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Review by Bill Binkelman Many new age music albums purport to be "serene," "meditative" or "calming." While some of these statements turn out to be accurate, many are misleading (which doesn't mean that the music contained on the CDs isn't good, just that it isn't particularly indicative of those terms). Tibetan flutist Nawang Khechog's music as medicine is one of those recordings which almost defines meditative music, though. It achieves this mostly through its simplicity, as each of the eleven tracks features a minimum of instrumentation and the flute melodies are unostentatious yet graceful and even sublime in composition and performances. Joining Khechog on five tracks is renowned (to say the least) Native American flutist, R. Carlos Nakai. His Native flute playing perfectly complements Khechog's Tibetan flute and their unadorned duet, "Harmony in Balance" (assisted only by studio-enhanced echo) is a wonderful example of two musicians coexisting in natural unforced symbiosis. On assorted other songs, Khechog is also joined by one or more of the following: Sandra Wong (violin), Deborah Schmit-Lobis (synthesizer), Randy McIntosh (mbira, marimba and drum), James Hoskins (cello), and vocalists Beth Quist and Tsering Khechog. Regardless who accompanies Khechog, the results are always marvelous. "Healing Through Kindness" opens the CD with Wong's delicate violin adding a gentle weaving yet sparse series of notes underneath Khechog's lead flute. "Meditation" adds Schmit-Lobis' subtle synths to the two flutists and her spot-on layering of strings and textures fleshes out the Native and Tibetan flutes, and creates a spaciousness that evokes images of vast landscapes glowing under a setting sun - truly a beautiful image. There's even a "fun" tune called "Zen Blues" (featuring McIntosh on marimba, as well as Nakai and Schmit-Lobis) and, while it's arguably the least minimal thing here, it's certainly every bit as beautiful and adds a haunting quality at times. It may not be blues by many definitions of the term, but on this album, I think it's an apt title, owing to the mournful cry of both flutes, especially in the song's middle. I've got to be honest about one thing: I'm usually no fan of chanting. There are four vocal chants on the album, however the chants themselves are so seamlessly integrated with assorted instruments (e.g. synth, mbira, violin, drum, cello, flute) that I found myself enjoying these tracks in spite of myself! Also, the chants are relatively low key, which is a big plus in my eyes and to my ears. Khechog handles most the chants, joined by Tsering or Beth Quist. Quist handles one chant ("Turquoise Lamp") on her own, as does Nakai (chanting not in Tibetan but in his Native American tongue). Quist's vocals are less chants, but rather wordless vocals and her voice is wondrous, possessing a delightful lilting quality. Her duet with Khechog's flute is an album high point. music as medicine is one of those special recordings that is not only well-performed from a technical and artistic standpoint, but has a "good heart." As such, it represents the perfect blend of music and spirit, where the two elements combine into a singular offering that transcends the limitations of the two as separate entities. I highly recommend it to new age music lovers who enjoy serene beautiful flute music and are willing to be open to Tibetan (and other) chants. However, the instrumental tracks are, in my opinion, worth the price of admission alone. |
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