(21 March 2011) Only eighteen months after she released the classical Brit-nominated Camilla Kerslake (Mercury Records (UK) 2725847, 2009), Camilla is back with her new album Moments (Mercury Records (UK) 2753382, 2011). Expanding her repertoire beyond the classics, the new album includes some original songs, a wonderful selection of pop song covers and a stunning track from Les Miserables.

A coloratura soprano, Camilla has a four octave range and has been heard singing notes half an octave higher than the highest note ever written for the human voice. Although she has been compared to Katherine Jenkins in multiple publications, her voice is completely different. She should sooner be compared to Hayley Westenra and most accurately to Emma Shapplin.

Camilla's self-titled debut album contains material typical for a new crossover artist with the exception of the surprising Italian version of Take That's "Rule the World." The artist's second album originally promised for October 2010 was released in March 2011. It clearly shows that she has improved her power and control, thought by some critics to be missing from her debut. Her voice remains light and pure.

The new album demonstrates the singer's power, range and control especially well in "Bring Him Home," a well-known ballad from Les Miserables. Camilla starred as Cosette in the West End production of the musical, and appeared at the 25th anniversary concert at the O2 Arena on October 3, 2010 and on the DVD released following the event and also aired on the US Public Broadcasting Service in 2011.

Equally stunning is Camilla's outstanding and very personal cover of the Kate Bush classic "This Woman's Work." Self- multi-layerd harmonies are tremendous. The album also includes Camilla's own powerful rendition of Queen's "Who Wants To Live Forever," previously covered by renowned crossover artists Sarah Brightman and Katherine Jenkins.

"Making this record was like a dream come true for me," she says of her new album, "We recorded some of it at Abbey Road and I kept waiting for someone to come in and, 'Hey, you! This is Abbey Road! Get out!' I feel like that a lot of the time, like someone is going to wake me up from the fantasy, this dream that I’ve been living these last couple of years."

But, of course, it isn't a dream. Camilla is only 22 but she's been preparing for this her whole life. Born in Dulwich, South East London in 1988 aged just one she and her family moved to New Zealand where her primary school education focussed on singing and games and sport. After moving back to London at the age of nine, Camilla's sole focus was on music. With her stunning good looks and equally amazing measurements, she has also recently signed with the Models1 agency (website) as a professional model.

After recording a demo she made in her bedroom, and £20 borrowed from her mother she bought CD backing tracks and recorded her versions of Andrew Lloyd Webber's "Pie Jesu" and Schubert's "Ave Maria," she visited the studio every day for weeks just so she go place a copy in Gary Barlow's hand personally. "I could barely afford to travel," she says, "But I had to do it. He only listened to it because I went every day. I suppose he listened to it so he could say 'stop coming!' but he liked it. In December 2008, he signed Camilla to his Future Records label, and her debut album was nominated for Best Album at the 2010 Classical Brit awards.

The title track of Camilla's album is an inventive take on Art of Noise's 1985 single "Moments in Love" by Trevor Horn and Ann Dudley, with lyrics put to this groundbreaking piece of music for the very first time. Camilla also covers Ray Davies' "Go To Sleep", most famously covered by the Pretenders. Other highlights of the album include Muse's "Unintended", Queen's "Who Wants To Live Forever" and "Dumbing Down of Love" by Frou Frou's Imogen Heap and Guy Sigsworth). Camilla's unique interpretation of "Surfing In The Air" originally sung by Norwegian pop singer Christine Guldbrandsen (review) and released in 2003, is outstanding!

Original material fits well amongst the cover tunes. "Sleepsong," a traditional Celtic lullaby also covered by Sara Kempe on her new release Let Me Fly (review), and "Winter Fire and Snow" were written by Brendan Graham, who penned the worldwide hit "You Raise Me Up" as well as the new record by Ry Cooder and The Chieftans. Unknown songwriter Molly Beanland, formerly signed to Island as a singer, has contributed the exclusive songs, including the accessible "Be Your Rescue", and the delicately arranged orchestral "Snow On The Roses" and especially crisp "Let Go" to Moments.

Earlier news said that the album would include Camilla's cover of Mike Oldfield's "Moonlight Shadow," previously released by Annie Haslam, Maggie Reilly, Miriam Stockley and other artists as well. Also mentioned in earlier news, "Le Onde", by ambient composer Ludovico Einaudi was adapted for Camilla's vocals with Shelly Poole writing the topline to this beautiful piece of music. Neither of these songs made it onto the final release and are perhaps being saved as B-sides for later singles to promote the new album.

Camilla spent the summer of 2010 starring alongside Nick Jonas as Cosette in Les Miserables. She also performed for the queen at Derby Day in front of 140,000 people, and for Prince Charles at Buckingham Palace. With a the success of her debut album and Brit award nomination, a recently launched modelling career and the brilliant recordings on her new release, the future is certainly bright for Camilla Kerslake.

(30 April 2011) Savannah's debut EP Red Dead Week, released in 2010, provided the first insight to the artist's solo recordings in the run up to her full length album. The artist fronted the Israeli rock band Xamavar previously but set off on her own in 2008. Musical Discoveries visitors will likely recall our review of her work with the band and her first batch of demo recordings. Savannah has continued to hone her sound and worked with different producers to mature the songs. Our review copy of Savannah's full length album, Potential Black (2011), includes initial concepts for the booklet cover front and back as well as jewel box artwork. An update on Savannah's work is included below.

Savannah began playing and writing at a young age. From her early years she enjoyed improvisation and composition, studying the guitar, piano and saxophone. Savannah told us that her first music teacher Phil Marks continues to be an amazing mentor and inspiration. Her compositions cross a variety of genres following the cycles of her life and dreams. A graduate of the College of Fine Art in Sydney, (Bachelor of Digital Media, COFA, UNSW) Savannah is also a painter and performance artist. She fuses her practice as a musician with her work as a fine artist: her paintings and performance pieces investigate the junction between colour and sound.

Sexy, demure, ethereal, always exciting, displaying influences from Tori Amos to Chick Corea by way of Joni Mitchell, Savannah's sound brims with energy and passion, and within her doll-like figure, belies a heart-breaking voice. She is a skilled singer-songwriter and multi-instrumentalist that marries raw emotional ballads, jazzier upbeat numbers and tension-filled rock with fantastical costumes and stage design, following in the footsteps of her couture-designing mother, grandmother and great-grandmother.

