GARY STROUTSOS

Pacific Moon

Paras Recordings (2001)

reviewed by Bill Binkelman

Flutist Gary Stroutsos states in the liner notes to Pacific Moon that he was "inspired by time spent on the Northwest Oregon coast at Falcon Cove Beach." Boy, was he ever inspired! Pacific Moon is his most beautiful recording by far - it's like a gentle summer breeze one feels just as the sun sets. I found the music to be a perfect de-stresser, as well as an ideal accompaniment for early morning activity, such as Sunday morning newspaper-reading. Throughout most of the album, the sounds Gary must have heard at Falcon Cove, i.e. waves breaking on the shoreline, are expertly blended in with the music, proving a most comfortable fit.

Besides Stoutsos' assorted flutes (alto, bamboo, wood, and ratan bass), the album also features the considerable talents of Elizabeth Falconer on koto, Glen Velez on various percussion, Larry Mahlis on tabla, wind chimes, and clay pot, Ed Pais on two kinds of hand drums and clay bells, Nonda Trimis on waterphone, and Jonn Serrie on (his patented spacy) keyboards. Everyone is perfectly in sync as together they craft sublime music, usually bearing a decidedly Eastern flavor (the songs vary in character from the Far East to Middle Eastern or East Indian in feel).

Of the twelve tracks on Pacific Moon, I don't know that I can single any out as favorites. I like them all. "Dawn" features flute, koto, and delicate synth washes accompanied by those waves breaking on the shore. The track flows seamlessly into "Morning Waves" with a nice midtempo tabla rhythm now joining in with the other musical elements. "Falcon Cove" uses synthesizers more prominently, intermixed with koto and flute and, later, gentle drums. The song is more haunting than the first two selections, but haunting in a beautiful way, not dark or foreboding.

Reading through the song titles of later cuts ("Twilight," "Sea of Serenity"), it's not a stretch to deduce that the music is even slower and more peaceful than earlier on the recording. "Twilight" is music with a strong "Zen garden" feel to it - patient, slow-moving, and as concerned with spaces between notes as notes themselves. "Sea of Serenity" approaches spacemusic ambience, with floating synth washes, drawn out flute work, and subtle rattle percussion, along with koto. "Nights of Quiet Stars" has mysterious synthesizer shadings, flute, and Middle Eastern percussion - the track has a distinct desert/nomadic people's feel to it. It's easy to imagine hearing the strains of this song coming from a Bedouin camp at the base of a sand dune or by the side of an oasis. Stroutsos closes the album with "Zen Beach," a plaintive solo flute number with only the sound of the breaking waves to accompany the wind instrument's sad yet beautiful call.

I consider Gary Stroutsos to be among the elite of flutists recording today. His mastery of various members of that instrument's family is in solid evidence throughout Pacific Moon. In addition, he knows how to surround himself with musicians who are both talented and who resonate to the same emotional frequency that he does. This recording "feels" like it could have been done by one person, so perfectly do the pieces fit together. Pacific Moon receives a big recommendation from me to lovers of flute music, new age music, and subtle Far Eastern world fusion music. You won't hear many prettier or more haunting recordings than this one, I would imagine.