Dustin O’Halloran Piano Solos Vol 2 reviewed at Gigwise

This release by Dustin O’Halloran is a departure from the guitar-based songwriters and features no songs, no guitars - just a solo piano of instrumental movements in a classical vein which cock a wink to inspiration from Satie, Debussy and Ludwig Van. With richness in it’s Eno-esque simplicity, there’s music here to sooth the jangled nerves of many a concrete-dweller and offers more comfort than a laced cup of cocoa. The ears that be decided to use two compositions for Sophie Coppola’s movie ‘Marie Antoinette’, such is their sumptuousness.

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Paik Kun-woo recording complete works of Beethoven

Paik Kun-woo���”seeker of truth on the keyboard��?”���has added his name to the small list of master pianists who have or are recording the complete works of Beethoven with major record labels.

Park Je-sung (Music columnist) writes:

Idiosyncratic and Creative

People can listen to a creative, idiosyncratic and historical playing of Beethoven’s sonatas through his albums. Paik Kun-woo translates the music language of the West into Korea’s unique internal world and music language in his albums.

Read the full article: Perfect Paik Kun-woo��?

Bruce Hornsby returns to the keys in piano-centered album “Halcyon Days”

Hornsby’s current CD, “Halcyon Days,” won’t generate such diametrically opposed reactions. In fact, for fans of the CDs that preceded “Big Swing Face,” it will sound like the return of an old, familiar friend.

“This is actually the first record where every song is a piano song,” Hornsby said. “I know that sounds odd, but … I’ve always had one or two accordion songs or electric piano, Wurlitzer or just synthesizer songs. This is the first time where I’ve made a record where every song is about the piano.”

Read the full interview and review: Hornsby back at the keys

Osorio plays Spanish piano music

Channing Gray writes a review over at Projo.com about Federico Osorio who played a selection of Spanish and German piano music at the Newport Music Festival.

Osorio, a balding man in a business suit, opened his program with three sonatas by the Spanish Baroque composer Padre Antonio Soler, ticklish little pieces that require fleet fingers, a delicate touch, and sound an awful lot like the one-movement sonatas of Scarlatti. Osorio had to scramble at one point, when the music almost ran away from him. But otherwise these were flawless readings that were full of charm and grace.

The only drawback was the overly live sound, which either came from the hall, or a heavy pedal foot. At times the playing sounded muddy.

But Osorio’s real gift is with the Spanish romantics. The set of Spanish dances by Granados, especially the dreamy Chopin-esque second one, were delicious, full of elegance and warmth. The third one had a sort of left-hand figure that sounded like a strumming guitar.

The big offering on the program was the eight-movement Spanish Suite by Isaac Albeniz, a work of many moods and colors. Osorio put lots of kick in the jazzy opening, then dropped back into an atmospheric reading of the second movement, one that takes its cue from Debussy.

Read the full review (registration required): Review: Savor the flavor of Osorio’s piano stylings

Gary Paul Bryant: The Invisible Piano

Paul McCartney did it a couple times. Prince/The Artist LOVES to do it. Gary Paul Bryant doesn’t follow in anyone’s footsteps, but his shoes and socks are plenty big enough. Gary’s new CD, ‘Imaginary Piano’, is a tour de force, every sound you hear coming from the same guy, whether it’s uptempo Rick Wakeman-like uplifts, or jazz boogie in the style of a solo Henry Mancini, or simply straight jazz blues, just about every style of ebony and ivory is covered here (without actually covering anything; all compositions are his).

http://www.garypaulbryant.com

“Last Night in Paris” comes somewhere between a march for a suicide in a blues cafe and Queen’s “The Show Must Go On,” somehow managing to lift the soul a bit from the mountain of misery that only a strong drum can eventually beef into a 70s theme. Film composer Bill Conti would love this music.

Billy Joel might even get jealous of the bright melody and open window freshness of “Simply Happy,” as acoustic piano is pit against synth sound and smiling stick beat cheering it on. Good timing before the beautiful, but sad and understated “Time Moves” which probably would have earned an Oscar nomination in the early 80s for a touching underscore of a film’s opening credits; think John Morris and his Elephant Man.