Today Savannah performs regularly in and around Tel Aviv, her music brimming with energy and passion. She sings and plays the piano, her performance including an ensemble of double bass (Noam Elron) and violin (Tomer Einat). The effect is mesmerizing, with pieces ranging from intimate ballads to jazzier upbeat numbers. Savannah engages the audience, opening her heart and captivating them with the emotional charge of her voice. Her unique repertoire combines her own work with English translations and reinterpretations of familiar Israeli songs by artists such as Arkadi Duchen and Eviatar Banai.

Savannah's second album A Call From Home is already in the making. With an outstanding response to live performances of this material, it will be a collection of popular Israeli songs that the artist has translated to English and re-interpreted with her signature sensitivity and a jazz-oriented twist.

In addition to her work with Xamavar and her solo projects, Savannah also performs with with the jazz and blues ensemble "The Bishbash Sextet" whose music is influenced by the classic era of the 50s and 60s and "The Perfectly Marvellious Cabaret" where she belts out Broadway classics.

In May 2011, Savannah will sing and play piano with the Ahsdod Symphony Orchestra and international stars Leonid Ptashka (jazz pianist) and Gil Shohat (classical pianist) in a series of shows called "Classical Meets Jazz." She received three grants from the Israeli Ministry of Culture, and Ministry of Absorption (for artists) that have given her some great artistic kudos with musical afficionados around the country, particularly in the more serious jazz and classical scene.

Potential Black is a collection of eleven carefully crafted songs, produced and mixed by Gal Padeh. It was mastered at Sterling Sound by Justin Schturtz in 2010. In the final version of the album the sound is substantially more polished and is certainly ready to be shopped around for the commercial next step. The songs included on this new recording are all Savannah's standards and we've been given the opportunity to hear them develop since meeting the artist in 2008.

New mixes of Savannah's standards include superb renditions of "Galilee," "Read Dead Week," "Frigid Bird's Waltz" and an amazing version of "Dogs Of the Wind." The new editions of "Friend Of Mine" performed very very gently atop chilling piano, an outstanding arrangement of "Better Than Twelve" and the everso rousing "Potential Black" are outstanding. Savannah's newer songs "Margie," "Kiss and a Contrabass" and "Warp & Weft" have been given a fresh new sound. We especially liked the way the arrangements were handled in the new production. "Raincloth" is the most upbeat and rockiest number on the album. Savannah knows that we'd love to hear more from her in that style.

Visitors should read more about the tracks in our earlier reviews. This recording clearly shows listeners where Savannah began contrasting the sound of her new work and demonstrating significant artistic growth. It won't be long before a label signs Savannah and her music is heard in territories far from her current home in Israel. Bravo!

(24 April 2011) Harvest is a progressive rock band from Barcelona, Spain, whose thirteen-track debut album Underground Community (Red Phone Records (Spain) B41399, 2009) was released free of charge as a digital download to internet audiences. Their debut received broad and international critical acclaim since original release in late 2009. They can be likened somewhat in their energy and sound to the Spanish band NEXX fronted by Patricia Tapia although Harvest are more melodic, timeless and accessible. Harvest is presently recording their second album.

Harvest, fronted by singer Monique van der Kolk, is also comprised of Jordi Amela (keyboards); Jordi Prats (guitar); Alex Ojea (drums) and Roger Vilageliu (bass). The first three met each other in a previous band. Their union and the influence of mostly progressive and indie rock music have created a non conventional and peculiar but soulful sound to Harvest. Roger Vilageliu and Alex Ojea joined the band after the original formation to complete the current lineup.

Harvest's priority is to be liked by themselves. They say that there are are no commercial barriers and that the composing process is based on freedom of making choice. Harvest's debut album is self-produced, recorded at their own studio and mastered at Musiclan Studios. Also, there's a notable collaboration with the artist Antonio Seijas who designed the artwork of the album. The band frequently perform live and they have played with Marillion in Barcelona.

The songs on Underground Community are generally short and are more accessible than many albums that are considered progressive rock. Track lengths are in the four minute range except two that run over five and six minutues each. The listener is immediately drawn into the project with "Autumn Leaves," an upbeat guitar backed track that introduces Monique's powerful and sweet vocal tones. Backing harmonies provide great texture in the chorus working perfectly with the lovely rock arrangement.

A slower tempo introduces "Beyond the Desert" featuring Monique, this time singing with whispy tones atop glistening electric guitar. Her power shines as she sings solo in the chorus. "No Return" continues at a similar tempo as arrangements are stripped right back at the song's beginning, permitting the singer to carry the song. Lush arrangements build and vocal layers are added in the latter half of the song. The electric guitar and keyboard parts in instrumental bridge begin to illustrate the full capabilities of the band. "Mara" is a mid-tempo rocker with complex guitar arrangements. Monique's powerful vocal part soars above them with ease.

The band's full capabilites are best illustrated in the intricate weave of the effects in the album's title track. It serves as the introduction to the stunning ballad "Change Life," which serves to introduce Monique's tenderest vocal part on the album. Warm keyboard washes and crisp percussion provide the foundation for her vocal work. The track builds to a splendid crescendo full of electric guitar and lush vocal layers before returning to its quiet origins. The percussive elements work opposite thicker guitar parts in the progressive number "Post Disaster" that is more instrumental that vocal.

Monique's tender vocal work glides powerfully over shimmering electric guitars in "The Story of Tim Ballas," one of the album's clear standouts. An incredible electric guitar solo is played against the lead singer's lovely vocalise. Another standout is the upbeat rock song and album standout, "The Horizon." Monique's vocals lead the verse and returns harmoniously in the rousing chorus. "Waiting To Happen" is a lovely rock ballad with gentle electric guitar arrangements that support Monique's tender lead vocal part, a pattern that continues into "She Tries." Listen for the powerful electric guitar solo in the song's midsection.

