(09 October 2001) Michelle Tumes has returned with anall new album entitled Dream (Sparrow Records (USA), 2001).Fans of the golden-voiced Australian singer may be somewhat suprised by the slightly different approach that Michelle has taken with her third full-length release.

Many of the tracks on her first album Listen weremelodically, vocally, and instrumentally closer in sound to the more ethereal stylings of Máire Brennan and Enya. Michelle's second album, Center of My Universe, (review)saw the artist move in a more pop-friendly direction, while maintaining a hint of otherworldliness.

On Dream Michelle has worked with new producersScott Erickson and Doug Beiden to create a uplifting pop/dance set complete with D.J. scratches (provided by Jesse Shacklock), vocoder emulation (a la Madonna), and orchestra-synth strikes—think Britney Spears'"Baby, One More Time." In addition, the multi-layered harmonic vocal tracking that was so much a part of her first two albums has largely been abandonned for a more distinct and assertive single vocal melodic line.

Fortunately, Michelle Tumes' greatest strength hasalways been her talent for writing exceptionally catchy hooks; and the collection of songs on Dream onceagain reflect that talent. Most of Dreams tentracks fall squarely within the cateogry of pure pop. But, what separates this album from the ubiquitous legion of radio-ready pre-fab cd's currently on the charts is Michelle's skilled singing, personal lyrics, and clever and enlivening arrangements. In truth, alisten to Dream leaves one feeling a little better about the world and everyone living therein.

The opening title track begins with a soothingguitar intro overlayed with children's voices.The serenity of these opening phrases, however, isquickly altered by a break-beat drum track and percolating bass-synth. Michelle's voicings areparticularly soulful and driving. The energetic chorus ultimately makes for a vibrant song that would be well-received on any dance floor. Other tracks like "The Light," and "There Goes My Love" maintain this encouraging, "get out of your seat and dance" vibe.

"One and Only," one of the album's standout tracks,features a hand-clapping gospel choir, tin whistle, racing strings, and wah wah guitars—all to wonderful effect. "Image of" presents a powerful and affirming messageregarding the intrinsic worth of each human being. To her credit, Michelle is able to deliver a relevant spiritual message without sounding preachy or overwrought—not to mention the fact that that message is accompanied by a lovely melody.

The majestic and serene "God of My Hope" is really the only song that recalls the mood of "Listen." Dense, sweeping strings accentuate Michelle's delicate and worshipful voice. Indeed, the highest compliment among those many that might be paid to Michelle Tumes is that she combines real musicianship with sincerity. As a result, her music always manages to be both emotionally and aurally compelling.

It is a pleasure to review Michelle Tumes' latestalbum here. Further information, photographs andsoundbites are available at the artist's website. Order the album from amazon.comhere. Certainly worth a cross country journey,Michelle Tumes' new album is a must listen!--Justin Elswick

(04 October 2001) The latest recording by Cornwall-based Rachel & Common Ground is a six track EP entitled A Blonde Moment (Toll Records (UK) 008, 2001). It follows on the heels of the band's self-titled debut (Toll Records 007, 1999). With influences ranging from folk through progressive celtic, the band is fronted by the stunning crystalline vocal work of Rachel Heffer. Rachel also plays harp and is supported by Chris Lobb (bass), Richard Penrose (keyboards), Pip Harbon and Terry Wallwork. The band have performed at theClassic Rock Society several times and are one of several supportedby the organisation destined for significant success.

In contrast to the band's debut, A Blonde Moment featureslayers of backing harmony vocals and richer arrangements. MusicalDiscoveries' readers will be impressed with the attention paid to the vocals in the mix; clearly a female vocals album, Rachel's voiceis mixed way up. Material ranges from "Journey" a soft acousticballad to the highly accessible opening track "Given Life." Instrumentalsperfactly compliment Rachel's soaring voice in the upbeat yet bluesy "Megan O'Reilly." Similarly complimented by a lovely arrangement and sensitive harp part, "Mice and Men" is a sweetly sung upbeat light rock track.

As with "Given Life," the rocking "Step on Board" is lushly arranged with electronic effects supporting Rachel's soaring leadvocals. The acoustic guitar passages are as notable as the stunning vocals; a small spoken word—almost rap—passage breaksup the two main passages of the song. The EP concludes with thePan Celtic winning folk entry, "Ow Mos Tre" (acousticversion). Lush arrangements back layers of Rachel's sweetlysung Gaelic vocal passages. Certainly worth a long distancejourney, this latest EP from Rachel & Common Ground is a must listen!

The self-titled debut recording from Rachel & Common Ground iscomprised of four well arranged vocal numbers. "Common Ground"is a lovely acoustic ballad dominated by Rachel's sweetly sunglead vocal. A lovely harp part is part of the supporting arrangement. The EP concludes with a Gaelic version of the opening track entitled "Tir Kemmyn." Sandwiched between theversions are "Spirit," a soft acoustic ballad featuring lovelystring parts, and "Take Me Home"—the original and more simply arranged English version of the band's Pan Celtic award winner "Ow Mos Tre." Dominated by Rachel's crystallinevocals the band's self-titled debut is a must listen!

