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Bill Binkelman Reviews - New Age Music at ShirleyCason.com
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WINTER MORNINGS
Review by Bill Binkelman www.Wind & Wire.com - New Age Reporter.com
What a great recording this is! So few artists record music that attempts
to evoke the moods of winter (except for holiday carols).
However, keyboard player Shirley Cason has done just that -
composed an entire album of serene, peaceful, evocative
electronic keyboard and piano instrumentals, tinted with a
superb combination of somberness and gentility. As a result,
these eight musical soundscapes properly reflect winter's
emotional resonance on the land and on people. Being from
Minnesota, the land where winter lasts from November through
March, I know what I'm talkin' about, Willis!
Winter Mornings is full of lovely music. Throughout the album,
Cason shows her ability to mix her assorted keyboards and
synths (strings, bells, textures, piano) in songs that are
accessible yet (at times) free-flowing enough to be
quasi-ambient. This is especially true on the eight-minute
"Winter Skies," which mixes softly swelling strings,
twinkling bell tones, gentle plucked guitar, and subtle
background spacy synthesizer textures. For comparison's
sake, imagine a blend of Jon Mark's melancholy beauty with
Kevin Kendle's wonderful melodic sensibility. I hold Messrs
Mark and Kendle in the highest regard so this comparison is
rare praise indeed. And, while Cason is not quite at their
level, she is getting close with this recording.
Besides the
beautiful "Winter Skies," there are also the shiny bright
bell tones, hushed synth chorales and gentle electronica
rhythms of "Icicle Melt," the somber and darker "10 Degrees"
(sounding a little like Tim Story, with repeating piano
refrains and shadowy synthesizer shadings, and then moving
slowly into a warmer romantic sound, a la Ciani or Yanni at
their best). In addition, there is the plaintive minimal
piano and synth title track and the light-as-a-feather bells
and chimes of "Snow Dance" (Cason plays this one smart by
opening with the chimes and bells played arrhythmically,
thereby creating a musical illusion of randomly falling
snowflakes). This last piece also features well-executed
flute samples and slowly building momentum over a bed of
what sounds like sampled kalimba (African thumb piano). The
opening track, "Beauty of the Earth," features delicate
synth strings and gently strummed/picked guitar (sampled)
while "Children and Snowmen," yet another peaceful mixture
of assorted keyboards, once again reminded me of Kevin
Kendle, but this time with a dash of playfulness and
innocence added to the other elements. Finally, for a touch
of whimsy and humor, the artist closes with "Gulf of
Florida," a short piano and minimal synth number which
features parts of the refrain from the traditional folk song
"Oh Susanna," leaving the listener with the notion that,
while winter has its charms and its beauty, one does need a
little warmth and sunshine too (again, as a Minnesotan, I
heartily agree!).
When I
reviewed A Summer Dream (2002) a few years ago, I
knew Shirley Cason was talented, but I admit to being
surprised at how fully realized a musical statement
Winter Mornings is. While there are no tracks that
will remind you of blizzards, these beautiful, somewhat
minimal, relatively subdued songs are evocative of that
season which is normally ignored by artists. Fans of warm
melodic electronic keyboard music (mostly without overt
rhythms, though) will almost certainly enjoy this CD, and if
you miss the days of classic new age music (lots of bell
tones and twinkling chimes), then you're in for a big treat
as Cason has plenty of them throughout the album. Highly
recommended, especially for romantics (like me).
Bill Binkelman
A SUMMER DREAM
by Bill Binkelman, -
www.Wind & Wire.com - New Age Reporter.com
A Summer Dream, (2002) Reviewing a CD that is obviously
quite personal and openly emotional for the artist, as is the case with Shirley
Cason's A Summer Dream, is difficult because, frankly, it's impossible to
be as objective as a critic should be (provided one has any feelings,
that is). A Summer Dream is dedicated to (and more or less themed around)
Shirley's sister, Carol, who passed away in the summer of 1998. Having lost
both my parents, the loss of family members certainly hits a chord with me.
However, as a music critic, it's necessary to do one's best to strip all the
"interference" away to some degree, lest one is accused of partiality.
Even when I discard any personal memories, though, I can still recommend
A Summer Dream as a well-performed and gently evocative collection of
piano and synth pieces that are sometimes warm and soft and other times
sad and nearly always genuinely touching. The thing that I'm most
impressed with on this album is Cason's willingness to use a lot
of different synth sounds. So many pianists (when they use synths
at all) just use string fills (and that can certainly be enough).
How refreshing, then, to hear all manner of electronic keyboards,
yet always in the service of melodic, accessible adult contemporary/new age
music.
There are extensive liner notes (sometimes in the form of poems/lyrics,
even though the album is wholly instrumental) that paint a picture of love and
loss and growth through pain.
The CD begins with the playful and sprightly
"Springtime" (lilting flutes, bells, bass, and guitar-like keyboards, along
with piano) and begins its voyage through different moods, tempos, and melodic
approaches. "Come Out and Play",
is a Kevin Kendle-like track with flute and
lovely synth bells. "Summer of '98"
opens with bluesy piano (by the way, if
it matters to you, the piano on the album sounds like a digital, although
a pretty good one to my ears), and the cut soon becomes a reflective piano
and strings tune - wistful yet not somber. "Lost,"
one of the more overtly
new agey cuts on the CD, is sadder, as Fender Rhodes-like keys ride on top
of swirling synths ( I could've done without the wind effects on this track,
though). One of the best selections is the next one. "Last Walk"
has a unqiuely juxtaposed lively rhythm with quasi-mournful synths (consisting
of nicely flowing keyboards and some plucked note sounds). It's my favorite
track on the CD, I think. "Last Breath" is almost unrelentingly morose at
the start (as the title would suggest, although once again I think the wind
sounds are misplaced) but evolves into something quite different via a
Constance Demby-ish crescendo (signifying "passing over" I would imagine
although I don't want to appear presumptuous). My interpretation is based
on the spacemusic and celestial textures during the latter stages of the
track. The album closes with the title song,
and it's another highlight.
Gentle bells, lush strings, and hushed cymbals open the song which eventually
becomes a piano-led number that speaks of acceptance and the strength that
flows from the knowledge that our loved ones never truly leave us.
As you can tell from some of my comments above, I resonated with what
(in my opinion) Shirley Cason was intending on A Summer Dream. So, take some
of my praise with a grain of salt if you're cynical or tend to like music that is more subtle
about its emotional intent. This album is not ashamed to wear its sorrowful
yet ultimately hopeful heart on its sleeve. From a purely analytical
standpoint, it's nice background music for light activity (I think the
emotional highs and lows, however, may make it difficult to concentrate
or read during playback).
I recommend the CD, though, especially to die-hard
romantics and those who enjoy electronic keyboards mixed with piano.
Bill Binkelman
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