The acoustic guitar arrangements of the everso soft ballad "Night Comes Down" are a perfect backdrop for the reverb in Monique's vocal part. Additional vocal layers contribute lovely harmonies to the short track. The album concludes with "Interrupted Broadcast." By far the best track on the album, progressive styled arrangements provide the foundation for this upbeat rock number, performed in a very Janison-edge style. Monique's powerful vocals soar above the vast electric guitar excursions. Style changes within the song are quite dramatic. If only it were longer!

Harvest's debut album Underground Community is a timeless project. That the band has provided it to their internet visitors as a digital download shows their confidence in the music and their future. Harvest are certain to draw further interest with the release of their forthcoming follow-up album. We can't wait!

(24 April 2011) Lately, it's been sad to see the pulse of the music business becoming faster and faster all the time, inevitably leading to the fact that many record labels tend to release everything in a hurry, so that the music is meaningless single-use-only music, without putting the music itself and its quality first. But, luckily, if one has some courage and a bit patience to wander a bit further than just the beginning of the vast "forest of music", one can find hidden gems that have only been waiting for someone willing to discover them.

One of these hidden gems is definitely a group called AO Music. With their debut album Grow Wild (2000), this highly talented and innovative group of musicians from across the world planted a "seed" that has been flourishing ever since, literally growing wild and free, and creating good mood worldwidely. And, since 2008 when AO Music's song "On Jai Ya" was selected as one of the "anthems" of the Beijing Summer Olympic Games, the musical "tree" that used to be only a small seed, has been growing and spreading its "branches" even further afield, thanks to not only the "chief music forestry officers" Jay Oliver and Richard Gannaway, but also to singer-songwriter Miriam Stockley as well as all the other "assisting music forest caretakers" who have been successfully nurturing this special musical "tree" with fresh, new ideas. Their second album Twirl (2009) is the first featuring Miriam Stockley's vocal work.

And, with the release of AO Music's third album ...And Love Rages On (2011), it seems obvious that the aforementioned musical "tree" keeps just growing and growing, as the musical "forestry team" has once again been able to find all the correct ingredients that have enabled the development of the "tree". Each "branch" of the musical "tree" has grown unique and different of course, with a bit of Celtic breeze in one "branch" and a bit African in another for example, but still everything is in perfect balance so that none of the "branches" suffer from overgrowth due to too much of a certain type of "musical fertilizers"!

This exceptional versatility of the musical "tree" really enables the listener to choose the "branch" on which to sit and listen: One moment it can be the festive, almost celebratory "Gai Ya Lo Mane branch", whereas another time it can be something more gentle and perhaps a bit more melancholic such as the "Sheyu branch". Or, if one really wants to dance around the "forest", then there are the wild, hypnotic almost ever-ceasing "branches" such as "In Lake 'Ch" and "One Kaleo" from which to choose!

It is not easy to keep this kind of a rarity "alive and well", but if one has such skillful people as Jay, Richard and Miriam around to do it, one can be sure that the "musical tree" will keep growing and doing just what it is meant to do: To spread joy, to provide cool, calm shade for reflection, and to bring together people from across the world in order to celebrate the power of music--the power that keeps this world turning! --Suvi Kaikkonen in Oulu, Finland and Russ Elliot in New York

(12 June 2011) In 2007 Musical Discoveries began a now long-standing relationship with Israeli singer-songwriter Yael Akron in 2007. With Manga, she completed the self-produced album Vacuum (review). In the run up to a venue change to the USA or Canada, the band's lineup changed. Align's Demo EP (review) was released before the artist's move.

Yael and two band members of Align ventured to Canada and settled into the Vancouver music scene. One year on, Yael began working exclusively on developing her solo career. Says Yael, "Pomme is the fruit of passion, curiosity and exploration. Between Toronto, Vancouver and Tel Aviv, I worked with Producer Shai C Sivan, and film composer Adrian Ellis to craft and release this self-titled EP."

Akron's melodic alternative ballads take an interesting twist, supported by Sivan's urban-cold, somewhat-industrial production. "New Frontiers" and "Silver Lining" are joined by Ellis's cinematic 3D instrumentations. Upon settling in Vancouver, Akron started playing with Vancouver based musicians: Ryan Drolet (guitars), JJ Wragler (keyboards) and Dimi Karabov (drums). The team have transformed the studio version of Pomme into a live and kicking act that has drawn a lot of attention by the local scene.

Interaction with new musicians takes the project to many interesting places, with more new songs coming in and the input of each member. Live Pomme comes out more rough, loud and dirty as a live set should. Says Yael, "We try to keep the electronic side of the EP with JJ's progs and sounds while Ryan's guitars and Dimi's drums turn cold electronic songs such as "Give You No Choice," for example, into a hard rock song."

The Pomme EP opens with Akron's evocative vocal strains atop gentle piano before the guitar accompaniment joins the mix. Yael's crystalline vocal strength is evident from her ability to deliver the lyrical message melodically without even a hint of multitracking. The additional artists complement with powerful instrumental parts that contrast the tender vocal work. "Silverlining" continues to develop with a similar thread that combines gentle ballad passages with others that combine robust percussion, keygoard and guitar to develop a lush rock sound. Yael's vocal work has developed tremendously and the recording's production has placed her right up there, showcasing her at the front of the mix. Listeners will adore the contrasts within this track. The EP's middle track is "On The Surface" which joins jazz elements with thick rocking guitars. Clearly the Pomme EP is an recording of contrasts.

We asked Yael about contributions to the new recording. She told us, "It is really important to me to credit Adrian for his beautiful work on "New Frontiers" and "Silverlining." She continued, "I met Adrien in Toronto and the chemistry was immediate. He is a smart musician, multi-instrumentalist, and a superb film composer and I found his work so versatile." When asked about their work on the two tracks, she said, "We started working on the two songs at his home studio in Toronto and continued working long distance when I moved to Vancouver."

Yael told us, "I would really like to credit Shai for just about everything, production, progs, mixes, mastering, sweat and blood. The idea started from our cross-Atlantic passion as old friends and fellow musicians who love working together. He spent endless hours at his studio in Tel Aviv, then in Vancouver and back. He is an amazing mix artist as well as producer."

We also asked her about who else played on the album. She told us, "As far as playing, two more musicians contributed to the album besides multi-instrumentalists Adrian and Shai. First, Mark-Mor Sivan (Shai's twin brother) did the guitars for "On the Surface" and "You Want It." Former Manga member and old friend Sharon Petrover recorded the drums for "Silverlining."

