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review by Bill Binkelman With assistance from Real Music, wind instrument artist Buedi Siebert has re-released his 1999 recording, Qi Gong, as Wave Hands Like Clouds. If you have the original, there is probably little reason to buy this newer version. However, anyone who has not yet heard this wonderful exploration of Asian fusion meditative music should consider picking it up if they are intrigued by music dominated by Japanese instruments integrated into a new age music sensibility. Unfortunately, literal instrumentation is not mentioned in the liner notes, so I don't know if Siebert is playing the koto or a variation of it (either way, it is a string instrument that the artist both plucks and strums). In addition, he also contributes on flute, some bell trees, as well as mild synthesizer textures to add just the right amount of coloring so that the music is less stark and more accessible to Western ears. This is extremely serene and contemplative music, even though it can be a little lively at times. The first two tracks are short (about a minute each) and serve more as a preamble to the first lengthy composition, "Waterplay." They also introduce the album's major instrumentation of Japanese harp and synthesizer, joined by subtle birdsong in the background (in fact, nature sounds are sprinkled discretely throughout the album). "Waterplay" is lovely, opening with waves of gently undulating synthesizers, the sound of a softly laughing brook and minimal koto/harp, and later, some flute. "Building Chi," opens very softly with synths and plucked harp/koto and eventually becomes a gracefully flowing piece with the addition of Siebert's adroit flute, tastefully exercised vibraphone (nicely echoed, too, by the way), and piano. "The Gentle Way" is just that: delicate flute melodies, twinkling bells, and subtle keyboard embellishments. "Song of the Nightingale," is the structural centerpiece of the album, placed eighth of the twelve tracks and being over ten minutes long. Against a backdrop of assorted song birds, a plaintive harp is plucked in a minimalist style, obviously aiming for a Zen-like flavor, emphasizing the need to be patient and let each note soak in and be enjoyed by itself. Either through the use of sustain of the stringed instrument's notes or perhaps synthesizer textures, there is a smattering of background warmth as well to lend some depth to the piece. From a technical standpoint, the recording is exemplary. Engineering, placement of the instruments, mix, and levels are all without fault. Each struck bell or chime, each plucked or strummed string, and each flute note is crystal clear on its own plus is blended into the whole to yield great "total" results. While listeners attuned to more structured new age music might have a hard time wrapping their hearts around the relatively free-form nature of the music on Wave Hands Like Clouds, as authentic as this can sound at times, it's still Asian fusion music and should appeal to people who normally shy away from world music, provided they like gentle melodic compositions. In fact, lovers of Japanese music as well as fans of melodic calming yet intriguing recordings should both be more than satisfied with Wave Hands Like Clouds. I have played this early on Sunday mornings when the house is still after having lit some incense and the effect is magical as I can feel the stress leave my body almost immediately. Listening to this recording and allowing oneself to give in to its subtle beauty and stillness is almost as good as visiting a reflection pool or a rock garden…and you can do it all from the comforts of your house. Highly recommended! |
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