose sound As something to confront a silence. That sound should be a single Strong sound" --Toru Takemitsu (1962) This concept of music is obvious in his compositional output. Very careful and imaginative treatment of sound, silence, color and space. In his music you can almost always perceive a certain spaciousness that flows gently like water. Takemitsu's innate understanding of the guitar is evidence from his many compositions for the instrument and his association and friendship with Leo Brouwer(a living legend of the Guitar). Takemitsu is also known for his ability to properly blend Eastern and Western harmonies to create a new exciting composition. The music on this CD is one such example where Takemitsu transcribed various popular western songs (12 of them)for the Classical guitar. The result is mesmerizing. Secrete Love was original composed by Sammy Fain. This transcription employed the use of harmonics pitted against natural notes on the guitar and special fingering positions for exact timbral effects to create a wonderful sense of nostalgia, simply beautiful. CARLO PEZZIMENTI: Since beginning his study of classical guitar in Florence, Italy at the age of

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  Bossa Nova-Music of Love

  Bossa Nova, a cross-cultural hybrid of Samba and Jazz,is a sophisticated, lyrical style of music with melodies that are both intimate and relaxed. The Bossa Nova's appeal continues to be it's rhythmic and sonorous groove which is beautifully represented in this collection of essential songs from Sugo Music's Latin Rhythms Series.

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  Under Summer

  Big Scary Monsters present Under Summer by yndi halda due for release on the 4th March 2015. Eight-years on from 'Enjoy Eternal Bliss' Brighton based quintet yndi halda are now preparing to release their new album, 'Under Summer'. Having toured across the UK, Europe, USA and Asia, including shows at London's famed Barbican Hall, Koko and Union Chapel venues, and entirely selling out a short residency at Hoxton Hall, yndi halda's fervent and nominally patient fan base have been eagerly awaiting this new material. For those who were previously enthralled by the bands revered string-heavy and densely layered flavour of instrumental rock, there are seemingly endless new aural delectations to unearth and embrace in the bands intense second effort. Their music is at once subtle and joyous, hitting huge emotional peaks around moments of serene gentleness and heart-breaking sadness in its orchestration of sonorous guitar interlacing, meticulously crafted string arrangements and - now - soaring vocal harmonies. The sonic boundaries of 'Under Summer' are only limited by the bands collective imagination, and which sentiments they allow to permeate that individual creative talent. There may have been eight years of musical silence between the two albums, but this has allowed the band members individual life and subsequent cultural experiences to redefine the way the band can collectively compose and express themselves.