(04 October 2001) The debut solo album from Canadian singersongwriter Camille Miller is a twelve track recording entitled She Knows (Socan (Canada) CMCD2, 2001). Musical Discoveries' readers will recall Camille's contribution to thetrack "Lost" on the Balligomingo EP (review). Visit Camille'swebsite for a complete biographical sketch.

Camille provides lead vocals, guitars, percussion and keyboards tothe project and is supported by her partner Nick Hagar (guitars and keyboards), Douglas Elliott (bass, loops, guitars, vocals, keyboards)Tina Jones (backing vocals, trumpet and percussion, Craig Northly(guitars) and Pat Steward (drums). Camille's vocal work can be mostclosely compared to Maryanne Marino of November Project (now disbanded) and Karin Bergquist of Over The Rhine(review).

She Knows presents a broader perspective of Camille Miller's work than the brief preview found on the Balligomingoalbum. Material ranges from rock-n-roll ("I Always Will," "Dry,""Sugar Mountain," "Intensities") to ballads ("I Love You" and "She Knows") and from the bluesy ("Great Expectations," "Mississippi")to R&B textures ("Bird on a Rooftop," "Soul Feed," "Understand").

The album concludes with the stunning soft rock number "Intensities," where instrumental and vocal arrangements perfectly compliment each other. Clearly worth a journey, especially for those that have enjoyed the work of November Project, Over The Rhine and Balligomingo,Camille's debut album She Knows is a very nice listen!

(04 October 2001) Colette Baron-Reid's second album is an etherealcollection of eleven tracks entitled Magdalene's Garden (EMIMusic (Canada) 7 2435 27813 2 4, 2001). Richly produced by EricRosse, the album clearly features Colette's evocative vocal partsacross a vast range of styles. She is supported by a broad range ofacoustic and electronic arrangements from an equally wide selectionof talented artists.

"Worlds collide on this record: western pop, mixed with hints of trance, dance music, Celtic and middle eastern music, provide the musical backdrop to songs that address love in its deepest forms. Unconditional love, destiny and free will, forgiveness, the sacred and the profane, sensuality and sexuality." Our readers will clearlyhear similarities to Aeone (review)and Mae McKenna (review) when listening to the album.

Vocals have been mixed way up across the album's tracks whereMusical Discoveries readers appreciate them. Layers of harmoniessupport a sensuous and evocative lead vocal track. The album's more ethereal tracks have new age textures supporting Colette's vocals and include the stunning title track and "Fine Line." Thelovely soft rock track "Fine Line" is reminscent of Mae McKenna's work on Nightfallers.

Listeners will delight in the way that different styles have been combined within a track. Examples include the R&B and Indian blends within "Look Around" and the hip-hop / ballad blend of "Wide Open Spaces." A similar but even more upbeat blend is evident in "Forgiven." The contrast between Colette's soaring Sarah Brightman-style lead and the backing vocals is dramatic. The evocatively performed heartfelt ballads "Breath Of You" and "Mercy" must be listened to with headphones to appreciate the producers attention to detail in the arrangements.

Upbeat electronic arrangements add to the pop accessibility andradio friendly sound of the Madonna-style "What You Believe." The lovely contrast between the lead vocal line and the sweet harmony backing vocals is quite remarkable. Lushly arranged, the ballad"State of Grace" is dominated by Colette's strong, almost spokenvocal with sung parts soaring well above the instrumentation. The album concludes with Colette's hearfelt, stunning and vocally intensive interpretation of Neil Young's "Old Man." Certainlyworth a cross-country journey, Colette's album Magdalene'sGarden is a must listen!

(04 October 2001) The second album from Philadelphia-based singersongwriter Mariel is a self-produced twelve track project entitledFragment of a Dream (Aerial Sounds (USA) 1004, 2001). Mariel is one of the few independent artists who has done the almost impossible. She entered the Top 40 Adult Contemporary Chart in the radio trade, New Music Weekly July 2000 with her single, "In Between Days" from her debut CD, The Darkest Angel.

Providing vocals, acoustic guitars, keyboards and programmeing herself,Mariel has received much praise for her crystal clear, sweet, emotional voice. Her lyrics have been called beautiful, introspective, and fearless. She has been compared to classic female singers like Stevie Nicks, Annie Lennox, and Deborah Harry. Mariel’s live performances are said to be warm, endearing, and fun. On the latest album she is joined by Chris Eike (bass), Patrick Van Belle (drums), Chris Mood (electric guitars), Rob Federici (lead guitar on "All My Heart") and Lino (classical guitar, bass and programming on "Love Fades Away").

Fragment of a Dream is comprised of well-produced, catchy, ethereal pop songs. Her voice is well suited to the range of guitar-laced styles included on the recording and is consistently mixed well above the instrumental arrangements. Upbeat tracks ("Cruel Scorpio," "Say What You Mean" and "A Little Soul") generally have a strong hook and feature notable guitar solosin the bridges with Mariel's voice soaring as lead and harmonyvocal lines resume.

