Happy Birthday, Andy Summers!

Today is the 69th birthday of my favorite guitarist and musician of all time – Andy Summers.

I first became acquainted with the music of Summers in 1983 at the age of 10 in a Catholic elementary school classroom when I heard a hypnotic and futuristic-sounding pop/rock song emanating from the radio of Candy, my substitute teacher. When I asked what the song was and who recorded it, I was promptly informed that it was “Spirits in the Material World” by The Police. I was instantly hooked, so much so that that Christmas, my parents got me a vinyl copy of Synchronicity, The Police’s fifth and final studio album and one of the biggest hits of the year. The Police have since remained my favorite rock band of all time.

Summers was the guitarist for the mega-popular group, who were active in the late 1970s and early 1980s and reunited for a 30th anniversary tour in 2007 and 2008. Being a good decade older than his bandmates Sting and Stewart Copeland, Summers began his professional recording career in the early 1960s, playing for Zoot Money’s Big Roll Band (which later became the psychedelic but short-lived Dantalian’s Chariot), Eric Burdon’s New Animals, and Soft Machine. After formally studying guitar at Northridge University in California from the late 1960s to the early 1970s, Summers returned to England and plied his trade as a session guitarist for Joan Armatrading, Neil Sedaka, Kevin Coyne, and Deep Purple’s Jon Lord before achieving monumental success and international stardom with The Police.

After the dissolution of The Police in the early 1980s, Summers scored some Hollywood films (Down and Out in Beverly Hills, Weekend at Bernie’s) and recorded one rock vocal album before establishing himself as an acclaimed and accomplished contemporary instrumental guitarist across a variety of styles, including jazz, fusion, New Age, and world music.

I was privileged to interview Summers by telephone in Fall 2000 for the January 2001 issue of DirecTV: The Guide. I was pleasantly surprised when I discovered that Summers posted a notice of the interview in the news section of his Web site. Later, I met Summers in person during his book tour in Fall 2006, just a few months before The Police reunited for a 30th anniversary reunion tour, which I was fortunate to attend twice in August of 2007 and 2008.

One of Summers' upcoming projects is Spirit Garden, a collection of guitar duets featuring Summers and classical guitarist Andrew York. In addition to acoustic and electric guitars, Summers and York also play other instruments. The duo’s collaboration began on the title track of York’s latest album, Centerpeace, which is available now. More information on Centerpeace and Spirit Garden can be found at www.andrewyork.net.

For a good overview of Summers’ solo work, I highly recommend the following albums: Mysterious Barricades, A Windham Hill Retrospective, Synaesthesia, and The X Tracks. My personal favorite Summers albums are Mysterious Barricades, The Golden Wire, Charming Snakes, World Gone Strange, Synaesthesia, Earth and Sky, and First You Build a Cloud.

--Raj Manoharan

TV – Starsky & Hutch Ride Again on RTV

UPDATE: Okay, so the main theme by Mark Snow (T.J. Hooker, The X-Files) for the third season currently running on RTV is not as catchy as Tom Scott’s funky second-season theme and doesn’t mesh well with the slightly revamped, still hilarious opening credits (with new freeze frames for Paul Michael Glaser and Bernie Hamilton, the latter of whom looks cool this time speaking into a squad car CB radio on location). But the show is just as entertaining to watch, with a solid cast and a nice balance of action, comedy, and drama. And hang in there, true believers, because Tom Scott’s “Gotcha” theme apparently returns for the fourth and final season. Even though it was only used in two nonconsecutive seasons, it is considered the official Starsky & Hutch theme (just do a search of ringtones if you don’t believe me).

ORIGINAL POST: The 1970s TV cop duo is cleaning the boob tube (or LCD or plasma set) of crime at 8:00 p.m. weeknights on RTV (Retro Television Network), and it’s quite the “trip” down memory lane.

The funky second-season theme by Tom Scott is both catchy and cheeky and complements the hilarious opening credits much better than Lalo Schifrin’s grim, downbeat, first-season theme.

And hilarious the opening credits are, because, although the show is called Starsky & Hutch, the guy who plays Starsky (Paul Michael Glaser) and drives the flashy red and white-striped Ford Gran Torino is the second actor listed. David Soul (Hutch) gets top billing, and over a freeze frame of him yelling and flailing his arms maniacally.

Antonio Fargas, who plays nightclub-owning street informant Huggy Bear, gets special standout billing (“and Antonio Fargas as Huggy Bear”). But then, all of a sudden, the credits list Bernie Hamilton (the irascible but lovable Captain Dobey). That’s it – just Bernie Hamilton. It’s like the credits are saying, “…and Antonio Fargas as Huggy Bear – oh, by the way, Bernie Hamilton.”

There’s more to the show than just the hilarious opening credits and wacky main theme, and certainly much more than the insipid, shallow, and unworthy big-screen Starsky & Hutch parody starring Ben Stiller and Owen Wilson. Stiller and Wilson may be funny (not really), but they’re no David Soul and Paul Michael Glaser. Soul and Glaser are solid actors with great screen chemistry, and Glaser is a better and more accomplished film and television director.

Even if you’re not into TV cop shows or don’t particularly care for Starsky & Hutch, at least just check out the opening credits and main theme of the current rotation of episodes on RTV. It’s one of the more entertaining highlights of classic 1970s television.

--Raj Manoharan

CD Review – 12.25, by Kyle Pederson

The title says it all. Those two numbers are the crux of Christmas and the crux of pianist Kyle Pederson’s new holiday offering, which is as simple in its focus as the CD’s name.

Pederson presents his take on eleven seasonal tunes, many of them famous and some not so. Yet all are warm and welcoming as performed by Pederson, who plays the songs without accompaniment, and to great effect.

The artist masterfully accompanies himself with a virtuosic technique in which he plays melodies and chords with such ambidextrous deftness that it sounds like two or three pianists are playing at the same time. Because of this, the songs never fail to enrapture and captivate.

Another great aspect of the album is that while the songs are all recognizable as yuletide classics, Pederson injects enough creativity and uniqueness into his arrangements that they sound like original compositions.

As a result of this fresh approach that breathes new life into these classics while still retaining their familiarity, Kyle Pederson’s musical gift can be enjoyed not only on 12.25, but all year long.

--Raj Manoharan

CD Review – The Keys of Christmas, by Louis Colaiannia

Composer and keyboardist Louis Colaiannia brings his unique take to the music of the holidays on this collection of traditional and original tunes.

The CD contains Colaiannia’s interpretation of Christmas classics “Hark the Herald Angels Sing,” “O Tannenbaum,” and “Angels We Have Heard on High.” The rest of the disc features mostly brand-new tracks, with a couple of originals from previous albums.

All the songs, both old and new, are laced with Colaiannia’s signature style. He truly has a sound all his own that doesn’t sound like any of his peers. It’s hard to pinpoint exactly what that sound is because it’s so different that it’s indescribable. The best I can venture is that both his playing and his composing style are stately and elegant while simultaneously very quirky. The result is an invigorating and exotic musical alchemy.

Colaiannia is supported by a solid lineup of musicians on guitar, drums, horns, and other instruments. They are a tight band, ably augmenting his musical vision.

The familiarity and freshness of the music makes this a worthwhile addition to the Christmas CD catalog.

--Raj Manoharan

CD Review – Christmas Joy, by Fiona Joy Hawkins

A trend in the Christmas albums I’ve reviewed so far seems to be subtlety, and Fiona Joy Hawkins continues that mood with her latest yuletide offering, a humble piano offering that in its quiet amplitude and tranquil peace truly captures the spirit of the season.

Perhaps artists are realizing that calmness best exemplifies what the holidays are all about, especially as an antithesis to the loud overbearing commercialism of this time, which sometimes also comes through in some overbearing, over-the-top Christmas music.

