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review by Bill Binkelman For awhile there, world fusion-electronica recordings were a dime-a-dozen, and some sounded like that, too unfortunately. Luckily, such is not the case with Barbara Markay's Shambhala Dance. Markay and her accompanists (Eric Gorfain-violin, Tim May-electric guitar, Alberto de Almar-flamenco and electric guitar) light things up in fine fashion, combining Middle East, East Indian, and Mediterranean tonalities and rhythms to cook up a true "global stew" of sultry melodies and sensual beats. The inclusion of violin on the more Middle Eastern-oriented opening track "Atlantis" and the mixture of fiery flamenco guitar (not to mention electric guitar leads deep in the mix) with what sounds like a santur (a Persian predecessor to the hammered dulcimer) and ethnic percussion from that same region and Northern Africa on "Metamorphosis" displays Markay's considerable skill at uniting disparate musical elements into a tasty and spicy amalgam that is the aural equivalent of exotic cuisine. Markay proves equally adept at lacing a thread of chill-out and electronica textures and beats throughout the recording. I would even pay her the compliment that on the first three tracks (the aforementioned "Atlantis," "Metamorphosis" and "Message from Morpheus") she could stand toe-to-toe with James Asher (on recordings such as Raising the Rhythms, Colours of Trance, and maybe even Feet in the Soil). However, where Asher emphasized rhythm over all else (him being a drummer you'd expect that), Markay tends to stress instruments that carry the melody more often than not. I'd also like to extend praise to Joseph Lecuona who engineered and mastered the disc. He did an outstanding job, especially given the multitude of instruments. I was expecting a less than stellar technical album, based on the somewhat low-rent look to the CD (not that bad, just not up to major label status). However, this is an excellent sounding album, with synths, assorted acoustic and electronic percussion, and other instruments all well placed in the mix, yet never thrown together haphazardly. Instrumental music devotees should be aware that there are two "straight up" vocal songs here ("Your Fire" and "Common Ground") with Markay handling the lead vocals. She has a solid singing voice, but the songs themselves are more pedestrian than the instrumental tracks, although I had no problem just playing through them. They're not bad, they just suffer in comparison since, as vocal numbers, the emphasis is on singing not on instrumental fireworks. Of the two, I preferred "Common Ground" which is a slinky and sexy tune, kind of a fusion lounge ballad. The CD's final cut ("The Gayatri") is an ethnic chant/song (with instruments, too, of course) sung in what is probably Indian or a Middle Eastern language. If you're into that kind of thing, it's a good example of how to do it (I'm just not that turned on by this type of vocal music). On balance, I recommend Shambhala Dance. Another of its unique properties is that it contains only seven songs, the shortest one being 7:00 (including the three vocal tunes). Because this is world fusion music involving a lot of different instruments, and despite the length of tracks like "Metamorphosis" (over nine minutes!), the music seldom (if ever) wears out its welcome. I was engaged from the start of every song until it ended, even when listening intently. Credit is due Markay, her accompanists, and Lecuona for putting out an album that puts a fresh spin on a tired genre and doing it in both inspired and enjoyable ways. |
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