RajMan Reviews

CD Review – Heavy as a Feather, by Kathryn Kaye

2012-01-22T15:29:00.000-08:00

Kathryn Kaye’s second album lives up to its title, offering a collection of gentle piano-based compositions that soothe the soul.

The CD offers a nice balance between solo piano performances, moving duets, and full but not overbearing band accompaniment.

Kaye is joined on this outing by such studio stalwarts as Tony Levin on bass, Eugene Friesen on cello, Charlie Bisharat on violin, Jill Haley on English horn, Michael Manring on fretless bass, Tom Eaton on accordion and percussion, Ramesh on percussion, and producer Will Ackerman on guitar.

Kaye is as masterful in her restraint as she is in the vernacular of the keyboard, knowing when to give in and when to hold back, yielding a satisfying listening experience. And her musical collaborators provide solid support without ever upstaging the proceedings.

The result is a delightfully rich and engaging concoction that is a sight for sore ears.

--Raj Manoharan

CD Review – The Tree and Other Stories, by David Hoffman

2012-01-21T15:08:00.000-08:00

Multi-instrumentalist David Hoffman has pieced together a musical pastiche that masterfully blends jazz, folk, new age, and ambiance, resulting in a hypnotically mesmerizing listening experience.

The former Ray Charles band member lays down ethereal textures and funky grooves with synthesizers, over which he plays tantalizing but tastefully minimalist jazz-fusion trumpet solos. Hoffman also spices up this already delicious mix by adding in piano and flugelhorn, as well as voice, sampled programming including bass, percussion, and harmonica, and the sounds of nature.

Further support is provided by Hoffman’s trusty collaborator Paul Adams, an accomplished and versatile solo artist in his own right who lends his indisputable skills on hulusi and Native American flutes.

All of these elements coalesce into a subtle yet sonically rich musical mosaic that does indeed tell several captivating stories.

--Raj Manoharan

CD Review – Sleep: The Dreaming Flute, by Paul Adams

2012-01-14T15:26:00.000-08:00

Flute master Paul Adams brings his considerable talents on woodwinds to bear on this grand, sweeping exploration of all the moods that can be achieved by the instruments.

The eleven-track CD is a soothing, relaxing collection of tunes that express everything from somberness and reflection to positive thinking and hopefulness. To achieve this effect, Adams utilizes a different Native American flute on each song.

The result is a sound that is not only calming and reassuring, but also reflective of the various sounds of indigenous culture and tradition.

Listeners looking for music to summon the muses of the world of sleep and take them to the soporific shores of the subconscious will find that Paul Adams’ woodwinds are the flutes that dreams are made of.

--Raj Manoharan

Happy Birthday, Andy Summers!

2011-12-31T11:28:00.000-08:00

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

2011-12-30T18:32:00.000-08:00

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

2011-12-25T17:08:00.000-08:00

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

2011-12-18T16:24:00.000-08:00

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

2011-12-18T16:20:00.000-08:00

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

2011-12-03T19:10:00.000-08:00

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

2011-12-03T19:04:00.000-08:00

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

2011-11-25T16:51:00.000-08:00

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

2011-11-12T20:27:00.000-08:00

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

2011-11-12T20:14:00.000-08:00

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

2011-10-31T18:38:00.000-07:00

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

2011-10-23T14:16:00.000-07:00

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

2011-10-23T14:11:00.000-07:00

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

2011-10-16T21:10:00.000-07:00

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

2011-10-15T21:43:00.000-07:00

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

2011-10-15T20:00:00.000-07:00

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

2011-10-15T19:17:00.000-07:00

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

2011-10-01T16:25:00.000-07:00

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

2011-10-01T16:04:00.000-07:00

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

2011-09-25T15:40:00.000-07:00

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

2011-09-18T18:35:00.000-07:00

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

2011-09-05T17:18:00.000-07:00

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