And yet Hawkins’ musical effort is no dispirited or disinterested downer. Rather, it is full of hope and celebration. After all, Joy literally is her middle name.

Hawkins’ gentle piano is augmented by equally softly tendered instrumentation by other musicians on didgeridoo, Paraguayan harp, soprano saxophone, and electric guitar. The result is an ensemble that provides solid support and adds to the palpable therapeutic effect of the music.

In addition to Hawkins’ own engaging compositions, the traditional tunes on the CD are given new life with interesting arrangements that make them seem almost original. Two in particular that come to mind are the beautiful “O Come O Come Emmanuel” and a very unique take on “Jingle Bells.” It is also interesting to hear Hawkins’ interpretation of “The Holly and the Ivy” in light of fellow pianist Bill Leslie’s recent version of the classic.

This album is definitely worth picking up if you want Christmas music that’s different yet familiar, providing for a refreshingly unique experience.

--Raj Manoharan

CD Review – A Delicate Joy, by David Nevue

This album marks pianist David Nevue’s first collection of mostly original compositions in over five years, and it has been well worth the wait.

The CD contains twelve Nevue-penned tracks and two adaptations/rearrangements of traditional tunes. But they all flow smoothly one after another and equally display Nevue’s talent for balancing virtuosity, elegance, taste, and restraint.

The result is an album that is an absolute delight to listen to. There is no single track or group of tracks that I found myself wanting to skip to and play over and over. They all fall easily on the ears. However, if I could only listen to one track, it would be Nevue’s masterful interpretation of “Jesu Joy Canon in D.” Also, “The Garden Swing,” “Just Because I Love You,” “Hand in Hand” and “Goodnight Sweet Angel” are particularly affecting.

A truly amazing aspect of not only this CD but also Nevue’s music in general is the fact that he does not write or notate any of his original compositions or covers of other people’s works. He plays everything by ear and memory.

This wouldn’t be so remarkable if this was jazz improvisation, where general thematic and chord structures usually serve as a launching pad for free-form solos. However, every one of Nevue’s originals or covers is intricate and detailed, especially a piece such as “Jesu Joy Canon in D,” making Nevue’s prowess on the piano even that more extraordinary.

Whether you are a piano aficionado or a casual listener, this is one album that can be enjoyed by fans of all musical persuasions.

--Raj Manoharan

TV – Starsky & Hutch Ride Again on RTV

The 1970s TV cop duo is cleaning the boob tube (or LCD or plasma set) of crime at 8:00 p.m. weeknights on RTV (Retro Television Network), and it’s quite the “trip” down memory lane.

The funky second-season theme by Tom Scott is both catchy and cheeky and complements the hilarious opening credits much better than Lalo Schifrin’s grim, downbeat, first-season theme.

And hilarious the opening credits are, because, although the show is called Starsky & Hutch, the guy who plays Starsky (Paul Michael Glaser) and drives the flashy red and white-striped Ford Gran Torino is the second actor listed. David Soul (Hutch) gets top billing, and over a freeze frame of him yelling and flailing his arms maniacally.

Antonio Fargas, who plays nightclub-owning street informant Huggy Bear, gets special standout billing (“and Antonio Fargas as Huggy Bear”). But then, all of a sudden, the credits list Bernie Hamilton (the irascible but lovable Captain Dobey). That’s it – just Bernie Hamilton. It’s like the credits are saying, “…and Antonio Fargas as Huggy Bear – oh, by the way, Bernie Hamilton.”

There’s more to the show than just the hilarious opening credits and wacky main theme, and certainly much more than the insipid, shallow, and unworthy big-screen Starsky & Hutch parody starring Ben Stiller and Owen Wilson. Stiller and Wilson may be funny (not really), but they’re no David Soul and Paul Michael Glaser. Soul and Glaser are solid actors with great screen chemistry, and Glaser is a better and more accomplished film and television director.

Even if you’re not into TV cop shows or don’t particularly care for Starsky & Hutch, at least just check out the opening credits and main theme of the current rotation of episodes on RTV. It’s one of the more entertaining highlights of classic 1970s television.

--Raj Manoharan

CD Review – A Midnight Clear: Christmas in Mitford, by Bill Leslie

Bill Leslie’s latest CD is a yuletide offering that serves as a soundtrack to Christmas in Mitford, a mythical mountain village that provides the basis for a series of best-selling novels by Jan Karon, who also designed the stunning winter wonderland scene for the album cover.

Although many of the song titles are based on characters and situations from Mitford, you don’t have to be familiar with Karon’s literary universe in order to appreciate the disc, which also contains traditional favorites and is full of the spirit of the holidays.

Leslie plays his trademark acoustic guitar and piano, as well as Celtic whistles and keyboards, and is joined by a solid lineup of musicians on violin, cello, oboe, guitar, piano, and percussion. The mostly acoustic instrumentation gives the music a warm, down-home, hearty feel, keeping with the vibe of the season.

My favorite tracks on the album are “Mitford Carol,” “Wexford Carol,” “The Holly and the Ivy,” and “Father Tim.” The simple beauty of these tunes best exemplifies the quiet awe and tranquil majesty of this particular time of the winter.

That being said, the entire album is a joy to listen to. Leslie and his band are virtuosic without being showy or flashy, and the compositions, arrangements, and performances will put you in the mood to celebrate Christmas in Mitford, or wherever you are.

--Raj Manoharan

CD Review – Safely in the Arms of Love, by Michael Stribling

Keyboard wizard Michael Stribling takes his usually sunny disposition in a bold new direction with this dark tour-de-force that soundtracks an epic journey from the highlands to the city to exile and, finally, safely into the arms of love.

Stribling’s imagined story takes place in the foreboding depths of the medieval ages, and as such, he has cooked up a musical alchemy that is every bit as brooding as those dark times. But as in those days, there are bright spots in the music as well, so all is not doom and gloom.

This is not to say that the doom and gloom is bad. In fact, this makes the music that much more dramatic and compelling. The bits of sunshine that do peek through provide glimmers of hope for a better future.

The set opens with the subdued pop anthem “Spirit of the Highlands,” which gains momentum in the middle section with some propulsive percussion and establishes an initial sense of hope and confidence. “The Royal City” is as regal as it sounds, with synthesized horns heralding great expectations.

Clouds begin to form with “Dark Times (The Inquisition),” a dynamic track that interestingly starts out sounding like a ubiquitous piece of incidental music from the 1960s/1970s Mission: Impossible television series and unlikely becomes the most rocking piece on the CD, like dark pop.

The highlight of the album is “Miserere Mei,” a total creep-out that sounds like a Gregorian chant gone horribly wrong, but in a good way. After a very gothic, Transylvania-style pipe organ intro, an eerie choir of male and female voices chants “Miserere Mei” to a crescendo, followed by a dark synthesized passage, and then more chanting. The choir sounds similar to the choir in John Williams’ “Duel of the Fates” suite from the Star Wars prequels, as well as the choir in the musical motif during the encounters with the monolith in 2001: A Space Odyssey. This one track encapsulates the spirit of the CD and is especially spooky at night.

Although not the final track, “Desolation and Absolution” is a peaceful resolution to the involved themes preceding it. The serene and tranquil tones instill a sense of quiet release and expectant hope for the future.

Once again, Michael Stribling has used his musical canvas to render a portrait of a visceral world of drama and emotion, and it is quite the experience to behold.

--Raj Manoharan

CD Review – Red Leaf, Grey Sky: Piano Improvisations, by Catherine Marie Charlton

Sometimes less truly is more, as exemplified by Catherine Marie Charlton’s latest album, a short but effective collection of six piano performances.

Quantity does not necessarily translate into quality, and while Charlton’s release may be short in the former, it is bountiful in the latter. The entire CD unfolds in less than thirty minutes, but it is so pleasantly engaging that you can enjoy it twice as many times as a full-length album that may not be as enjoyable.

