It’s been awhile since a disc of ethereal, slow-moving instrumental music (this once would have been called “new age”) has captured my imagination like Patrick O’Hearn’s Glaciation has. Like the glaciers and icebergs that adorn the lovely CD package, these compositions have a spare, mysterious, other-worldly beauty. I mean to pay this release a high compliment when I note that some of this music recalls the most evocative work of Brian Eno, in the way O’Hearn places the instruments in different ambient fields and the way the tunes unfold so naturally and majestically.

It is by far the closest O’Hearn has come to presenting what I would associate with a soundtrack to major motion picture since 1991’s Indigo. Where that earlier work’s songs shaped dramatic images of great mansions and grand conspiracies, Glaciation instantly transports you to a very cold and foreboding place in nature.Songs are kept short and simple, not entirely abandoning his recent minimalist approach while further emphasizing the soundtrack comparison. Some songs in the past, as was the case with “Music for Three Vibraphones,” on Slow Time, tended to drag out a little longer than they should. Here, every song seems to know when to hold ‘em and when to walk away.

Clearly, O’Hearn’s music is not for every one the same way not everyone will want to listen to an orchestrated soundtrack over one that features today’s pop hits. But, for those who enjoy music that is as much a part of the world around you as the world around you, very few have the talent and ability that Patrick O’Hearn has consistently displayed for two decades.


  Maiden Voyage CD
  by Herbie Hancock
Our Price: $8.85 CD
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Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it's arguably his finest record of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it's clear that Miles' subdued yet challenging modal experiments had been fully integrated by Hancock.

While the quintet takes risks, the music is lovely and accessible, thanks to Hancock's understated, melodic compositions and the tasteful group interplay. All of the elements blend together to make Maiden Voyage a shimmering, beautiful album that captures Hancock at his finest as a leader, soloist, and composer. ~ Stephen Thomas Erlewine

Probably the best in Herbie Hancock's series of fine Blue Note albums from the 60s, Maiden Voyage finds him in what is basically the Miles Davis band of the time, with Miles replaced by the young Freddie Hubbard. Hancock has always been a fine composer, but Maiden Voyage contains two classic compositions in particular - the beautiful `Dolphin Dance', and the atmospheric and popular title track. Saxophonist George Coleman, bassist Ron Carter and drummer Tony Williams play as well throughout as they have ever played, and the whole record is marked with a timeless freshness and sense of creative tension.Q (6/95, p.138) - 4 Stars - Excellent - "


  Thrust CD
  by Herbie Hancock
Our Price: $7.59 CD / $3.96 MP3
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Despite its rather silly sci-fi cover, 1974's THRUST is a top-tier album by composer/keyboardist Herbie Hancock. On this excellent follow-up to the legendary HEADHUNTERS, Hancock lays into some seriously deep grooves on his Fender Rhodes, and is backed by many of the same musicians from HEADHUNTERS, including bassist Paul Jackson and woodwind master Bennie Maupin.

The opening track, "Palm Grease," is a slick future-funk workout that breaks down into highly percussive passages, while "Actual Proof" coasts along on Hancock's bright melodies, which are enhanced by Jackson's burbling bass lines and Maupin's deft, breezy alto-flute playing. Of the four lengthy pieces that make up THRUST, "Butterfly" stands out as the disc's most reflective track, with Hancock taking his typically frenetic jazz fusion sound into surprisingly delicate and lyrical territory. While this outing will always be overshadowed by HEADHUNTERS, it remains one of Hancock's finest releases and is essential for fans of '70s funk-laden jazz.

The change-of-pace is one of Hancock's loveliest electric pieces, "Butterfly," a match for any tune he's written before or since, with shimmering synth textures and Bennie Maupin soaring on soprano (Hancock would re-record it 20 years later on Dis Is Da Drum, but this is the one to hear). This supertight jazz-funk quintet album still sounds invigorating a quarter of a century later. ~ Richard S. GinellRolling Stone (9/3/98, p.102)


  Nice & Slow CD
  by Brian Culbertson
Our Price: $9.09 CD / $9.99 MP3
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. The artists in smooth jazz whose success endures the longest are those who develop an identifying trademark in their style -- when you hear their song, you know it's them. A veteran of the genre at age 28, keyboardist Brian Culbertson has over the years made his particular imprint a very distinctive interaction with horns. On his latest, Nice & Slow, he's sometimes even the one playing them. On the throbbing, funky "Get It On," his high register piano musings take verses on their own, then blend on the chorus sections with Jim Reid's tenor and a snazzy trumpet and trombone section played by Culbertson.

Peterson's B-3 simmers coolly behind Culbertson's reflective melody -- which joins on the chorus with Kirk Whalum's lush tenor -- on "I Wanna Know." Culbertson wrote the moody, retro soul-flavored "Just Another Day" with Jeff Lorber, and duets on the chorus with the unmistakable breezy tones of Herb Alpert's trumpet.

Culbertson has also become a happy member of the "soulful vocals are cool" brigade, providing the grooves behind an emotional Sheree & Trey Lorenz on the title track and the ultra-romantic "Someone," featuring Kenny Lattimore. ~ Jonathan Widran


  Beautiful World CD
  by Patrick O'Hearn
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Patrick O'Hearn is refreshingly difficult to classify. His electronic work leans decidedly towards an ambient sound, but the Latin and Caribbean-style acoustic beats on songs such as "Facing the Sun" imply a strong world element. Meanwhile, Peter Maunu's guitars (particularly on "Magnificent River") bring a rock and jazz edge to the mix.

In listening to this album, it is clear that O'Hearn is not looking to place himself within a musical tradition or style, rather he aims to drum up personal, highly dramatic inner experiences. With this album, he shares his impressions of the natural environment. For example, under a glistening, watery surface (represented by a few piano notes), "Magnificent River" reveals a churning, threatening current.

On BEAUTIFUL WORLD, O'Hearn captures sounds of nature, but he also touches on the grandeur and mystery of his own relationship with the wilderness.


  On The One CD
  by Sammy Peralta
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Personnel: Sammy Peralta (vocals, soprano saxophone, keyboards, programming); Pete Quintalino (guitar, timabales); Julio Virella, Chris Sholar (guitar).
Recorded at Bellepoque Music, New York, New York from October to November 1999. Includes liner notes by Sammy Peralta.
Personnel: Sammy Peralta (vocals, soprano saxophone, keyboards, percussion, programming); Chris Sholar (guitar).
Audio Mixers: Lenny White; Sammy Peralta.
Liner Note Author: Sammy Peralta.
Recording information: Bellepoque Music, New York, NY (11/1999-12/1999); Knoop Music, NJ (11/1999-12/1999).
Arranger: Sammy Peralta.
Keyboardist Sammy Peralta's first release On the One is a mixed program of Latin, funk, and ballads.

This combination should appeal to fans of smooth jazz and the lighter side of fusion. Co-produced by drummer and former member of Return to Forever Lenny White. ~ Al Campbell