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review by Bill Binkelman Gregory Kyryluk has previously released music under the pseudonyms Alpha Wave Movement (ambient, EM, and electronica) and Open Canvas (groove-oriented world fusion and ethno-ambient). This is his first recording under his real name, and I think I understand why. While his painstaking attention to technical quality is still totally obvious, Ephemeral Highways is far afield from his previous releases. Kyryluk stated in press releases and internet-postings that he was greatly influenced (for this recording) by albums on the German ECM jazz fusion label, as well ones from the earlier days of the Windham Hill label. I hear evidence of both references, e.g. now and then when Kyryluk channels Lyle Mays (meant in the best possible way, of course). I also hear echoes of artists like Jan Hammer (from his albums like Drive and Beyond the Mind's Eye), Peter Blake (Private Dawn) and the more rhythm-oriented work from Jonn Serrie, such as tracks on Lumia Nights and Midsummer Century. What those comparisons translate to is an album full of smooth flowing electronic grooves, jazzy runs on both piano and other keyboards, insistent but subdued rhythms, and uber-pleasant melodies that juxtapose just enough adventurousness with an easy-going accessibility meant to please jazz fusion and contemporary electronica/chill-out fans alike, although the former will probably embrace the softer more mainstream sounds contained herein in a bigger way. "Summer Into Fall" opens with a finger-snapping blend of trap kit rhythms, piano, and smoothly gliding keyboards. Like many of the songs on Ephemeral Highway, the track is ideally suited for playing while cruising the countryside. This may be the best driving CD you're going to hear in 2005. Kyryluk brings out a funky trumpet-like synth for some cool solos, trading places with the piano now and then. "Western Passage" quiets way down at first, with Serrie-like serene washes, before bringing a laid-back tempo into play on trap kit drums. Peeling guitar and plaintive sparse piano carry the main melody which is a reflective (but not somber) affair. "Wind Dome Hill" (hopefully you get the pun) opens with wonderful plucked-string synth, accented by pumping bass beats at a nice midtempo clip, and again piano takes the lead, but this time a mellow keyboard sound (frequently associated with Mark Sloniker) that has a whistling/ringing bell-like quality to it plays cat and mouse with the piano. It's a cheery tune without being the least bit sappy or overly commercial. There isn't a weak track on the CD. Ephemeral Highways is that rarity, a solidly enjoyable album from the first to the last minute. From the laid back grooves (jazzy guitar, bell trees and water drums) on the title cut to the pulsing drama of "Towards Sunset" (propelled by vibes, piano, excellent floating synths acting as an undercurrent of mystery, pulsing beats, and melodica!) to the somber and sparse (almost bluesy) piano ballad and album closer "Tomorrow's Journies," Kyryluk wears his obvious affection for this kind of music on his sleeve. What makes Ephemeral Highways work its magic so thoroughly is (as mentioned earlier in the review) the artist's attention to detail in everything from the quality of his keyboards and his rhythms, his engineering and production quality (excellent, as usual) and the sheer joy of music that comes through loud and clear on every single track. Frankly, I am mightily impressed with how good a piano/keyboard player this album proves Kyryluk to be. While his devotees who enjoy his more spacy side (e.g. A Distant Signal) may be put off by the overt jazziness of some songs, lovers of ECM-style fusion, as well as the other comparisons I made above, should have a blast. Set this one in the car deck, put down the top, wait for just before sunset, and hit the road to bliss! Highly recommended! |
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