The great thing about a short album such as this is that you don’t have to skip to your favorite tracks if you’re pressed for time. And every song on this album is so delightful that you can listen to the CD in its entirety several times over.

Of the six tracks, Charlton composed two and improvised the rest, but you wouldn’t know it from listening to the album. Every song has a solid and intricate structure to it. None of the tracks meander; they’re all tight and to the point, all the while displaying a sense of playfulness and quiet beauty.

The last song, “The Sun Is Shining, The Birds Are Singing,” is a slight departure from the rest of the collection as the composition is very quirky and truly does personify how one might feel when the sun is actually shining and the birds are actually singing, which could also serve as an apt description of the general disposition of the album.

--Raj Manoharan

TV – Starsky & Hutch Ride Again on RTV

RTV’s weeknight syndication package of the 1970s TV buddy cop show has cycled back to the inaugural 1975-1976 season, and although Lalo Schifrin’s grim, downbeat main theme is not as cheekily catchy as Tom Scott’s theme for seasons two and four, the show is still a hoot to watch. From the get-go, the ensemble cast blends perfectly, and the opening credits are a riot.

The opening credits are hilarious because, although the show is called Starsky & Hutch, the guy who plays Starsky (Paul Michael Glaser) and drives the flashy red and white-striped Ford Gran Torino is the second actor listed. David Soul (Hutch) gets top billing, and over a freeze frame of him yelling and flailing his arms maniacally.

Antonio Fargas, who plays nightclub-owning street informant Huggy Bear, gets special standout billing (“and Antonio Fargas as Huggy Bear”). But then, all of a sudden, the credits list Bernie Hamilton (the irascible but lovable Captain Dobey). That’s it – just Bernie Hamilton. It’s like the credits are saying, “…and Antonio Fargas as Huggy Bear – oh, by the way, Bernie Hamilton.”

There’s more to the show than just the hilarious opening credits, and certainly much more than the insipid, shallow, and unworthy big-screen Starsky & Hutch parody starring Ben Stiller and Owen Wilson. Stiller and Wilson may be funny (not really), but they’re no David Soul and Paul Michael Glaser. Soul and Glaser are solid actors with great screen chemistry, and Glaser is a better and more accomplished film and television director.

Even if you’re not into TV cop shows or don’t particularly care for Starsky & Hutch, at least just check out the opening credits of the current rotation of episodes on RTV. It’s one of the more entertaining highlights of classic 1970s television.

--Raj Manoharan

CD Review – Star Eyes, by John Fluker

John Fluker presents a collection of gentle piano compositions that soothe the spirit and calm the soul.

The album is flawless from start to finish, beginning with a quiet prelude and ending just as peacefully, with relaxing, tranquil reveries in between. All of the melodies are beautiful and have the effect of lullabies. There is not one jarring, dissonant, disagreeable, or uninteresting moment on the record. The result is music that is both engaging enough to enjoy as vibrant, dynamic art and subtle enough to leave on in the background while engaged in other activities.

The main instrument on the recording is Fluker’s piano, which is sometimes enhanced with synthesized orchestrations and soft electronic percussion. The compositions, arrangements, and performances have an elegance and classiness in the vein of Burt Bacharach and Henry Mancini, making this a very worthwhile listening experience.

Highlights include “Anytime,” “Babe in Arms,” “When Love Lost,” and “A Long Way Home.”

This CD is definitely good for a spin or two while commuting or traveling, especially under a night sky of twinkling stars.

--Raj Manoharan

CD Review – Reflections, by Candice Night

The Blackmore’s Night vocalist takes a break from medieval-inspired music and steps out on her own with a spritely collection of ten ballads and rockers that deserves to be on the top of the pop charts.

Candice Night is in the league of great female vocalists such as Karen Carpenter, Ann and Nancy Wilson, Alanis Morissette, and Susan Boyle, and she is easily the best female singer-songwriter of the last decade.

My favorite songs are the slower tempo ones that really bring out the subtle beauty of Night’s voice, including “Wind Is Calling (Hush the Wind),” “Black Roses,” “Now and Then,” “For You,” “Call It Love,” and “Robin Red Breast.”

“Wind Is Calling (Hush the Wind)” is an engaging, infectious pop-rock single. “Now and Then” has a great pop ballad middle section, with a very New Age, almost hymn-like opening and closing, especially with the quiet crescendo of voices at the end. “Robin Red Breast” is a stunningly beautiful song with a striking, resonant melody.

If you’re looking for a solid collection of pop-rock songs with a great female voice to back them up, this should be on the top of your list.

--Raj Manoharan

CD Review – Deep Still Blue, by 2002

A reissue of an earlier release by the Billboard-charting New Age duo 2002, this CD, like their new album Damayanti, is a wondrous collection of some of the most breathtaking, exquisitely beautiful music ever recorded.

Husband-and-wife Randy and Pamela Copus have hit on a winning formula, combining Randy’s guitars and Pamela’s flute and harp along with keyboards and synthesizers to create a hypnotic sound that mesmerizes and enthralls. It’s no wonder that they consistently chart on Billboard – they have clearly connected with their audience by continually delivering pleasing melodies and luxurious arrangements.

Having recently reviewed Damayanti and now Deep Still Blue, I have noticed that 2002 has developed a consistent style that comprises deliberate, measured pacing. I haven’t heard a 2002 song so far that’s faster than mid-tempo. Each track takes its time, unfolding at its own leisure, allowing the listener to bask in all of its rich sonic intricacies. This is a refreshing change of pace from most albums of any genre, where tunes careen from one style to another, sometimes to jarring effect. Instead, 2002 stays true to its particular style or theme and is all the more successful for it.

This consistency of methodology is a major reason why Randy Copus is quickly becoming my favorite, strictly-New Age guitarist. Rather than a flashy display of virtuosity, his lead- and rhythm-guitar playing is as deliberate and measured as the expansive songs themselves. Each note he picks delivers precise and maximum impact, and his chords are as comforting as floating clouds. This is masterful technique in itself. The full effect of Randy’s approach can be heard on such stunning tracks as “An Ocean Apart,” “Little Angel,” and “The Voyage Home.”

Pamela Copus is equally impressive in her subtle flute and harp playing. I’m not a flute and harp fan, but she makes it very accessible and enjoyable. Again, like Randy, her musical goal with her instruments is not to dazzle but to help paint a vivid, sonic portrait. Sometimes the flute trades lines with the guitar and other times it harmonizes with it, while the harp provides unobtrusive, decorative fills here and there. The result is a sound that is very cinematic.

Vocals also play a part in the proceedings, although not in the traditional sense. For the most part, the occasional vocals are wordless (“vocalese”) and are very angelic and choir-like. The title track has actual lyrics written by Randy and Pamela’s daughter Sarah and has an entrancing, hypnotic sound that I can only describe as New Age hippie folk, and I mean that in a good way.

Deep Still Blue is another gem in 2002’s stellar catalogue, and as “Flight of the Swan” is to Damayanti, “An Ocean Apart” is the jewel in the crown here – although the entire album is a delight from start to finish. Deep Still Blue and Damayanti are definitely two of my desert island picks.

--Raj Manoharan

CD Review – Spectrum, by Hennie Bekker

The latest CD from Africa-born, Canada-based keyboardist Hennie Bekker collects fourteen tracks spanning about a dozen albums.

Some of the tunes are piano-based, while others focus on synthesized electronic textures. Many are inspired by Bekker’s homeland and as such feature the natural ambience of those environs. But whatever the style or sound, all of the tracks are of one accord – as the CD’s subtitle states, they are all indeed pieces of relaxing instrumental music.