We asked Yael how this was accomplished and she told us, "It was very challenging, sending midi files to people and the project is indeed a trans-atlantic labour of love. I am really lucky to have worked with all these talented people and really feel without them it simply wouldn't have been." Pomme declares influences to be Bjork, Zero Seven, Thom Yorke, Muse; trained listeners will still hear Evanescence.

The track "I'll Give You No Choice" continues to illustrate Yael's personal virtuousity and that of her band. Her vocal work powerfully carries the melody and soars over electronic arrangements and percussive textures. Like most of Akron's numbers on this release, the track alternates between passages that build tension and those that release it. In contrast, "I'll Give You No Choice" features Yael's voice in the most stripped back arrangement of the EP. The EP concludes with the downbeat "New Frontiers." Thick bass is evident across the track amidst dense arrangements that never drown the singer's powerful vocal work. Short instrumental solos demonstrate talents of the Pomme lineup. The choruses are amazing.

The tracks from the PommeEP are available digitially at this time from the project's BandCamp page. These tracks can also be heard on their MySpace and ReverbNation pages. The band plan to tour around Vancouver this summer. Pick up the EP at one of their shows. Return to Musical Discoveries for further information on Pomme.

(13 March 2011) Mariette (Moseley) Davina is a rapidly emerging British classical crossover artist whose self-titled (Mariette Davina (UK), 2011) album was released in early 2011. The collection of ten extremely well-produced tracks is the artist's debut professional recording following her education and return to the United Kingdom. Outstanding guest musicians contribute instrumental arrangements that bring her songs to life. The package includes a self-pressed CD and a four page color booklet with lyrics to all of the songs. Mariette's self-titled project is an outstanding debut album.

Now based in Bristol, Mariette Davina was born in Leicester, England. She moved to South Africa at an early age and finished her schooling at the Pro Arte secondary school for gifted artists with singing and piano as her main subjects. Mariette obtained her music degree specializng in Performance Opera at the University of South Africa and her Honours degree in music at the University of Pretoria. She also obtained her Licentiate in Opera, her Advanced Certificate in singing from the Royal Schools of Music, as well as her Grade 8 in piano.

After her studies, Mariette Davina began composing her own songs and landed a recording contract with Gallo Records Africa. During this period she spent many hours in recording studios, composing and instrumentally arranging her music. Mariette's single "All I Need" was released in the compilation album Timeless 5 (Gallo Record Company (RPM) (South Africa) CDRPM1785, 2002). Mariette's first classical crossover album entitled Davina (Gallo Record Company (RPM) (South Africa) CDRPM1807, 2004) was subsequently released and nominated for the best classical album in South Africa. She also made appearances on South African television and radio to support the release.

Mariette returned to England to pursue her music in Europe. She attended three years of bible school and developed a love for worship music and discovered her gift for spontaneous worship. She says, "My Mariette Davina album reflects a culmination of all the genres I have embraced. I hope you enjoy it!"

Mariette wrote all songs and lyrics on her self-titled album. Neil Costello produced and engineered the project. The production team also included: Mark Edwards (programming and keyboards) and Patrick Horrax (string arrangements) with violins by: John Mills, Ruth Funnell, Tom Norris, Ellie Fagg; violas by: Jake Walker, Felix Tanner; and cellos were performed by: Matthew Forbes, Jonathan Kitchen. The crossover sound is a result of modern instruments including guitar by producer Neil Costello and bass by Mark Prentice. The album was recorded at ICC Studios in Eastbourne, England.

Trained in opera, Mariette's soprano vocals are crystalline and powerful. Soaring passages never completely overpower the arrangements. Instead, vocals and instrumentals complement each other perfectly. Worship themes appear on the album but equally do not overpower the listening experience. We especially appreciated the attention to the crossover sounds produced by electronic instrumentation. Evident from the electric guitar riffs in the gentle opening number"Starting Over" the crossover sound crescendos in outstanding album standout "Images Lie . Davina's powerful voice is mixed perfectly, effortlessly gliding above the arrangements.

Staccato arrangements in the stunning track "Circles of Change" provide the backdrop for equally fast-paced vocal work spanning Mariette's range. The powerful buildup within in the track reminds listeners that this is a crossover rather than West End musical or an Opera album. "Angel Song," in contrast, is operatically sung atop more stark arrangements of piano-styled keyboard and very light percussion. Although light electric guitar and additional percussion joins in the track "You Are Holy," the piece continues to build the secular theme of the project.

The accessible verse chorus track "Images Lie" blends a rousing pop-oriented electronic foundation with ethnic instruments in the mid-secton to produce the album's standout. While the entire album is superb, "Images Lie" is the crossover track that most clearly illustrates Mariette's potential. "Risk It" is the perfect follow up with powerful bass driving the multi-layered vocal arrangement forward. Mariette's soaring vocals remind the listener that this is a crossover album.

The rich strings of the torch ballad entitled "This Love" and Mariette's evocative vocal work give it a West End feel. Dense strings and keyboard provide the instrumental foundation for "Come Out Of The Rain," a mid-tempo verse-chorus patterned crossover tune. Davina's operatic vocals soar across her range atop the crisp percussion and warm string-based washes. Listen for the stunning guitar solo during the warmly arranged bridge.

Mariette returns to an operatic West End style in "Totally Free" with her crystalline lead vocal carrying the evocatively delivered gentle ballad that builds with a powerful crescendo. Piano-styled keyboards, bass and electric guitar are arranged in the mix below. With hope that Mariette will reprise quickly with a new project, the album concludes appropriately with the upbeat track "Its Not Over." Upbeat multilayered percussion, electric guitar and bass provide the crossover foundation to soaring vocal layers that bring this outstanding debut album to a close.

Mariette's album is excellent not only as a self-released project, but it can also stand up against similar projects on both indie and major labels. The production quality, rich instrumentation and outstanding vocal work are superb. Clearly an artist with a bright future, we are sure to be hearing a lot more from her in the future.

