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review by Bill Binkelman The new CD (and first one released on Real Music) from harp and keyboard artist Peter Sterling resides in that rare subgenre, new age jazz. There's no denying that, first and foremost, the music sits firmly in the new age genre, of course, but the artist's incorporation of jazzy rhythms, even sensual ones at times (such as on the opening "East Meets West" which is graced by Tina Malia's sexy wordless vocals) as well as the many contributions from wind player Richard Hardy (on saxes and flutes) means that the music more often than not has a swinging nature to it. Not in any way that this element detracts from the overall "prettiness" of the music (and this is, at times, some damn pretty music, let me tell you) but it's also not as "relaxing" as some other releases on this label (e.g. the new one from Benward Koch, which I've also reviewed in this issue). The assorted livelier cuts here mean that Shadow, Mist & Light would probably make a great "driving" CD, one that would keep you more than involved enough to stay alert, but not at the expense of listening to music that is too frenetic, too energetic, or too "pop" in feel. Sterling also flirts with world fusion at times, such as on "Dance of the Dakinis," which features a sultry beat on what sounds like an udu, as well as Hardy's bamboo flute and John Dumas' didgeridoo. The very next song ("Eldorado") has a American Indian sound to it with the inclusion of Dumas again, this time on Native flute. The tune is uptempo, and hearing Robin Miller's electric guitar integrated with the harp and flute presents an interesting confluence of musical influences. On the other hand, it's close enough to what Nicholas Gunn has done on his recent albums so that it's not all that bizarre, I suppose. "A Night to Remember" returns to a more typical jazzy vein, not really "smooth jazz" but somewhat like earlier releases from harpists Cheryl Gallagher or Cindy Horstman; it sways softly but with enough deliberation that new age music "purists" might think it's "too" modern sounding. I can't claim to "love" this album, as some of the tracks just don't light a fire for me ("Moon Over Xanadu," in particular, is way over the top with too many world fusion elements and drama which escalates into melodrama before it's over), although Sterling and the players he surrounds himself with all do a fine job. I would've preferred more songs like "While Away" which slows things down considerably and has only harp, flute and cello as the instruments. Still, I admire the artist for not taking the conventional approach of making an album of soft angelic harp pieces or ones drenched in saccharine strings to the point of giving someone a toothache. Provided you enjoy all three of the genres, i.e. jazz, new age, and world fusion, which are frequently combined on this album, and you favor the sound of the harp as a lead instrument, Shadow, Mist & Light would make a fine addition to your collection. |
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