While the music is soothing and refreshing, it is also engaging and inventive. Highlights include the Miami Vice vibe of “Urban Trance,” the refreshing reverie of “Stormy Sunday,” and the hip, mellow fusion of “Tranquility.”

In terms of overall feel, Bekker is definitely in the league of Vangelis, Tangerine Dream, and Jan Hammer, and listeners who enjoy those artists will find much to like in Bekker.

--Raj Manoharan

TV – Terrific Trio of Crime-fighters Weeknights on Youtoo

Three classic crime-fighting duos are now on weeknights on the social network channel Youtoo.

First up, Agents Mulder and Scully (David Duchovny, Gillian Anderson) investigate things that go bump in the sky in the 1990s paranormal megahit The X-Files.

Then, Van Williams fights the forces of evil as the titular masked avenger in the 1960s noir classic The Green Hornet, costarring Bruce Lee as Kato, the Green Hornet’s karate-chopping manservant, chauffeur, and sidekick.

Finally, Adam West and Burt Ward star in the 1960s pop cultural phenomenon Batman as Gotham City’s Caped Crusaders, who battle a comic cavalcade of cartoonish criminals, including the slinky, feline Catwoman (Julie Newmar); that pompous, waddling master of fowl play, The Penguin (Burgess Meredith); the devilish clown prince of crime, The Joker (Cesar Romero, whose mustache was visible beneath his clown makeup); and the criminally kooky Riddler (Frank Gorshin, who had probably the most hilarious and maniacal laugh ever recorded).

As Batman villain Egghead (Vincent Price) would say, “Eggs-ellent!”

--Raj Manoharan

TV – Lopez Sunday Nights

Lopez Tonight may be gone forever, but George Lopez lives on with a marathon of the classic 2000s sitcom every Sunday night from 8:00 p.m. to 3:00 a.m. on ION Television.

I didn’t watch this show during its original run, and having discovered it in reruns the last few years, I wish I had. It’s a charming little show in which George balances his work and family life with hilarious results.

Series executive producer Sandra Bullock occasionally appears as George’s aviation company coworker Accident Amy. It’s also nice to see what zaniness Nick Offerman was up to before Parks and Recreation.

George Lopez is somewhat like a Latino-American version of Everybody Loves Raymond, so if you loved Ray, you’ll love George.

--Raj Manoharan

TV – Starsky & Hutch Ride Again on RTV

UPDATE #2: Hooray! Tom Scott’s funky second-season theme is back for the fourth and final season currently running on RTV. However, it’s slightly modified – the second-season version is still the best. And I do kind of miss Mark Snow’s not-great-but-fun-in-its-own-way theme from the third season. Meanwhile, David Soul finally has an opening-credits freeze-frame shot that doesn’t make him look insane. Except this time, he’s clean-shaven in the scene from the previous season, although he sports a mustache in the fourth season. What are you going to do? It’s too bad this show didn’t make it into the 1980s – it would’ve been spectacular. And it’s also a pity we never got a TV reunion movie. Let’s hope they make one before Soul, Paul Michael Glaser, and Antonio Fargas really get too old – or join the late, great Bernie Hamilton in that big precinct in the sky.

UPDATE: Okay, so the main theme by Mark Snow (T.J. Hooker, The X-Files) for the third season currently running on RTV is not as catchy as Tom Scott’s funky second-season theme and doesn’t mesh well with the slightly revamped, still hilarious opening credits (with new freeze frames for Paul Michael Glaser and Bernie Hamilton, the latter of whom looks cool this time speaking into a squad car CB radio on location). But the show is just as entertaining to watch, with a solid cast and a nice balance of action, comedy, and drama. And hang in there, true believers, because Tom Scott’s “Gotcha” theme apparently returns for the fourth and final season. Even though it was only used in two nonconsecutive seasons, it is considered the official Starsky & Hutch theme (just do a search of ringtones if you don’t believe me).

ORIGINAL POST: The 1970s TV cop duo is cleaning the boob tube (or LCD or plasma set) of crime at 8:00 p.m. weeknights on RTV (Retro Television Network), and it’s quite the “trip” down memory lane.

The funky second-season theme by Tom Scott is both catchy and cheeky and complements the hilarious opening credits much better than Lalo Schifrin’s grim, downbeat, first-season theme.

And hilarious the opening credits are, because, although the show is called Starsky & Hutch, the guy who plays Starsky (Paul Michael Glaser) and drives the flashy red and white-striped Ford Gran Torino is the second actor listed. David Soul (Hutch) gets top billing, and over a freeze frame of him yelling and flailing his arms maniacally.

Antonio Fargas, who plays nightclub-owning street informant Huggy Bear, gets special standout billing (“and Antonio Fargas as Huggy Bear”). But then, all of a sudden, the credits list Bernie Hamilton (the irascible but lovable Captain Dobey). That’s it – just Bernie Hamilton. It’s like the credits are saying, “…and Antonio Fargas as Huggy Bear – oh, by the way, Bernie Hamilton.”

There’s more to the show than just the hilarious opening credits and wacky main theme, and certainly much more than the insipid, shallow, and unworthy big-screen Starsky & Hutch parody starring Ben Stiller and Owen Wilson. Stiller and Wilson may be funny (not really), but they’re no David Soul and Paul Michael Glaser. Soul and Glaser are solid actors with great screen chemistry, and Glaser is a better and more accomplished film and television director.

Even if you’re not into TV cop shows or don’t particularly care for Starsky & Hutch, at least just check out the opening credits and main theme of the current rotation of episodes on RTV. It’s one of the more entertaining highlights of classic 1970s television.

--Raj Manoharan

TV – Classic Rerun Roundup

UPDATE: Okay, so both TV Land and Antenna TV just botched perfectly good lineups. Go figure. At least Good Times and All in the Family are still running weeknights on Antenna TV, Married with Children and Everybody Loves Raymond weeknights on TV Land, Everybody Loves Raymond weekend evenings on TV Land, and Too Close for Comfort/The Ted Knight Show and Married with Children Sunday evenings on Antenna TV.

ORIGINAL POST: If you’re tired of the same old programming that passes for fresh, contemporary television and would rather spend some time with old friends like Aunt Esther, Buffalo Butt, Monroe Ficus, Cosmic Cow, and NO MA’AM, you’re in luck. TV Land’s and Antenna TV’s evening lineups are devoted to some of the funniest classic sitcoms from the 1970s through the 2000s.

TV Land runs Sanford and Son, All in the Family, and Everybody Loves Raymond, along with occasional episodes of original sitcoms Hot in Cleveland and Happily Divorced.

Antenna TV’s schedule includes Sanford and Son, Good Times, Maude, All in the Family, and Married with Children, with the addition of Too Close for Comfort/The Ted Knight Show on weekends.

Whoa, Bundy! And Die-No-Mite!

--Raj Manoharan

CD Review – Eclectic Eve, by Christopher Lapina

For his new album, keyboardist Christopher Lapina has imagined a woman’s life journey for which he has provided the soundtrack. And like a true motion picture score, the music ranges through a variety of cinematic moods, from high drama to subtle emotion to inner reflection. One track is even composed solely of percussion, as an actual soundtrack might include.

Even without the story, the music stands on its own. Although Lapina serves as the primary composer and plays piano and synthesizer, he lays the foundation for rather than dominates the proceedings. As a result, the other musicians get a chance to shine, giving the impression of a full instrumental band instead of a solo act with accompaniment.

Reflecting the character progression in Lapina’s story, the music also embodies various styles and genres, including jazz, new age, and fusion. Standout tracks include “Highland Return,” “My Darling Esmerelda,” and my personal favorite, “Lucy Turns Eclectic,” which is sort of an all-out jazz doo-wop, for lack of a better term. I’d love to hear a whole album just in the style of “Lucy Turns Eclectic.”