(14 March 2011) Jamie Lynn Noon is a California Bay Area native, who cannot recall a time when music was not a part of her life. She has released two EPs entitled A Moment To Break (2009) and Angels Spoke (2010). The first EP was recorded when the artist was 22 years old. Jamie Lynn showcases the best of her vast catalogue of hook-laden, irresistibly catchy songs on these two EPs. She has a mid-range crystalline vocal clarity most similar to Nichole Nordeman. The artist's two EPs were co-produced by Jamie and film/television music veteran and producer Kevin Harris and mastered by Grammy Award-winning engineer Brian Gardner (No Doubt/Christina Aguilera/Avril Lavigne).

Often starting from a simple lyrical or melodic concept, Jamie, who trained early on the flute and in choirs, sits down at the piano and has the ability to have songs pour out of her in their entirety, as fully formed compositions. Jamie Lynn then realizes the songs into their ultimately lush productions working with longtime producer Kevin Harris in his Bay Area studio. All of the songs were written and sung (lead and background) by Jaimie Lynn; Kevin Harris is the musician on all the recordings. The projects were mastered by Brian Gardner. She says, "When I play the songs for Kevin, he knows exactly what feeling I want and we arrange those songs to capture that vision." And the two make for a potent partnership.

A Moment To Break. The six-track EP begins with the track "Second of a Spark." It is an an upbeat ode to forgetting about the future and living life in the moment that belies the young singer's years. "Blind" is one of two songs written as a waltz, testimony to Jamie Lynn's ability to write in unusual time signatures and still pull off perfect pop confectionaries. This song reflects on regrets and not knowing what you have until it's gone.

The title track is Jamie Lynn's most personal composition. It looks at the inevitability that life can change in a moment and pines for the hope that something good can still come of the loss. The track is further evidence that Jamie is writing of experiences that far surpass this gifted ingénue's age. "Waste It on You" is simple in form, yet completely personal in its honesty, ruminating on the need to rise above circumstances in order to remain true to yourself.

The ensuing "I'm Trying" was the second song that Jamie Lynn ever composed, though it has lived with her and evolved over the course of its life. It deals with the hardships one has to overcome in choosing the career of an artist. "I initially wrote it five years ago and did a demo with just vocals and acoustic guitar, but I put it on hold for a while. And now, it's been restructured and rerecorded, but still has that initial raw emotion I wanted to retain," explains the artist.

"To Finally" is the ultimate closing track written in a unique 6/8-time structure and based on a brilliant chord sequence Jamie worked out at the piano. It completely sums up the themes of the EP in an uplifting and universal fashion. Clearly, Jamie Lynn Noon is a gifted artist working in an arena way beyond her youthful age. A Moment to Break is a great debut.

Angels Spoke. The six-track EP by Jamie Lynn Noon is a tremendous follow-up to the artist's debut. It launches with "Secret Power," a rhythmic pop number emotionally sung atop electric guitar-based rock arrangements with subdued backing harmonies. In contrast, "(Over and Over) and Over Again" is sung against bluesy acousto-electric arrangement that illustrates the singer's ability to powerfully tug at heartstrings. Listen for the well-played guitar solo and backing harmonies in the bridge.

The EP's title track builds intensity in both arrangement and vocal styling. Production treatment of the singer's voice perfectly compliments the richer gently rocking arrangement. The lovely ballad "Like A Meteor" best illustrates Jamie Lynn's crystalline vocal quality. Extremely rich backing self-harmonies perfectly complement her lead. Jamie Lynn's harmonies are even more pronounced in the lovely song "Til Ya Make It" and produce a song with duet qualities.

Jamie Lynn's latest EP concludes with the stunning track "Take Me Home." The singer's crystalline lead vocal glides atop gentle arrangements. Lush harmonies blend perfectly and add tremendous texture in the song's choruses. Jamie Lynn Noon has delivered her audience a stunning follow-up EP to her debut. We can't wait for a full length album from this rapidly emerging singer songwriter.

(20 Mar 2011) Annie Haslam's debut solo album Annie In Wonderland (Sire Records (USA), 1977; Friday Music (USA) FRM6046, 2010) was originally recorded during a break between her work on Renaissance's Scheherazade and other Stories and Novella studio albums. The break came following the band's Scheherazade tour. Originally the Annie In Wonderland album was released as a lovely gatefold LP featuring a large center picture of Haslam in a white gown. Although we don't have a trace of it with our LP, we clearly recall a poster of the singer being included in the original Sire Records package.

The Annie In Wonderland album was subsequently released on cassette and at least three times on CD from 1991 to 1997 by Warner Brothers in jewel box format in Japanese, European and American territories with little or no change to the audio tracks. Most recently, a mini-LP cardboard-sleeved HDCD gatefold edition was released by Warner Brothers Japan in 2001. Again, little change to the audio was apparent to listeners purchasing the album. In contrast, Friday Music's 2011 release includes tracks that were remastered in April 2010 by Rave Tesar at his New Jersey Studio X facility.

The eight songs on the original Annie In Wonderland feature lead and backing vocals by Annie Haslam who is supported on this recording by several musicians who have influenced her career. These included: Roy Wood (electric, acoustic and bass guitars, cello, balalaika, saxophones, drums, bass clarinet, trumpet, african drums, percussion, string ensemble, mook, piano, clavinet, backing vocals); Jon Camp (Renaissance) (bass guitar on "I Never Believed in Love," "Nature Boy" and "Inside My Life" together with bass pedals and acoustic guitar on "If I Were Made of Music" and backing voals on "Inside My Life"; Dave Donovon (drums on "Nature Boy" and "If I Were Made of Music"); and Louis Clark (Polymoog on "Rockalise," flute on "Going Home" also string arrangements "Rockalise" and bass arrangements and choir arrangements on "Going Home"). Louis Clark (ELO) is credited for the orchestral arrangements for Annie's classical album Still Life with lyrics by Betty Thatcher (Renaissance).

The Friday Music release also includes Tesar's remastering of the the Annie Haslam/Roy Wood bonus track "Flowers in the Rain." The bonus track was also released as a digital single. Annie Haslam said, "To celebrate this re-release, Roy and I decided to record a special bonus track of his hit song for the Move 'Flowers in the Rain'."

