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Review by Bill Binkelman Nicholas Gunn is by no means an unknown artist in new age music. When I review recordings by artists who have done well (i.e. succeeded commercially), it may seem that I bring a more critical ear to their work, and this is probably unfair to some degree. I only admit my bias because I found this latest effort from the multi-instrumentalist (flutes, percussion, and keyboards) only partially satisfying. When he quiets down (on, e.g., "The Yearning," and "Deep Water Island") I sense/hear a new musical direction for him which I enjoy. His flute and electronic keyboards (helped by more restrained percussion and beats) are more evocative when he relies less on pyrotechnics and gyrations and also when he is less worldbeat-influenced (which, frankly, for me, is when his music gets somewhat cliché or tiresome, even though it's well-performed). On the other hand, if you like Gunn's South American flavored upbeat music, you'll find some gems here. The finger-snapping opening title track starts things off with hand-claps, wordless vocals, soaring lilting flute work, and ethnic percussion galore. "Viaje Sagrado (Sacred Journey)" features guest artists Rachel Handlin on violin and John Bishoff on acoustic guitar and sets a moderate tempo, swaying under subdued world beats. To Gunn's credits, he allows both Bishoff and Handlin plenty of solo time on this track. "En El Templo Antiguo (Into the Ancient Temple)" is appropriately reverential and haunting but is marred by an over-reliance on multi-tracked wordless vocals by Gunn to set a mood of spirituality. "Apasianado Uno (Passionate One)" likewise gives room to the two accompanists to show off their talents (both considerable, too). The CD closes with "Bamboo," the best world beat selection on the album. Waves of synthesizers, nocturnal nature sounds, and some of Gunn's best "soft" flute work opens the track before Andean flutes and celebratory hand drums elevate the track into a joyous and joyful number that warms the spirit while it ignites the blood. It's a smart move ending the CD with this strong cut. Breathe is not a bad album by any means; in fact, it's solid in every respect. I just found the "safer" Latin world beat influences less exciting than some of the other tracks. By now, Gunn has accomplished enough and has a good enough track record that I was hoping for something more exploratory or adventurous. On some tracks, he delivers on those counts. I suppose I should be more positive and say the glass is half full, not half empty. |
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