Whether you want to hear an interesting soundtrack to an interesting story or just want to listen to some fine contemporary jazz-new age instrumental fusion, this CD fits the bill perfectly.

--Raj Manoharan

CD Review – Surrender, by Jeff Oster

I’m not a trumpet guy, but I like good music regardless of the instrument, and this album had my ears entranced from the first track to the last.

Like me, most people might be put off by a trumpet album because the instrument is usually associated with the very exclusive, traditional jazz playing of Dizzy Gillespie and Wynton Marsalis.

However, Jeff Oster is more in tune with the cool fusion of trumpet icons Miles Davis and Herb Alpert, the latter of whom is paid tribute to on the standout track, “Essence of Herb.”

Oster lays his trumpet, flugelhorn, and synthesizer tones over hip-hop and techno backbeats programmed by co-composer and sound designer Bryan Carrigan. The result is an intoxicating blend of jazz, new age, and urban styles.

The album also features subliminal vocals by Oster that give the music a shadowy edge, with some brightness provided in the form of more prominent vocals from Diane Arkenstone.

What makes Oster’s playing, and ultimately his music, accessible is that rather than blow off as many notes as possible per second, as is the case with standard jazz trumpet playing, he coaxes and conjures, much like a snake charmer. Oster uses his horns in service of the melodies and themes rather than showboating, giving the music more depth and scale.

With trippy numbers like “All That Matters,” “Você Quer Dançar,” “Nikki’s Dream,” “Essence of Herb,” and “Beautiful Silence,” Surrender is as near-perfect as an album can get.

My only major complaint – at just over three minutes, “Essence of Herb” is too short!

--Raj Manoharan

TV – Classic Rerun Roundup

If you’re tired of the same old programming that passes for fresh, contemporary television and would rather spend some time with old friends like Aunt Esther, Buffalo Butt, Monroe Ficus, Cosmic Cow, and NO MA’AM, you’re in luck. TV Land’s and Antenna TV’s evening lineups are devoted to some of the funniest classic sitcoms from the 1970s through the 2000s.

TV Land runs Sanford and Son, All in the Family, and Everybody Loves Raymond, along with occasional episodes of original sitcoms Hot in Cleveland and Happily Divorced.

Antenna TV’s schedule includes Sanford and Son, Good Times, Maude, All in the Family, and Married with Children, with the addition of Too Close for Comfort/The Ted Knight Show on weekends.

Whoa, Bundy! And Die-No-Mite!

--Raj Manoharan

TV – Starsky & Hutch Ride Again on RTV

UPDATE: Okay, so the main theme by Mark Snow (T.J. Hooker, The X-Files) for the third season currently running on RTV is not as catchy as Tom Scott’s funky second-season theme and doesn’t mesh well with the slightly revamped, still hilarious opening credits (with new freeze frames for Paul Michael Glaser and Bernie Hamilton, the latter of whom looks cool this time speaking into a squad car CB radio on location). But the show is just as entertaining to watch, with a solid cast and a nice balance of action, comedy, and drama. And hang in there, true believers, because Tom Scott’s “Gotcha” theme apparently returns for the fourth and final season. Even though it was only used in two nonconsecutive seasons, it is considered the official Starsky & Hutch theme (just do a search of ringtones if you don’t believe me).

ORIGINAL POST: The 1970s TV cop duo is cleaning the boob tube (or LCD or plasma set) of crime at 8:00 p.m. weeknights on RTV (Retro Television Network), and it’s quite the “trip” down memory lane.

The funky second-season theme by Tom Scott is both catchy and cheeky and complements the hilarious opening credits much better than Lalo Schifrin’s grim, downbeat, first-season theme.

And hilarious the opening credits are, because, although the show is called Starsky & Hutch, the guy who plays Starsky (Paul Michael Glaser) and drives the flashy red and white-striped Ford Gran Torino is the second actor listed. David Soul (Hutch) gets top billing, and over a freeze frame of him yelling and flailing his arms maniacally.

Antonio Fargas, who plays nightclub-owning street informant Huggy Bear, gets special standout billing (“and Antonio Fargas as Huggy Bear”). But then, all of a sudden, the credits list Bernie Hamilton (the irascible but lovable Captain Dobey). That’s it – just Bernie Hamilton. It’s like the credits are saying, “…and Antonio Fargas as Huggy Bear – oh, by the way, Bernie Hamilton.”

There’s more to the show than just the hilarious opening credits and wacky main theme, and certainly much more than the insipid, shallow, and unworthy big-screen Starsky & Hutch parody starring Ben Stiller and Owen Wilson. Stiller and Wilson may be funny (not really), but they’re no David Soul and Paul Michael Glaser. Soul and Glaser are solid actors with great screen chemistry, and Glaser is a better and more accomplished film and television director.

Even if you’re not into TV cop shows or don’t particularly care for Starsky & Hutch, at least just check out the opening credits and main theme of the current rotation of episodes on RTV. It’s one of the more entertaining highlights of classic 1970s television.

--Raj Manoharan

CD Review – Journey Around the Sun: A Mayan Odyssey, by Bill Wren and Frank Ralls

Just in time for the end of the world comes the second collaboration from composers Bill Wren and Frank Ralls, inspired by the ancient Mayan prophecy regarding 2012.

Judging by the sunny disposition of the music on this sophomore disc, it’s clear that the duo subscribes to the positive view of the legendary prognostication, that of hope-filled change for the better, a promising transition, rather than doom and destruction.

As with their debut CD, Wren and Ralls have created an upbeat collection of bright, poppy melodies layered with rich instrumentation and brought to life by virtuosic performances. The musicianship is of very high caliber. Each instrumentalist is at the peak of his or her powers, beautifully complementing each other without overshadowing each other and yet maintaining his or her unique talents. All of this comes together seamlessly under the creative and technical guidance of Wren and Ralls.

One of the highlights of the album is the evocative and poignant “Mayan Moonlight,” with its soulful violin melody draped by single-strummed, widely spaced velvet guitar chords.

Mayan prophecy or not, this album is worth your time if you enjoy slick jazz-rock fusion.

--Raj Manoharan

CD Review – Crystal Keys: Songs to Awaken & Heal, by Lia Scallon

The latest album by Lia Scallon is supposed to channel the crystal keys to the bodies, hearts, and minds of listeners. I don’t know anything about crystals or their healing powers, but I do know that the music on this CD is captivating and soothing and provides a therapeutic experience in itself.

Each of the tracks is named for a particular type of crystal. I don’t know the significance of a specific melody or sound or vocal accompaniment by Scallon to a given crystal. That’s a matter best left to crystal experts and enthusiasts, who no doubt will understand and appreciate what Scallon has offered up here.

However, the important thing underlying all of this is the music, and in this respect Scallon’s undertaking is accessible to all, crystal aficionado or not. The background music is created with keyboards, synthesizers, didgeridoo, and other modern and traditional instruments and stands on its own. Scallon’s hypnotic, otherworldly vocals add an extra, ethereal dimension to the music that both transforms and transports the listener. Also, rather than actual lyrics, Scallon’s vocals are more like sounds and utterances, intonated in a soft-spoken timbre that comforts and reassures, setting the mind at ease.

So even if crystals are not your thing or you know nothing about them, but you’re looking for a relaxing mental getaway and like tranquil instrumental music and exotic vocals, you can’t go wrong by this album.

--Raj Manoharan

CD Review – Damayanti, by 2002

Husband and wife Randy and Pamela Copus literally make beautiful music together as the Billboard-charting New Age duo 2002, whose latest album is an enchanting masterpiece of musical fantasy and mythology.

Although the music is inspired by and serves as a soundtrack to the Hindu story of the love between Princess Damayanti and King Nala, it stands on its own as a brilliant work unto itself. The sweeping, cinematic themes are worthy of an epic motion picture.