Unlike the earlier Friday Music Renaissance remasters that explicitly reference use of the original master tapes, the artwork is silent on the source used for this project. In contrast to the original muddy-sounding Warner Brothers compact discs, Rave Tesar's remaster in the Friday Music release of Annie In Wonderland reveals depth lost since the vinyl LP. The imaging of the original arrangements and backing harmonies have both been significantly enhanced. Annie's vocals glide effortlessly above them.

In the liner notes accompanying the release Annie writes, "Annie In Wonderland is my favourite of my solo albums to date. It was pivotal in my growth as a singer. I learned such a lot about musicand singing from Roy, he stretched my vocal boundaries as well as my sense of humor." Annie In Wonderland includes a range of popular songs, now legendary covers of "If I Loved You" (from the Rogers and Hammerstein musical Carousel).

The album includes Annie's cover of "Nature Boy." The first two measures of the latter song's melody parallel the melody of the second movement in Antonín Dvoøák's Piano Quintet No. 2 in A, Op. 81 (1887). The song was sung in 1948 by Nat King Cole. The melody is claimed to be taken from Yiddush musical theater. The album also includes Annie's tremendous rendition of the Dvoøák classic hymn "Going Home." Haslam's notes continue, "To me this represents a wide area of musical genres that I may not otherwise have discoveried."

The latest reissue of Annie In Wonderland is the first to deliver a notable improvement over the original CDs released by Warner Brothers including the 2001 Japanese HDCD edition. Rave Tesar and Annie have produced an outstanding memoir of her debut recording.

(21 March 2011) Welsh recording artist and performer Sara Kempe has released her debut album Let Me Fly (EMI (UK) 5099907 109027, 2011). Recognized by her crystalline voice with an incredible range and well-honed power, she is an exceptional vocal talent with fast developing career. Her twelve-track classical crossover album includes several originals and covers of a variety of popular and classical tunes. Lushly arranged self-backed and supported harmonies add lovely texture to the recordings. An eight page booklet and color tray liner designed by EMI's Rebecca Edwards accompanies the jewel box package.

In 2010 Sara worked closely with The Celtic Manor and The European Golf Tour and recorded the title track for her new album. It was specially written for her by composer Ben Robbins. Initially released as a single, it was the first time that there has a been a song specifically written for golf's Ryder Cup, an event that attracts huge global television audiences, and with the combined support of the players, the European Tour and the music industry, it put put Sara well and truly on the map. Ben Robbins, who also worked with Katherine Jenkins and new classical outfit Elysium, co-produced Sara’s album with Goldust Productions (website).

Today aged 21 Sara has already gained a considerable amount of live experience already having sung both at home and abroad at a number of highly prestigious events. These include gigs in Pakistan and Abu Dhabi, in front of Royal Families and Nobel Laureates. At home in the United Kingdom, Sara has performed at a number of key events including the Wales Open golf gala dinner at the Celtic Manor, Blenheim Palace and Chepstow Racecourse, where she sang live in front of the packed grandstands at the Coral Welsh Grand National as well as a live television audience in the millions.

Sara has performed alongside a list of household names including The Priests, Paul Potts, Rhydian, Aled Jones, Darius and many more on the Classical Relief for Haiti charity single "The Prayer" that was released on Gray Barlow's Future/Decca label in March 2010. The single raised both awareness and funds to help those who suffered in the Haitian disaster. Sara performed last summer at various events before the Ryder Cup 2010.

Aside from her love of music, Sara also has a passion for horses. She is a talented show-jumper and horse trainer but we understand that her number one love is Stanley, her chihuahua, who she confesses to being slightly obsessed with. Sara loves to be busy, enjoys hanging out with her friends in London and also regularly visits her home in Wales to visit her family and her horses.

Produced by Goldust and Ben Robbins, the album was recorded, mixed and arranged by Ben Robbins. Vocals on Let Me Fly are by Sara Kempe performed with the Soho Studio Orchestra. Marli Harwood, who wrote several of the tracks for the album also provides backing vocals to most of the tracks. Steve Balsamo also contributed backing vocals to the title track. Other guests include: Simon Johnson (guitars and backing vocals), Snake Davis (whistles), Michael Harwood (drums), Matthew Sharp (cello), Henry Prestman (backing vocals) and Greg Scott (violin).

Sara Kempe's first record offers several fresh and surprising covers. These include her own rich interpretation of Madonna's "Frozen", a lush Celtic-edged rendition of Cindy Lauper's "Time After Time" and a delicate West End-styled version of Keane's "Bedshaped" alongside a few of her own originals with additional strings. Sara's tremendous cover of Snow Patrol's "Chasing Cars" is backed with an especially rich orchestral arrangement and her own backing harmonies. A pretty multi-layered version of Sarah McLachlan's ballad "Angel" also appears on the album. The Celtic spirit is driven home by Sara's performance of the Rolf Lovland lullaby "Sleepsong."

In addition to the title track "Let Me Fly," Sara's debut album includes the original ballad "The Wish" written by Marli Harwood. Sara Kempe, Marly Harwood and Ben Robbins co-wrote the lovely ballad "Breathe Me In" celebrating the forthcoming royal wedding. Listen for strong Sarah Brightman allusions in Kempe's version of David Gray's1999 ballad "This Year's Love" in a higher key. Sara's voice is certain to attract significant interest from classical crossover enthusiasts.

(24 April 2011) Laura Jansen's 2009 ten-track album Bells (Decca Records (USA), B0015281-02, 2009) has been released in North America. The stunning 30-something Dutch-American singer songwriter relocated to Los Angeles at age 23 about ten years ago. She released her work on two six-track EPs, one entitled "Trauma" in 2007, and the other with entitled "Single Girl" in 2009. The two EPs were released as together Bells earlier in Holland. In March 2011, the album was released in the USA. The singer is known for the crystalline clarity of her voice, tender ballads and catchy pop-oriented songs.

Bells, according to the artist's own biography, is a dreamy collection of piano-driven alt-pop songs. The album has already gone platinum in Holland, propelled by "Single Girls" and a stunning cover of Kings of Leon's "Use Somebody," which spent more than a year lodged in the Top 10 on the Dutch singles chart. In the USA, Jansen is a fixture in the constellation of artists associated with Los Angeles nightclub The Hotel Café—a musical haven, creative incubator, and ultimately, national launching pad for such confessional-minded artists as Sara Bareilles, Priscilla Ahn, and Joshua Radin, whom Jansen toured with in 2008 and will hit the road with again in 2011.

