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review by Michael Debbage Released in 2003, Philip Wesley's debut album Finding Solace was one of the surprises of 2004. Granted I was a year behind on the album but better late than never. The album was so impressive that I was not sure how Wesley planned on maintaining his captive audience. Instead of completely reduplicating his efforts Wesley took a courageous move and gambled a little with In A Lifetime. The question that still lingers is whether it paid off. I was looking for solace and I was able to retrieve this emotion courtesy of In A Lifetime as Wesley continues to rely utterly on his piano with no additional embellishments. It opens in the very fine tradition of its predecessor with the melodic yet soothing "Comfort and Joy" reminiscent of the immediate accessibility that Jim Brickman brings to his playing. But Wesley keeps us guessing a little with the more classically influenced "Equestrian Dream" redolent of the David Lanz style during his Paul Speer era. Further tender moments are followed by the lush and warm title track that along with "Comfort and Joy" helping to reacquaint myself with the simple beauty of Wesley's music. Speaking of exquisiteness, the most reflective moment is found courtesy of the softness in "Love Remembered". Wesley continues to astound me with his original compositions and closes the album with five consecutive original songs that helps us focus on the simple yet subtle sophistication of this very impressive piano man. Of these the most prominent ones are the songs "Pursuit of Passion" and "Windows to the Soul" that musically embody their titles. The slight kink in the album are two of the three cover songs that overall appear to weaken the album versus strengthening it. "Ode To Composer" is the better of the three, which is another variation on Pachelbel's Canon, which amalgamates well with the restful and gentle style of Wesley that I have grown to love. Unfortunately, the same cannot be said for "Greensleeves" as well as the Moody Blues composition "Nights in White Satin" that was previously covered by David Lanz. Both of these tracks are heavy handed and disjointed and they simply distract from the mood of the album. This album holds to the truth that less is sometimes more in that excluding two of the three cover versions would have made this a stronger and better-focused project. That said, In A Lifetime is still another fine album from this young artist who next time around should relax and rest in the confidence of knowing that his own compositions are the most inspiring. |
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