GRUNDMAN

We are the forthcoming past, take care of it

Non-Profit Music (2004)

review by Bill Binkelman

Jorge Grundman cut his chops in progressive and rock groups in his native Spain but he also received classical training on piano at the Royal Advanced Conservatory of Music in Madrid. So it should come as no surprise that most of this fine instrumental music album is closer to classical in sound, instrumentation and musical characteristic than it is to anything else. Grundman does flirt with the electronica, new age, and progressive fusion genres, but overall the thirteen compositions contain rich melodies played by a wide assortment of (electronically created) symphonic instruments: strings (solo and sections), wind instruments and, of course, piano. The artist also paints some background textures with more abstract synthesizers and programmed beats/drums at times, lending a contemporary sound to some songs.

Before I go into detail, two things are worth mentioning. One, the raison d'être for this recording is extremely noble. Sales of this CD benefit a global medical aid organization called "Doctors Without Borders" (their goal is self-evident, I would hope). Two, Grundman selflessly reveals every single bit of equipment he used to make this CD, and I mean every single piece of hardware, software, sample, etc. going as far as to name the companies involved (I lost count at 75 listings). Obviously, he wants credit given to the appropriate company or person. This is more than unusual and is to be admired.

Speaking of that amazing cavalcade of instruments, many of them are startling in their ability to reproduce their "real" counterparts. The recording's quality would surely suffer immensely if the samples and keyboards were not up to the task. The solo violin (something that is usually always subpar in other recordings I have heard) is exemplary here, as are solo horns, especially oboe (e.g. on "The sons of the cold"). Throughout the recording, while listening on headphones, I was consistently impressed with the nearly stratospheric level of technical quality in the music.

As to the music itself, for the most part, I enjoyed it, sometimes considerably. Much of it is quite dramatic, either in a sadly romantic or a forcefully passionate way. When the music is not classical in nature, it criss-crosses from a smooth jazz/adult contemporary sound to new age to mild electronica to a smattering of world fusion (notably in how the artist laces some songs with ethnic percussion samples). One of Grundman's motifs that may take some getting used to is his occasional blending of contemporary ambient/electronica beats and textures in with the more traditional and melodic classical elements (such as on "Memory Holes" which is one of my favorite songs here).

Standout selections for me include the mournful "Tying the hand that helps" (which is both where that beautiful solo violin emerges and also marks the first merging of electronic music and beats with classical instruments and structure at the mid point of the song), the aforementioned playful harp and string-driven "The sons of the cold" (graced by some strong synth chorale work too), and "Teach me to whisper a shout" (one of the more straight-ahead electronica tracks with frenetic cyber beats being eased along by smooth as silk strings and echoed piano). This track builds in intensity culminating in a crescendo rush of synth chorales and strings that Vangelis would be proud of! "Looking through the broken window" also begins as a cheery beat-driven piece, but it's more in a classic new age vein, maybe along the lines of '80s-era Suzanne Ciani, owing to the overt warmth, twinkling tones, and major notes. "The day after" opens in spacy EM territory, with echoed celestial bells and chimes bouncing around lush washes and puts me in mind of Ray Lynch, since Grundman shares such a strong classical affiliation with Lynch as well as a strong sense of optimism in this piece.

I think the highest compliment I can pay We are the forthcoming past, take care of it (not the catchiest title, but obviously it carries a sincere message from the artist) is that even if it weren't to benefit a great cause, I would still not hesitate to recommend it to new age and classical music lovers who are not opposed to artists using electronic versions of real instruments. The melodies are warm and inviting (even when they are somber), the engineering and production is solid, and since the music is actually quite varied track-to-track, it doesn't wear out its welcome even after many playings. The CD is recommended for romanticists and those who enjoy a full-sounding melodic recording of piano, keyboards, and neo-symphonic instrumentation.