From her online biography, Laura was born in Breda, Holland, to a Dutch father and an American mother, Jansen began playing piano at age five while the family lived in Brussels, followed by Zurich and Connecticut. "Because of all the moving we did, the piano has always been my constant," she says. Jansen fell in love with classical music, Queen, Joni Mitchell, Barbra Streisand, and the Brazilian protest music her mother loved. In high school, she sang in the choir and performed in musicals. Passionate about politics, Jansen worked at the UN in Geneva and studied political science in college, but backed away after a good friend, a human-rights activist, was killed in Africa. "It made me not want to return to that world because it felt futile," she says, "and music was my solace; the place I went when I didn't understand the world."

Laura spent two years at a music conservatory in Holland, and earned valuable performing experience as a wedding singer, before transferring to Boston’s renowned Berklee College of Music with a scholarship. After graduating, she made good on a long-held fantasy of moving to Nashville to become a songwriter, but froze from intimidation once she got there. "I ended up working in retail and waiting on women like Emmylou Harris and Patty Griffin and wishing I could say something to them," she says. "I couldn’t find my voice." She clearly found her voice for the two EPs that led to Bells and its European and American releases.

The album opens with a torch ballad sung as a gently performed pop number called "The End." The lovely melody showcases the crystalline texture of her voice and backing harmonies add depth. Light arrangements perfectly showcase the singer's talent. The title track is more sparsely arranged and brings Laura's evocative voice to the fore clearly highlighting her virtuosity. It is clear why the tender ballad "Single Girls" was featured on Laura's recent EP. She sings the lyrics over a percussive piano melody that is joined by lovely string washes.

The playful, ragtime-esque "Wicked World" urges listeners to uncurl from the fetal position, grab some friends, and go have some fun. "That song is about how it's time to go out and meet some men. It’s time to do some drinking, because being depressed is getting old," Jansen says. "It came out of the realization that little girls are raised on fairy tales. We are expected to be married and have babies. Those rules do not apply where I live. LA is its own little circus." On "The End," Jansen comes to terms with a relationship's conclusion by realizing that there’s no blame to be placed. "It's when you finally say, 'We can't fix this. We're just going around in circles and I need peace," she says. "I sing that song with a smile, because the turmoil is over."

The highly memorable ballad "Perfect" features Jansen's voice at its clearest atop gentle arrangements. In contrast, on the catchy pop sound of "Soljah" is reminscent vocally and stylistically of Theresa Andersson's earlier work. Laura's album continues to build strength with softly arranged ballads with her cover of "Use Somebody." "Come To Me" is a light Sunday morning coffee house number also sung breezily atop light pop arrangements. Butterfly Boucher (Conjure One) adds harmony vocals.

Laura Jansen (vocals, piano, mellotron, glockenspiel, keyboard) is joined on the six tracks "Single Girl," "Perfect," "Come To Me," "The End," "Wicked Wind," and "Use Somebody" by: Ben Peeler (guitars, lap and pedal steel, mandolin, guzheng); Blair Sinta (drums, percussion); Bill Lefler (guitars, banjo, percussion, keys, programming); Butterfly Boucher (vocals on "Come To Me"); Gary Brothers (vocals on "Perfect" and "Come To Me"); Jittekke (cello); Jon Titterington (trumpet); Joseph Karnes (bass); and Jason Kanakis (guitars). On Solijah, "Elijah," "Signal" and "Bells", Laura (vocals, piano, keyboard) is joined by: Joel Shearer (guitar); Ben Peeler (lap steel and guitar on "Elijah"); Joseph Karnes (bass); Stephen Nistor (drums) and Bill Lefler (drums, percussion, keyboards and programming).

"Elijah" is clearly the album's standout track. An upbeat and powerful pop-oriented song, it illlustrates the power of Laura Jansen's solo voice atop thicker arrangements and is joined choir textures. The album concludes with the whispy ballad "Signal" complete with Morse code-sounding effects joining Laura's singing and gentle piano arrangement.

While Laura Jansen's EPs provided an appetizer for her American audiences, her debut album Bells has arrived. Clearly Laura is a singer songwriter with a bright future and her 2011 tour will serve to introduce her work to a broader audience than she has achieved in Los Angeles.

(16 April 2011) Siobhán Owen is a seventeen-year old Celtic/Classical singer and harp player. She was born in Wales with Welsh and Irish heritage. Classically trained, Siobhán turns her crystalline soprano voice and delicate harp playing to a repertoire of traditional Celtic songs. She has already recorded three albums, won classical and folk awards and has played at major festivals. Today based in Ausralia, Siobhán is a truly enchanting performer. We received her second album, a self-released sixteen-track collection entitled Celestial Echoes (9 3299535 007171, 2009) recorded when the artist was just fifteen, for review in mid-2010.

From her website, Siobhán has been singing since she was very young. At nin years old, She did her first major solo performance in a Riverdance style show called Shades of Green which toured South Australia. She recorded her first album With Love From Siobhán when ten years old as a gift for family and friends. When Siobhán was twelve she performed at the Adelaide Festival Theatre, singing the beautiful Irish traditional "My Lagan Love." Siobhan has been won many local Eisteddfods and competitions since her first in 2003.

Siobhán has also recently been training in classical music. Over the last few years Siobhán has given five solo lunch hour recitals. Within the long list of awards at the artist's website, readers will note that she won the 2008 AMEB Grade 5 Singing Prize, and was invited to sing at the 2009 AMEB "High Achievers' Concert" after earning a High Distinction for her Grade Six Singing Exam. She also won the 2009 Adelaide Eisteddfod "Junior Vocal Championship". Siobhán completed a Diploma of Classical Music (Voice) at Adelaide University's Elder Conservatorium in 2010, and is now studying towards a Bachelor of Music Education in classical voice.

Siobhán is credited with the vocal and harp performance on the album. She is ably assisted by Malcolm Day on piano and thoughtfully credits vocal coach Norma Knight. The album was recorded by Gabriel Agostino at Chapel Line Studos and mastered by Neville Clark at Disk-Edits Audio and Mastering.