Gary knows piano style, and wields his ‘Imaginary Piano’ into most realms with dignity and ego-less piety. The strength of his “21st Century Waltz” and slow bouncing bass make this one of the more poignant pieces, tinkling much like a Montana sunset, easily proving that he’s at his best when simply easing an acoustic sound into a toe-tapping rhythm, brightening cloud cover with his melodic rays.

By the age of 13, he’d taught himself piano, guitar, drums and accordion, writing his first song two years later. In 1979 he released one of the first indie albums, Just a Word, which has now been remastered and re-released as a 25th anniversary edition, and currently runs the popular site, OnlyPiano.com which broadcasts jazz, classical, blues and new age piano music all day, every day. His personal influences of Thelonious Monk, Vangelis, Bill Evans, the Beatles and John Williams can be heard throughout his previous two instrumental releases from last year (2004). But the inspiration, in such an eclectic load, can come from any direction.

So where does the title ‘Imaginary Piano’ come from? Gary explains: “At one of the first concerts I did when I released my first recording, ‘Just A Word’ (a very long time ago), people in the audience mimicked my playing, much like an ‘air guitar.’ That was kinda cool and so when I did this new recording that featured piano, it just seem to make sense.”

‘Imaginary Piano’ is his 6th release, but watch out for October when Midnight Clear, a CD of solo piano Christmas music, appears. Radio stations from around the world (Spain, France, Belgium, Great Britain, Australia, India, etc.) in more than 50 radio stations have lined up for his kick ass instrumentals, proving that the only constant in musical genres is having ears and liking to have your ass kicked.

Witness: Cory Reese: Album Review

Cory Reese has just released his most recent CD entitled “Witness.” It is a compilation of piano pieces beautifully suited for the Sabbath day. Cory has also released other CDs, including a Christmas one called: “Silent Night: Instrumental Music for the Christmas Season.”

Cory has accomplished so much with his music in just a few short years, on top of being a social worker, husband, and father. Latter-day Saints like this always inspire me to push forward in the gospel. Cory was kind enough to spend a few minutes with me. I hope you enjoy learning about and from him as much as I did!

Link (BellaOnline.com)

Jim Brickman: Grace

Jim Brickman is a mainstay in contemporary music after 10 albums and more than 10 years.

His classically-imbued compositions garner consistent praise from his most ardent fans, who always use the same word — “inspirational” — in describing him and his gift. It gave Brickman the idea to compile some of the spiritual hymns that have inspired him throughout his life.

The resulting collection, the aptly titled “Grace,” is done with poignant expression and heartfelt delivery. Featuring traditional hymns and new compositions, Brickman washes them in stately piano displays, sometimes flecked with elequent instrumental and vocal accompaniment, capable of shining pure, brilliant light on any setting.

Link (Journal Review)

Duke Ellington: Piano Four Hands

Cheerfully diving into the jazz world again, Analekta is pleased to introduce an eagerly-awaited CD by the brilliant Duo Campion-Vachon, simply entitled Duke Ellington. More than thirty years after his death in 1974, Ellington pianist, composer, arranger, and bandleader - remains one of jazz’s most enduring legends. A great many of his works, like the ones on this recording arranged for piano four hands, have become jazz standards, pieces that successive generations of jazz musicians assimilate and remake in their own image or interpret as faithfully as possible to the originals.

Link (eJazzNews)

Christian Tamburr: Move Self Produced 2004

“Blues For Jo” A blistering piano solo by Oscar Perez sets the table for
Christian Tamburr’s dynamic vibe message. This tune gets off the ground
in a hurry. The timing by all is exact and the ideas run rampart in this
penning by Tamburr. This piece is the hallmark of this album.

Link (eJazzNews)

Summer never grows old

Arturo en el Barco is Ang?©lica Negr??n, a composer living in San Juan, Puerto Rico. Ang?©lica creates graceful, enchanting acoustic-electro that reminds of one’s innocent times.. Every note flowing from her piano is tinged with childhood; eager curiousity and playful naive charm surrounds and is Ang?©lica’s spirit.

Link (Lost in Sound)