Randy’s guitars, basses, and piano, Pamela’s harp and flutes, and the duo’s keyboards and multilayered, multi-tracked voices come together to create some of the most lyrical music in the New Age genre – or any genre, for that matter.

The sparks really fly on the second track, “Flight of the Swan,” with Randy’s luminous lead guitar and Pamela’s angelic flute weaving a pristine, ethereal melody, resulting in one of the most breathtaking tunes ever recorded. The song is as graceful as the subject of its title, and as cool as an ocean breeze.

Other standout tracks include “Cycle of Time,” with Randy’s liquid guitar and Pamela’s flute again creating sonic magic; “Divine Encounter,” a heavenly ballad with smooth, buttery rhythm guitar and dynamic percussion; and “Time Stands Still,” a soaring, triumphant conclusion that conjures both the solemn and euphoric strains of classic film composers such as John Williams, Jerry Goldsmith, and James Horner. Movie scores of the last twenty years have been severely lacking in originality and have been neither memorable nor iconic. 2002 could easily fill that void and make movie music vibrant again and restore the cinematic experience to its former glory.

My favorite tracks notwithstanding, the entire album is captivating from start to finish. The particular story that inspired the music is enthralling and brought to life as only Randy and Pamela can bring it, but the music stands apart on its own and has the ability to create unique stories for each listener and serve as the soundtracks to those stories. The song titles are elements of Damayanti and Nala’s story, but they also aptly describe the feel of the songs themselves.

I could go on, but no words are really sufficient or necessary to relay the wondrous essence of this music. It really needs to be heard and treasured. I would be surprised if there were any soul that could not be moved by this album. It truly is one in a million.

--Raj Manoharan

CD Review – Carried Away, by Janice Faber

Although this is Janice Faber’s third album of piano performances, this is the first album featuring her original compositions, and it is a solid collection.

The CD features sixteen tracks, some of which sound like hymns and others of which sound like classical pieces. That’s no surprise considering that these forms are among Faber’s primary influences. Regardless of whether or not you like hymns or classical music, you will still like Faber’s original compositions because, no matter their source or inspiration, they stand on their own as beautiful pieces of music.

This is also one of those rare albums that are so perfect from beginning to end that when you pop the disc in, the music drifts dreamily into your consciousness and takes you away into a place of serenity and tranquility. The other great quality of the CD is that it is cohesive in terms of its overall feel of peace and quiet, which is the result of both Faber’s gentle compositions and subtle, nuanced playing.

The soothing nature of the music makes it perfect for use as background music, for unwinding, or for getting rid of tension and stress.

--Raj Manoharan

CD Review – Where I Belong, by Sajjad

If the first album by Bangladeshi-Canadian keyboardist Sajjad is any indication, the composer-musician has a promising career ahead of him.

Sajjad’s freshman offering is an auspicious debut, featuring strong melodies, impeccable musicianship, and dynamic energy, based on Sajjad’s keyboard- and synthesizer-based compositions. The music is built on a solid Western foundation with modern electric instruments and flavored with ethnic and traditional instruments and voices from around the world, giving the album a global sound. This is on par with world-class artists like John Tesh and Yanni, and I would say even exceeds them in terms of vigor, originality, and accessibility.

While Sajjad demonstrates excellence as a consummate bandleader on the majority of the tracks, he really shines on the first two tunes, which feature his keyboard dexterity and synthesizer sounds and textures at their best. The opening title track is a confident beginning statement, and the second track is true world fusion, complete with global rhythms and vocals. In fact, the latter is very similar in feel to the recent AOMUSIC release …and Love Rages On!

The CD is appropriately titled, because this is clearly where Sajjad belongs as an artist.

--Raj Manoharan

TV – Classic Rerun Roundup

If you’re tired of the same old programming that passes for fresh, contemporary television and would rather spend some time with old friends like Aunt Esther, Buffalo Butt, Monroe Ficus, Cosmic Cow, and NO MA’AM, you’re in luck. TV Land’s and Antenna TV’s evening lineups are devoted to some of the funniest classic sitcoms from the 1970s through the 2000s.

TV Land runs Sanford and Son, All in the Family, and Everybody Loves Raymond, along with occasional episodes of original sitcoms Hot in Cleveland and Happily Divorced.

Antenna TV’s schedule includes Sanford and Son, Good Times, Maude, All in the Family, and Married with Children, with the addition of Too Close for Comfort/The Ted Knight Show on weekends.

Whoa, Bundy! And Die-No-Mite!

--Raj Manoharan

TV – Starsky & Hutch Ride Again on RTV

The 1970s TV cop duo is cleaning the boob tube (or LCD or plasma set) of crime at 8:00 p.m. weeknights on RTV (Retro Television Network), and it’s quite the “trip” down memory lane.

The funky second-season theme by Tom Scott is both catchy and cheeky and complements the hilarious opening credits much better than Lalo Schifrin’s grim, downbeat, first-season theme.

And hilarious the opening credits are, because, although the show is called Starsky & Hutch, the guy who plays Starsky (Paul Michael Glaser) and drives the flashy red and white-striped Ford Gran Torino is the second actor listed. David Soul (Hutch) gets top billing, and over a freeze frame of him yelling and flailing his arms maniacally.

Antonio Fargas, who plays nightclub-owning street informant Huggy Bear, gets special standout billing (“and Antonio Fargas as Huggy Bear”). But then, all of a sudden, the credits list Bernie Hamilton (the irascible but lovable Captain Dobey). That’s it – just Bernie Hamilton. It’s like the credits are saying, “…and Antonio Fargas as Huggy Bear – oh, by the way, Bernie Hamilton.”

There’s more to the show than just the hilarious opening credits and wacky main theme, and certainly much more than the insipid, shallow, and unworthy big-screen Starsky & Hutch parody starring Ben Stiller and Owen Wilson. Stiller and Wilson may be funny (not really), but they’re no David Soul and Paul Michael Glaser. Soul and Glaser are solid actors with great screen chemistry, and Glaser is a better and more accomplished film and television director.

Even if you’re not into TV cop shows or don’t particularly care for Starsky & Hutch, at least just check out the opening credits and main theme of the current rotation of episodes on RTV. It’s one of the more entertaining highlights of classic 1970s television.

--Raj Manoharan

CD Review – Resonance, by Takashi Suzuki

The first album by architect, painter, and sculptor Takashi Suzuki is a fine work of art in itself, exhibiting all the traits of Suzuki’s other professions/trades.

Suzuki lays down a foundation of soothing synthesizer textures on the ten namesake tracks (“Resonance in Blue 1-10”), a canvas upon which he adds a dash of piano here and an accent of jarring sound effect there. The ten tracks, while exhibiting their own subtle nuances, are of one accord. They are similar in tempo and feel and have the effect of a sonic painting that slowly stimulates your senses and gradually works its way into your psyche.

This CD is New Age in the classic sense, with peaceful, tranquil tones that set the mind at ease and at the same time transform the listening experience into something more profound.

The music will definitely appeal to those who enjoy soft synthesized sounds but should prove just as useful to those seeking sonic escape and refuge. It is applicable in a variety of settings but is perhaps most effective during a nighttime sojourn under the stars.

--Raj Manoharan

CD Review – …and Love Rages On! by AOMUSIC

You can’t help but feel the love on this joyous and exuberant celebration of the diversity of life throughout this planet. This is one of the most uplifting and inspiring albums I have had the pleasure of listening to in a long time.

AOMUSIC primarily consists of Richard Gannaway (stringed instruments, vocals), Jay Oliver (keyboards, synthesizers, samples), and Miriam Stockley (vocals), all of whom are also the principal composers and songwriters. They are backed by an impressive lineup of top session musicians and vocalists hailing from and recording in various parts of the world.