While some consider her a classical crossover artist, Siobhán's second album includes vocal numbers performed in two more classically-oriented styles. Her album is certain to draw significant interest from fans of traditional Irish folk music. Many of the tracks are gentle folk songs sung atop the harp that she also plays. The remainder are classical standards performed with piano, or piano and harp arrangements.

Siobhán's classical standards illustrate the artist's education and include stunning renditions of "Pie Jesu," (incredible!) "Ave Maria" and "Der Nussbaum." The two most notable folk numbers on the album are the Welsh "Ar Hyd y Nos" and traditional Irish "She Moved Through The Fair" and "Down By The Sally Gardens." In addition to these traditional numbers, Siobhán's outstanding vocal performances of "Twilight Fancies," "A Fairy's Love Song" and a great rendition of of Rolf Loveland's (Secret Garden) "Nocturne" also grace the compact disc. The album concludes with a brilliant performance of the hymn "We'll Keep A Welcome" sung atop piano.

Siobhán Owen's new 2010 album Lilium is certain to demonstrate the artist's continued growth since her 2009 release reviewed here. Clearly a young woman with a bright future in classical and Celtic voice, her crystalline voice and harp playing clearly set her apart. We can't wait to hear more from this exciting Australia-based vocalist.

(23 April 2010) Ashelyn Summers is a twenty four year old singer / songwriter from Orange County, California. In the run up to the completion of her debut album, Key To My Heart (2011), she has systematically released the first eleven tracks to internet audiences worldwide making the audio available online in a broad range of formats. She has also released the tracks, several alternative mixes, karaoke versions and bonus songs through the iTunes store and her own website. With photographer and graphic artist Marissa Grigonis, she has also released cover artwork for each of the individual tracks as well. Vocally the singer has been compared favorable to Amy Lee of Evanescence.

Ashelyn's website is a tremendous source for her fans that includes audio, lyrics, credits and dozens of photos of the stunning artist. Her album will be released in May 2011. In the run up to the release, her single "Willful Amnesia" brought widespread acclaim and finished fifth in the June 2010 Female Singer/Songwriter Contest at OurStage. Ashelyn and her design team have established excellent graphic consistency across the website that flows seamlessly into the new album's artwork as well.

The Key To My Heart package includes a lovely 52-page full color booklet, a CD with all twelve tracks and a second CD with instrumental versions of them as well. The artist also plans to release a songbook with sheet music for the piano, coincident with the album's release. Ashelyn deserves significant compliments from her audience and the industry for making a bold move to include a comprehensive booklet that includes more than 24 photographs, all lyrics and track by track credits for her work. The initiative to release a songbook of piano sheet music simultaneously with the recordings is a superb initiative certain to make Key To My Heart an album that not only establishes Ashelyn as an emerging singer songwriter, but one with the chops to go the distance in a very competitive industry.

The twelve tracks on Key To My Heart deliver an album with a running time of about 50 minutes. Singing, songwriting, arrangements and production are stunning in every possible respect. The recording, mixing and mastering by Mike Troolines at Sound Asylum in Santa Ana, Californiahas been tuned to showcase the artist's voice while paying equal tribute to the range of musicians that contributed arrangements that back Asehlyn's crystalline vocals. She is supported by an excellent lineup of musicians, including two pianists: Jennifer Takahashi and Jervy Hou; a string quartet: Hiro Goto (violin), Hiro Goto (viola), Irina Chirkova (cello), and Dave Stone (bass); and a rock band: Mick Taras (guitar), Drew Allsbrook (bass guitar), and John Ferraro (percussion).

The running order of the album's tracks differs from the sequence that they appeared on Ashelyn's website since June 2010. The first half of the album builds with evermore powerful rock numbers, passes through a section of tender ballads and then adds power during the last few tracks. Key To My Heart opens with "Masquerade," Ashelyn's voice soaring initially atop a light piano melody. Enter strings and thicker arrangements that are unable to overpower the lead singer's power, even in the rousing chorus. The "Broken Man" ballad begins similarly with even deeper string arrangements and further highlights Ashelyn's vocal range. Rocking electric guitar adds further depth to the contrasting chorus.

Ashelyn's album continues to develop with the metal-edged rock number "Now Or Never" where the strong Evanescence allusions made elsewhere in the media are most likely found. And in a similar vein, Key To My Heart continues to build the album's sound in the stadium rocker "Russian Roulette," certain to be one of the artist's outstanding live tracks. Vast guitar excursions from the start as well as strong rhythm guitar work contribute to the strength of "Puppet Master." In addition to the thick rock arrangements, pay close attention to this singer's tremendous power!

Listeners will be astounded by the contrast between the sung part during instrumental gaps and the thick guitar-based arrangements during portions of "Ambiguous Mess." That the producers were able to showcase Ashelyn's voice without multitracking is a testament to the singer's power and the album's excellent mixing. There are however sparse backing harmonies that add great texture in the track.

The power in the rock tracks of the album is balanced with Ashelyn's ballads. "Angel" is performed as a break midway sung atop a piano melody and light string washes, an outstanding number serving to further highlight the virtuousity of the singer's talent. Another ballad is the starkly yet beautifully arranged "Willful Amnesia," a track that brought significant critical acclaim to Ashelyn in the run up to her album's release. Drama builds with her vocal power delivering the lyrical message atop piano and gentle strings.

Yet another one of the album's ballads, "The Prayer" is performed stunningly with the lightest arrangement of the album, sung atop piano joinwd by cello and bass. "One" continues in a similar vein, the singer's voice gliding above the piano as strings gracefully join the mix. Power continues to build when percussion is added.

The album builds towards its conclusion in the penultimate track "Sunday Morning." While the song begins evocatively sung soaring well above the lone piano, arrangements begin to build strength in the run up to and during the chorus. Backing harmonies add great texture to the track as well. The singer's newest track, "Home," concludes her debut album. Highly accessible with an especially memorable chorus, the gentle rock number features Ashelyn's stunning lead and backing vocals against a gently rocking guitar-based arrangement.

Ashelyn Summers, her accompanying musicians and her producers have created a wonderful album spanning a broad range of the singer songwriter genre touching on folk, rock, pop and country. Consequently the album is destined to have extremely broad appeal when entering the market this May. Ten tracks are available as singles at amazon.com as digital downloads. It is a stunning album.