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review by Bill Binkelman Bucking the norm in acoustic new age music, the duo Montana Skies (Jonathan Adams, guitar, and Jennifer Adams, cello) do not concentrate on original compositions nor does their taste run toward somber and quiet music, either. Instead, they play a blend of more typical "quiet" pieces and uptempo, cherry numbers, featuring both Jonathan's originals, as well pieces from other composers (Erik Satie, Lennon and McCartney, Roberto di Marino, Andrew York, Giuesseppe Farrauto, Turlough O'Carolan). While this contrasts with what other artists tend to do (i.e. spotlight their own compositions and/or craft music that is more low-key), the results are enjoyable and amply demonstrate both musicians' talents on their respective instruments. While I'm seldom fond of cover tunes (especially recognizable pop standards), it's hard to fault the Adams' treatment of the two Beatle covers ("Here, There and Everywhere" and "Eleanor Rigby"). The former fares better to my ears than the latter, as Jennifer's cello elicits deep-seated emotion from the familiar refrain, while Jonathan stays in the background. "Eleanor Rigby" gets an uptempo reading with Jonathan taking the lead and displaying fast fingering. The quick pace of their version somewhat undercuts the song's melancholy side, but it also serves to distance the cover from the original. I was quite impressed with the duo's take on Satie's famous "Gymnopedie #1" which serves as a showcase for Jennifer's soulful cello as she takes the lead on the highly recognizable refrain. "The Nightfall," which is one of two numbers from Roberto di Marino, carries strong currents of nuevo flamenco, even though the cello contrasts with the more "typical" flamenco guitar work here. In contrast, di Marino's other song, "Milonga," is somber and reflective, and could even be described as downright sorrowful. Jonathan Adams' originals are solid and, as stated above, vary the tempos and moods considerably. The opening title track is vibrant and upbeat, highlighted by sprightly guitar. "The Edge of Night," which follows, fits its title, being slower and more reflective in mood. This is a good example of how well the two musicians interweave their instruments in the service of crafting a single "sound." On some other tracks, there is a clearer distinction between lead and support, and while the same is technically true here, there is still a symbiotic feel to the song. "December Mourning" (note the spelling) is another somber piece and again showcases the duo's musical communication. If there is a weakness to the album, it may be the abrupt juxtaposition caused by placing a track like "Morenita do Brazil" (which is a spirited affair) directly after Satie's "Gymnopedie #1." However, what may first be heard as jarring becomes less of a distraction after multiple playlings. I can appreciate the artists wanting to mix things up. Also, as a suggestion, adding sparse instrumental accompaniment (minimal keyboards, piano, woodwinds) on a few tracks might have added an extra dimension to the CD (piano player Marilyn Harris has done this on her recent collaborates with other solo artists and it works wonders). However, that comment is not meant to find fault with the CD, only to offer my opinion that it could have possibly been a little better. Still, if you like guitar and cello and you don't mind the presence of a few recognizable cover songs (hey, at least they didn't do the theme from Titanic!), Montana Skies is solid and recommendable, especially if you enjoy some upbeat and uptempo numbers thrown in for good measure. |
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