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review by Bill Binkelman Sophomore efforts are tricky things. Does an artist play it safe and just reprise his/her first recording? Or should he/she strike out in a new direction altogether? What needs work from the first album and what doesn't? Decisions, decisions, decisions…. I'm happy to report that, for the most part, keyboardist Doug Wollman's second release, Awakening of Dreams, has found the right balance of emphasizing what made his first CD, Face of the Deep, a good debut, while also pushing his own personal envelope just enough to continue refining his musical persona. He has tightened the focus of this CD, while still retaining a good variety of laid-back quasi-new age tunes and adult contemporary/gently rocking numbers. He has eliminated some of the weaker sounds from his Korg that occurred on his previous recording, and he has only misstepped on one song, that being the arena-rock blistering guitar on the title track whihch is woefully inappropriate, as is the Journey-ish piano which follows. He also allows some guitar to intrude on the otherwise gently rhythmic piano tune, "Ex Nihilo (Out of Nothing)," but it's nowhere near as intrusive as it is on "Awakening of Dreams." That cut excepted, there are many other well-performed instrumental tracks on this fine album. Once again, Wollman displays a flair for crafting melodic hooks, embellished with tasty solo work in the bridges between choruses. As I mentioned in my review of Face of the Deep, his music reminds me of Val Gardena in that it features trace elements of smooth jazz, but without any of the usual faux urban sensibility, yet he never really crosses over into either outright new age or adult contemporary. Tracks on the CD include "Out of the Shifting Shadows" which showcases the more forceful side of Wollman's piano playing amidst a backdrop of swirling synth textures and midtempo trap kit drums, "Transcendence" with twinkling keyboards, sighing chorales, and lively but light-footed piano, and the Mark Sloniker-ish "Subliminal Magnitude" featuring reverberating vibes at the outset, which get married to funky bass and rhythms, and are joined by echoed piano in the upper registers that evokes late night cityscapes. Wollman slows down on some songs like the somber "Resting Place" (consisting of mostly solo piano with trap drums, most notably kick bass drum work). He also revs up on "Romantic War Cry," although by starting things off with a spoken-word "Hit it!" I was scared this was gonna be another quasi-rocker, but instead it turns out to be a solid rhythmic instrumental tune, featuring dramatic (but not over the top) drums and moody piano, with an undercurrent of synth textures and a tasty rolling piano refrain. Wollman continues to impress me with his versatility on his keyboards, his quality control of the assorted sounds and samples, his ability to turn a musical phrase, his confidence in navigating the straits between new age and adult contemporary, and his adroitness balancing the assorted musical elements to come up with a cohesive sound that is uniquely his own. If he can just see his way clear to leaving the electric guitar alone (or use it more as a rhythm guitar, not a lead), I, for one, would be happier. He sure has everything else nailed! Recommended, especially for playing while driving. |
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