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review by Bill Binkelman There are two pianists in contemporary instrumental music whose recordings fuse acoustic piano work and electronic keyboard embellishments with uncanny ability and a true sense of artistry. One is George Skaroulis and the other is right here - Laura Sullivan. Mystical America is that rarity - a perfect album. Graphics, production, engineering, composition, performance, it's all good and I mean GOOD! This is quietly majestic music, brimming with subtle power and awe, befitting the fact that the songs' inspirations come from "mystical" places here in America, such as New Mexico's Chaco Canyon, the Red Rock country of Sedona, Arizona, and the petroglyphs in my native Minnesota near Pipestone. In fact, if one could teleport oneself (and one's car), the ideal situation would be to travel to each of these twelve destinations and have this music playing as one walked through, drove by, or sat in these environments. These compositions are, I would imagine, the perfect accompaniment to the feelings these places stir within the human soul. Lofty words? Yes, but well deserved as far as I'm concerned. While Sullivan's accomplished and dexterous piano playing is at the heart of this CD, she is aided tremendously by Chris Camozzi, who produced the recording and plays an assortment of guitars and keyboards, as well as Scott Fuller (keyboards and synth strings), Mary Pitchford (violin), and Diane Grubbe (flute). The "wholeness" of these artists in whatever combination a particular track may call for is a true example of musical symbiosis. It's very special to listen to and I never tired of the album (and I played it at least ten times, maybe even twenty, before writing this review). I couldn't single out a track as a "favorite" very easily. Starting off with the strings and violin intro on "America's Stonehenge" (about Mystery Hill in Salem, Massachusetts) which blends Sullivan's deft work on piano balanced against Pitchford's violin after the prelude, and ending with Sullivan's reading of Beethoven's "Moonlight Sonata" (inspired by California's Mount Shasta), fleshed out by subtle keyboard orchestral textures and strings, Mystical America is an album to be treasured and savored, like a hearty and bountiful feast. I will add that Camozzi's guitar work on tracks like "Chaco Canyon" is a standout component and blends seamlessly with Sullivan's ivories - almost eerily so perfectly at times. Also, the flute and synth opening to "Coral Castle" is to die for. But, I promised not to single a lot of tracks out, so I'll stop there. By turns haunting, serene, softly cheerful, reflective, and somber, Mystical America is the album to by as a gift for people whom you want to introduce to this genre (call it new age or contemporary instrumental or whatever you want to). Unless they hate the piano, they are almost assured of loving this album, simply because it overflows with such wondrous and well-played music. I don't think I have heard a "prettier" recording this year, and surely not a more sincere one. Whether she is performing one of the solo piano selections on the CD (and there are a few) or is joined by one or more of her accompanists, Laura Sullivan has dialed up her talent yet another notch and sits poised to vault to near the top of a genre that for too long has been the pervue of those who ceased being engaging, in my opinion. This album earns my highest recommendation and is easily one of the best albums of 2004. |
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