LYNN PATRICK

When She Dreams

Dakota Ridge Records (2002)

reviewed by Bill Binkelman

I remember my excitement and enthusiasm the first time I heard Lynn Patrick's wonderful recording, When She Dreams. I listened to it on my personal CD player as I walked through the quiet section of Phoenix where Kathryn's (my partner) brother lives (we were visiting for Christmas). Despite the unseasonably cool temperature and cloudy skies (for usually sunny Arizona), I didn't want the walk to end. The music was so good that I was considering staying out a lot longer. Cold hands and tired legs/sore feet finally got the best of me and I walked into the house exclaiming to all assembled in the living room what a fantastic album this was.

My evaluation of Patrick's talent (and the artistry of her accompanists, as well) has only grown over the many playings I have given to the recording. The twelve acoustic ensemble pieces on the CD are all wonderful. I couldn't single out a favorite to save my life. Which is not to say that the music is at all homogenous. There is a lot of diversity on the album &endash; tempos, moods, and instrumentation all change frequently. What is unwavering, though, is the sincerity and charm of the music as well as the refined technique of all the musicians involved (I wish I could mention everyone by name, but it would be a good-sized list, what with the pianist, bassist, other guitarists, percussionist, cellist &endash; well, you get the idea).

On one hand, the music throughout When She Dreams is inherently simple, meaning non-pretentious. The music is also complex in the sense that, like other great acoustic ensemble recordings (such as offerings from Meadowlark or Autumn's Child), the interplay of the performers is intricately balanced so that no one player outshines the others and the assembled group achieves a rare synthesis, like a well-formed alloy. This symbiosis is one of the strongest points in the CD's favor &endash; the musicians play together like they were born to it!

It is, of course, Lynn Patrick who holds it all together. She composed all the songs and her excellent acoustic guitar leads and rhythm playing are the glue that binds the other talents together. Whether the sprightly uptempo album opener "Ten Dolphins Dancing," the shadowy "Little Karoo" (nice slide guitar work from Sally Van Meter!), the gently rocking folksy feel of "Snow Angels (Kim's Morning Raga)" or the midtempo yet plaintive title track (accented with just-right cello from Hannah Akire), Patrick's picking and strumming anchor the tracks with an emotional truth and musical economy that is the earmark of great acoustic composing and playing.

Closing with the uptempo solo guitar piece, "Can't Stop," and its toe-tapping infectiousness, Lynn Patrick is slyly winking and grinning at us. When She Dreams is, more than anything else, all about having a good time. Even the occasional reflective tracks on the CD, (such as "Treasure Box" or "Namaste") is never somber or morose. Instead, the overall vibe of this album is, simply put, renewal and pleasure. The music contained on When She Dreams is a solid and enjoyably good-natured blend of folk, subtle jazz, and classic new age music (think mid to late '80s Narada and Windham Hill) influences. Acoustic guitar and guitar-led ensemble fans should pick this one up post haste. It's a lock that Lynn Patrick will become one of your favorites, just as she is now one of mine. Highly recommended!