While most of the songs contain vocals, they are wordless vocals, or vocalese. In many cases, they are phonetically based on existing languages, helping create the sense of all the different languages of the world blending into one unified voice. In some cases, actual English can be discerned, such as on the second track’s deep baritone intonation of “I am another you…You are another me.” The throaty, raspy vocalization is so shadowy and sinister that it’s almost subliminal, which is probably the intent so as to foster focused reception of the message. The song then ends with a beautiful chorus of “I am you and you are me” ad infinitum.

A key ingredient in the success of this album is the utilization of various children’s choirs from around the world, including the CRC Children’s Choir from Beijing in the People’s Republic of China, the Martve Children’s Choir from Tbilisi in the People’s Republic of Georgia, and the Bishop Bavin St. George’s Children’s Choir from Johannesburg, South Africa. This bolsters the concept of different cultures and peoples coming together for a common goal – in this case a much-needed musical message.

This is a very enjoyable and stimulating album. If you like the global rock stylings of artists such as Peter Gabriel and Sting, as well as various ethnic vocals, you’ll dig this.

--Raj Manoharan

CD Review – In the Flow, by Michael Brant DeMaria

Psychologist and multi-instrumentalist recording artist Michael Brant DeMaria’s latest album is a form of regression therapy, actually compiling material from his first three albums to weave a soothing, sonic tapestry that has as one of its main themes the healing, regenerative properties of water.

As the album title, artwork, and many of the track names suggest, the music creates the warm, visceral sensation of floating in water. DeMaria accomplishes this through the use of his keyboards, synthesizers, and flutes to generate soft sounds and gentle vibrations that envelop the subconscious in comfort and serenity.

DeMaria’s keyboards and synthesizers set the tone for the entire recording, functioning as a sort of musical anesthetic that lulls the senses into a state of tranquility, enabling reception of the therapeutic healing. DeMaria’s flute is the musical scalpel with which he precisely penetrates the core of the listener’s being and fine-tunes it into equilibrium with peace and harmony.

The album functions well as both background music and music for meditation, healing, and therapy and also stands on its own as a pure, blissful listening experience.

--Raj Manoharan

CD Review – Something Getting Wrong, by Michael de Salem

Michael de Salem’s first CD is a brooding masterpiece that has a dark, ominous sense of foreboding, with musical rays of hope peering through.

The multi-instrumentalist fuses piano, keyboards, bass, guitar, and drum programming, along with beautiful, searing cello from Ann Nina, to sculpt edgy, shadowy music that reflects de Salem’s perceptions of the disharmony that exists between Earth and its inhabitants.

The set opens with “Metropolitan,” a solemn soundtrack to life in the city, with police sirens wailing quietly in the background. Reflective pieces like “Sentimental Steps” and “Remind” are sentimental without being sappy.

The three most solid tracks on the album, “Emergency Talking,” “Tribal Interlude,” and “Something Getting Wrong,” are representative of de Salem’s overall sound, which is industrial and progressive yet lush and melodic, with a beat that is infectious but not bouncy.

“Emergency Talking” starts with a pensive theme that increases in intensity, and “Something Getting Wrong” fleshes de Salem’s jazz-rock fusion sound to its fullest. “Tribal Interlude” is the most gripping of the three and as a result the album’s most formidable and probing track, propelled primarily by pulsating, rhythmic percussion in lockstep with equally pulsating, rhythmic bass notes, resulting in an entrancing, ritualistic, cinematic sound.

De Salem has created a compelling musical vista, both grand and subtle, that is riveting from beginning to end.

--Raj Manoharan

CD Review – Angels of the Sun, by Fred Thrane

The debut album by former classical guitar professor Fred Thrane (pronounced Trana) belies any perceived notion of stuffiness that might be associated with academe and is instead a sonically rich, cosmic affair.

Backed by Dennis Murphy’s subtle but dynamic bass lines and Jim Norris’s exotic percussion, Thrane unleashes a spectrum of ethereal sounds from his nylon- and steel-string guitars, the signal output of which is processed heavily with lots of chorus, reverb, echo, and delay. The result is a sound that is very much in keeping with the interstellar artwork on the simple but elegant CD digipak. In fact, Thrane’s tones are so luminescent and otherworldly that the music could truly be called space jazz.

Thrane does showcase his more Earthbound classical and flamenco flourishes on the traditional-style tracks “Fandango in Four” and “Farruca,” which also have a bit of a Middle Eastern flavor to them. However, it’s the overall spacey sound of the rest of the album, especially the New Age reverie of “Dawndancer” and the jazz fusion exploration of “Moraga Raga,” that really sets Thrane’s compositions and performances apart from the pack.

Thrane’s masterful command of his instrument and his bold audacity in defying the conventional expectations of traditional nylon-string guitar make this a musical odyssey worth embarking upon.

--Raj Manoharan

DVD – United Kingdom of Ipanema, by Roberto Menescal, Andy Summers, and Cris Delanno

In the fall of 2008, shortly after the conclusion of the Police reunion world tour, guitarist Andy Summers was invited by Brazilian bossa nova guitar legend Roberto Menescal to join Menescal and Brazilian vocalist Cris Delanno for a concert performance of bossa nova classics and reinterpretations of Police hits.

The result is this beautifully produced DVD, which features the excellently shot concert as well as interstitial segments and a documentary in which Summers and Menescal reveal their shared passion for Brazilian music and the guitar amid the sights and sounds of Rio de Janeiro.



The program is of such high quality that it would be a perfect fit for PBS, but it seems to be available in Brazil only. Dusty Groove America occasionally stocks the all-region DVD.

Summers was the guitarist for the mega-popular rock band The Police, who were active in the late 1970s and early 1980s and reunited for a 30th anniversary tour in 2007 and 2008. Being a good decade older than his bandmates Sting and Stewart Copeland, Summers began his professional recording career in the early 1960s, playing for Zoot Money’s Big Roll Band (which later became the psychedelic but short-lived Dantalian’s Chariot), Eric Burdon’s New Animals, and Soft Machine. After formally studying guitar at Northridge University in California from the late 1960s to the early 1970s, Summers returned to England and plied his trade as a session guitarist for Joan Armatrading, Neil Sedaka, Kevin Coyne, and Deep Purple’s Jon Lord before achieving monumental success and international stardom with The Police.

After the dissolution of The Police in the early 1980s, Summers scored some Hollywood films (Down and Out in Beverly Hills, Weekend at Bernie’s) and recorded one rock vocal album before establishing himself as an acclaimed and accomplished contemporary instrumental guitarist across a variety of styles, including jazz, fusion, New Age, and world music.

One of Summers' upcoming projects is Spirit Garden, a collection of guitar duets featuring Summers and classical guitarist Andrew York. In addition to acoustic and electric guitars, Summers and York also play other instruments. The duo’s collaboration began on the title track of York’s latest album, Centerpeace, which is available now. More information on Centerpeace and Spirit Garden can be found at www.andrewyork.net.

For a good overview of Summers’ solo work, I highly recommend the following albums: Mysterious Barricades, A Windham Hill Retrospective, Synaesthesia, and The X Tracks. My personal favorite Summers albums are Mysterious Barricades, The Golden Wire, Charming Snakes, World Gone Strange, Synaesthesia, Earth and Sky, and First You Build a Cloud.

--Raj Manoharan

DVD – Andy Summers: Guitar

The 1998 two-volume Hot Licks guitar instruction VHS video starring the Police guitarist is finally on DVD, and it’s worth getting if you’re an Andy Summers fan and/or an aspiring or amateur guitar player.

The two-hour-and-thirty-four-minute program features Summers demonstrating his guitar technique from his years with The Police, as well as from his solo career, interspersed with live studio performances with his band at the time. The result is a good overview of rock and jazz guitar, delivered with Summers’ whacked-out sense of humor, plus a great audio-visual document of Summers displaying his masterful chops as an instructor and a composer-performer.