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  Talon of the Blackwater

  PROGRESSION: THE QUARTERLY JOURNAL OF PROGRESSIVE MUSIC LAURA SIERSEMA 'Talon of the Blackwater' Style: Jazz/Folk/Art-Rock/New Age Inspired by church singers and jazz greats like guitarist Pat Metheny, Laura Siersema brings the power of her crystalline voice and compositional skills to bear on her third release. Fluid, poetic vocals ride high in the mix. The performances are mainly the product of Siersema and Jay Hovnanian (producer/engineer/synthesizers), but are augmented by T Lavitz (Dixie Dregs) and other skilled players. The understated accompaniments are at times brilliant. Siersema takes the traditional spiritual "Wade in the Water" and makes it her own with a ghostly arrangement reminiscent of Daniel Lanios's work. "My Eye This Flower in Julep Runs" brings to mind Mahavishnu Orchestra's "Smile of the Beyond" vocal section, an indication of the timbre and clarity of Siersema's voice and the album in general. The excellent 14-minute closer "Along the Fenway" features cellist Eugene Friesen (Paul Winter Consort) and is strikingly beautiful. The pace of these compositions is slow and deliberate, and tunes like "Who Will Pass this On veer toward lounge music. But the stream-of-consciousness quality of Siersema's lyrics trumps this album's minor shortcomings. By Rick Tvedt LiveWire: Laura Siersema's 'Talon of the Blackwater' by The Republican Entertainment Desk Thursday April 02, 2009, 9:04 AM By Donnie Moorhouse When you listen to Laura Siersema's new release 'Talon of the Blackwater,' it is almost impossible to imagine that this talented local songwriter once felt uncomfortable with her own voice. 'I have always felt particularly vulnerable about singing, that continues to this day,' said Siersema. 'It was many years of studying voice, auditioning, before I ever felt a sense of freedom and connectedness to my own voice.' While the Greenfield resident's voice gives 'Talon of the Blackwater,' it's beauty, her writing is what gives it depth. 'It's (the record) everything I can say about the journey, condensed,' she said. 'With each of the albums, it was my life as I knew it up to that point.' At first glance, the talent is obvious but it just may be Siersema's work ethic that makes her stand out in a crowded folk field. 'I worked intensely for a period of 13 months on this material alone,' she said. 'I did not go into studio along the way. I wrote the majority of it first, then went to record it. The creative process was much more concentrated an experience, and the tools with which I worked were becoming increasingly focused and sharp.' Siersema is not unaccustomed to hearing comparisons to Joni Mitchell when people are first introduced to her art. 'I've heard that from a number of different people,' she said. ''Hejira' is my favorite album ever and her adaptation of 'Slouching Towards Bethlehem' is one of my favorite songs. Though I did not come to know her work until later, I consider her one of my heroines. She is a poet too. The volume of her work is just amazing.' Siersema is working on putting together her performing schedule and has lined up an afternoon showcase at Borders Books and Music in Keene, NH on Saturday afternoon at 2 p.m. Her full schedule, along with the brilliant 'Talon of the Blackwater,' is available at laurasiersema.com. Laura Siersema's Talon of the Blackwater Valley Advocate February 13, 2009 By Ryan Duffy Currently based out of Greenfield, singer/songwriter Laura Siersema offers her third album. According to her biography, she loved music as a child, attempted nursing school and dropped out, and fell back into music-not exactly the worst move, in her case. Siersema clearly has a lot to offer with her sonorous singing and her agile playing. Many of the songs on this CD are not far removed from some of Kate Bush's more subdued '80s output, which means flowing, ethereal vocals, murky, fretless bass, jazz piano, subtle synthesizers, some strings, drums and even bouncing marimba on one track. The record makes good use of silence and space at times, creating a fairly minimalist setting, circling and entrancing rather than forcing it's way in. Lyrically, the album uses cryptic poetry to evoke moods, rather than providing the listeners with cheap, cut-and-dried imagery. I liked this bit from "Along the Fenway," the 13-minute closer: I saw the future in somebody's hand They're gonna steal a wallet What does it matter when you're in-between the black sheep and the chosen one? Or how about, from the title track: Hurling shotgun shells at a wedding party brother half-cocked at the pulpit nausea always skimming just beneath Not sure exactly what she's alluding to, but anyone who can wield strong lyrical ability while avoiding pretension and tired clichés scores points with me. Lead track "Mother Mary Rose" slowly floats along, buoyed by watery and delicate guitar work, but the vocals cut through the mix, creating a disembodied ambience. Siersema's take on the traditional tune "Wade in the Water" is carried by clomping congas and is lit up like a jazzy old torch song. Fans of Tori Amos, Joni Mitchell and even Leonard Cohen, albeit strictly on a lyrical basis, might feel at home with Siersema. MOTHER MARY ROSE Mother Mary Rose drinking from a fountain I feel the rain coming down like life or the remnants of a hurricane will you break me up? will you hold me down? Mother Mary Rose well he shook his head and I wanted to tell him it was alright but we were on the ocean it was breathing like a child I held him in my arms he was alone and so was I. Why do shadows fall so slowly hovering o'er this field of all who pass-- Mother Mary Rose my sisters and I spent out summers this way hardly noticed slipping over the many mountains slipping over the lush down of scooter slipping, slipping away. Vocal, Fluid Guitar Siersema Synthesizers Jay Hovnanian Brush Marcelo Woloski TALON OF THE BLACKWATER AND GRACES Somebody pulled the hair right out of my head something so small 'bout a quarter-size not me that's pointing a knife admit that you're wrong not to matter-- Don't you remember anything denting the car, the machete stealing bread and meat under your jacket-- get afraid and lie get afraid and twist things up your riddle underneath I go-- scraping up the sides and dropping down-- talon of the blackwater and graces. Hurling shotgun shells at a wedding party brother half-cocked at the pulpit nausea always skimming just beneath what's cheated you it's all coming up-- keep it down, keep it quiet it's a tailspin let's just get away-- scraping up the sides and dropping down-- talon of the blackwater and graces. So put me in your dress and step on my shoes tell me how much you like them take my picture, press it all over the house tear this roof off my head this throbbing in my heart-- keep it down, keep it quiet it's a tailspin let's just get away-- scraping up the sides and dropping down-- talon of the blackwater and graces. ^#^keep it down, keep it quiet it's a tailspin let's just get away-- Vocals, Fluid Guitar Siersema Fretless Bass Michael Farquharson Synthesizer T Lavitz Lead Guitar Nate Comp Frame Drums Nick Falk Congas Marcelo Woloski GO CHILDREN SLOW Go children slow walk on the water what you become those suits and guns they bring the massacre down the tracks you ride raising your hopes under the gathering tree under the gathering tree-- All the wooden horses, all that's sleeping in the yard listen, can you hear me? there's gonna be a big trial, gonna saw the people up singing, all your questions like heads are gonna fall--you're swimming now as you lie awake at night lie awake at night-- Fix upon the bell you took, instrument you wore-- Go children slow walk on the water what you become those suits and guns they bring the massacre down the tracks you ride raising your hopes under the gathering tree under the gathering tree-- Vocal, Piano Siersema Fretless Bass Michael Farquharson Synthesizers T Lavitz & Jay Hovnanian Percussion Nick Falk WAD

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