Summers was the guitarist for the mega-popular rock band The Police, who were active in the late 1970s and early 1980s and reunited for a 30th anniversary tour in 2007 and 2008. Being a good decade older than his bandmates Sting and Stewart Copeland, Summers began his professional recording career in the early 1960s, playing for Zoot Money’s Big Roll Band (which later became the psychedelic but short-lived Dantalian’s Chariot), Eric Burdon’s New Animals, and Soft Machine. After formally studying guitar at Northridge University in California from the late 1960s to the early 1970s, Summers returned to England and plied his trade as a session guitarist for Joan Armatrading, Neil Sedaka, Kevin Coyne, and Deep Purple’s Jon Lord before achieving monumental success and international stardom with The Police.

After the dissolution of The Police in the early 1980s, Summers scored some Hollywood films (Down and Out in Beverly Hills, Weekend at Bernie’s) and recorded one rock vocal album before establishing himself as an acclaimed and accomplished contemporary instrumental guitarist across a variety of styles, including jazz, fusion, New Age, and world music.

One of Summers' upcoming projects is Spirit Garden, a collection of guitar duets featuring Summers and classical guitarist Andrew York. In addition to acoustic and electric guitars, Summers and York also play other instruments. The duo’s collaboration began on the title track of York’s latest album, Centerpeace, which is available now. More information on Centerpeace and Spirit Garden can be found at www.andrewyork.net.

For a good overview of Summers’ solo work, I highly recommend the following albums: Mysterious Barricades, A Windham Hill Retrospective, Synaesthesia, and The X Tracks. My personal favorite Summers albums are Mysterious Barricades, The Golden Wire, Charming Snakes, World Gone Strange, Synaesthesia, Earth and Sky, and First You Build a Cloud.

--Raj Manoharan

CD Review – Autumn Sky, by Blackmore’s Night

Blackmore’s Night, a unique musical group led by legendary Deep Purple/Rainbow guitarist Ritchie Blackmore and his wife, singer/songwriter Candice Night, fuses together elements of classical, medieval, folk, and rock music to create a sound unlike any other.

Night’s powerful and pretty vocals bring to mind ABBA and Heart, as well as a little bit of Christine McVie and Melissa Etheridge. Night’s supple voice gets a good workout, roaring through straight-ahead rockers like “Highland” and “Journeyman” and sweetly articulating lyrical ballads such as “Believe in Me,” “Strawberry Girl,” “Health to the Company,” and “Barbara Allen.” Night also plays medieval instruments such as the pennywhistle.

Blackmore’s fiery electric and acoustic guitar playing is as virtuosic as ever, which is no surprise. This guy’s been in the music business for five decades and shows no signs of slowing down. His frenetic fretwork shines on the aforementioned “Highland” and “Journeyman,” the latter of which features an especially killer guitar solo that you just wish would never end. I could listen to an entire album of Blackmore just shredding the way he does on “Journeyman.” The guitarist also shows his softer side on the beautiful, classical-guitar instrumental ballad “Night at Eggersberg.”

Perusing the Web sites of both Night and Blackmore’s Night, it’s clear that the duo have a sincere and deep love for this style of music, even dressing in medieval attire at their shows, often played at medieval-type settings. Blackmore is a rocking Robin Hood, and Night is his singing Maid Marian.

Medieval-style music is generally not my cup of tea, but the combination of Night’s beautiful and formidable vocals and Blackmore’s power chords and licks hooked me from the beginning and never let go. People who like classical and medieval music will enjoy this, and fans of Ritchie Blackmore and rock guitar will not be disappointed.

--Raj Manoharan

CD Review – Spiritual Piano, by Steven C

The latest album from pianist Steven C features music with a message, and the message is resoundingly good.

The message is not an obviously audible one, as the music is entirely instrumental. Rather, the message is the deep well of spirituality, compassion, and good will within the artist that inspired him to compose these gorgeous and moving songs, among his most passionate. In fact, of the three Steven C recordings I have reviewed thus far, this is easily the most heartfelt and invigorating.

Steven C has provided explanations of the meaning behind each piece of music, but you don’t have to know what they are to enjoy and understand the music. Chances are that the compositions will make you feel the very things that influenced their creation in the first place.

The CD strikes a nice balance between intimate solo piano tunes and full-fledged band tracks with mandolin, violin, guitars, bass, and percussion. The most affecting compositions for me are “Knowing,” “Temporary Space Suits,” “Space and Time – 2012,” and “The Spirit World – Return to Sender,” but the entire album is enjoyable from beginning to end.

This is another fine album by Steven C, and one that you will enjoy whether or not you like piano-based music.

--Raj Manoharan

CD Review – Underground, by Lisa Hilton

On her latest album, pianist Lisa Hilton and her combo offer up an eclectic serving of jazz that never fails to satisfy.

Hilton is backed by a tight unit that includes saxophonist J.D. Allen, bassist Larry Grenadier (who occasionally records and performs with jazz guitar great Pat Metheny and will be touring with him later this year), and drummer Nasheet Waits.

Although Hilton’s name headlines the marquee, the CD never sounds like a purely solo record. It truly is a group effort, with both Hilton’s piano and Allen's saxophone sharing equal sonic space and Grenadier’s bass and Waits' drums rounding out the sound. At the same time, each musician puts his or her own unique stamp on the entire mosaic, resulting in a musical tapestry that can be appreciated both as a whole and in its individual parts.

The music is structured around Hilton’s dynamic and exuberant compositions, as well as the beautiful “B Minor Waltz” by jazz piano legend Bill Evans, to whom Hilton is often compared. The album is steeped in jazz, encompassing several forms of the genre, including freestyle, improvisational, and fusion, with a hint of ragtime and blues thrown in for good measure.

For those who like piano-led combos, jazz, or just good music in general, this set will have their ears engaged from beginning to end.

--Raj Manoharan

CD (Fan) Review – Up Close, by Eric Johnson

The first new studio album in five years from Grammy Award-winning Texas guitar hero Eric Johnson has finally arrived, and it’s quite the trip – and well worth the wait. Like his other CDs a mix of instrumentals and vocal songs mostly penned by him and showcasing his unique virtuosity on the electric guitar, Up Close includes some of the best work that Johnson has ever written and recorded.

The album is dripping with crackling guitars. If a guitar died and went to heaven, this is what heaven would sound like. Johnson is on fire, effortlessly weaving incredible, sparkling solos in and out of both the instrumental and vocal tracks. The vocal songs range from energetic blues and rock numbers to gorgeous, heartfelt ballads. Inspired like never before, Johnson plays and sings with a fervor not present in his previous work. Perhaps Johnson is like a fine vintage wine, improving with age.

I was first introduced to the music of Johnson 21 years ago by an employee at a local cable television station I was interning at during my senior year of high school. That was the year Johnson, then 36 years old, released his breakthrough second album, Ah Via Musicom, which achieved the distinction of having three instrumental songs reach the American Top Ten.

As accomplished and groundbreaking as Ah Via Musicom and its edgier and sonically more expansive 1996 follow-up, Venus Isle, are, Johnson has really poured his living, breathing essence into Up Close. The result is the best guitar-based album of the last several years, and one of the best guitar-based and general music albums of all time.

With Up Close, Johnson is at the top of his game as a guitarist, composer, and singer. He has created a masterwork of soulful jazz/pop/rock fusion that exudes passion, especially through his trademark virtuosic guitar sound. Even with guest vocals by Malford Milligan, Steve Miller, and Johnny Lang, and guitar performances by Jimmie Vaughan, Steve Hennig, and Sonny Landreth, the album is clearly all Eric Johnson up close front and center.

--Raj Manoharan