Mariel's sweet voice rings through in the album's softer ballads ("Love Fades Away" and "Blind Faith")soaring above the light primarily acoustic instrumental arrangements. More thickly arranged, the soft electronicallyaccompanied ballads ("Do It Again," "All My Heart," "Wish," "Limits" and "Fragments Of A Dream") are evocatively sung with stunning and lush vocal harmonies.

Accompanied by rocking electric guitar, Mariel's soaring crystalline vocals—mixed way way up where Musical Discoveries' readers like them—make "A Little Soul" one of the album's standout tracks. We were reminded immediately of 10,000 Maniacs recordings featuring Mary Ramsey in the catchy, slightly country and western-style tunes ("What I Want" and "Lost My Love").

Mariel's second album Fragments of a Dream is a wonderfulfollowup to her debut The Darkest Angel(orderhere). You can find further information, photos and soundbites at Mariel'swebsite and order the new album fromamazon.comhere. Worth a journey, the Mariel's album is a very nice listen.

(04 October 2001) With three compact discs to her credit, singersongwriter Hannah Fury's first full length album is entitled The Thing That Feels (MellowTraumatic Recordings (USA) MTR002 CD, 2000). Her debut recording, Soul Poison (MTR001 CD, 1998) is a five-track EP; most recently Hannah released a six-track limited edition EP entitled Meathook (MTR003CD, 2001) featuring four all new tracks. Hannah is based in Austin, Texas.

The tracks on Soul Poison are evocatively sung primarily over simple piano arrangements. Although some have compared her work to Tori Amos, Hannah's whispy style reminded us of immediately Xyra & Verborgen (review) by her style. Wrenched with emotion, the singer's talent is immediately evident.

"The Necklace of Marie Antoinette," "Idaho" and "The Last Piece of Cake" are softly sung relatively dark ballads. Occasional vocal harmonies add to the sonic texture. "Scars" is a lovely ballad with elements of "Scarborough Fair" scattered within the lyrics and arrangements. "Eat The Dirt" is more upbeat and lushly arranged with electronic keyboard and piano joined by piano and other effects but not without dark elements as well. The concluding track summarises the other four included withinthe EP.

Thirteen heartfelt vocally strong tracks grace Hannah's album The Thing That Feels. Performed and recorded in a style similarto her debut EP, lead and harmony vocals are primarily accompanied bygentle piano arrangements. Listeners will immediately notice the additional harmony layers that add to the album's acoustic texture.

The Thing That Feels is comprised primarily of dark ballads and the listener must be positively disposed to the style or risk being drawn unwillingly into the melancholy textures within it. A stunning piano instrumental entitled "Of Longing And Otherness" is also included on the album. Hannah's vocal work is full of emotion, tender and sweet and perfectly suits the style of the material.

New tracks on the Meathook EP continue in the same vein asHannah's earlier work; the ballads are dark and sung over lovely pianoarrangements. Vocals have been mixed even further up, well over theinstrumental and individual parts are more clearly defined from oneanother. Immediately evident in the production of "Angels & Absinth"and "The Metro," Hannah's well-produced vocals jump right out of the recording.

We found the artist's interpretations of Abba's "The Winner Takes It All" quite enjoyable with multi-tracked vocal layers workingwell over the light piano arrangement. Hannah also covers "True LoveWill Find You In The End" in with gentle vocals and light pianoaccompanying. Certainly the Meathook EP will delight Hannah'sfollowing.

Hannah's album The Thing That Feels is a lovely followup to her debut Soul Poison. We were provided with lyric sheets for both recordings certainly available for new listeners from her record label. You can find further information, photos and soundbites at Hannah'swebsite and order her album from amazon.comhere. Worth a journey, Hannah's recordings are a nice listen.

(05 October 2001) The latest release from Woodstock, NY-based Bet Williamsis a breezy eleven track collection entitled Rose Tatoo (EpiphanyRecords (USA) 0002 2, 2000). The artist's prior recordings include Elephants and Angels (1990) (orderhere) and Building A Bed (1992)(orderhere). Musical Discoveries' visitors will recall Bet's collaboration on theEpiphany Project album (review).

After developing a cult following at Penn State University in the late 1980's, Bet packed up her poetry degree and a handful of songs to take them on the road. From House of Blues in Los Angeles, to the Bluebird Cafe in Nashville to the Bottom Line in New York City, Bet has shared the stage with a variety of artists including Arlo Guthrie, Joan Osborne, Baba Olatunji and John Gorka.

On Rose Tatoo, Bet provides the vocal talent and acoustic guitar. She is joined by Phil Parlaipano (electric guitar, organ, mellotron), MarkHarris (bass), Steve Theards (drums, loop), Scott Babcock (percussion), BruceWatson (electric guitar) and Robin Moxey (electric guitar) amongst others. Coco Beaujolais provides backing vocals on some of the tracks.

Bet is known to be a passionate and dynamic performer with powerful voice can be earthy one moment and angelic the next. Songs like the bluesy "Killed My Man" and "Blow A Little Smoke" show Bet's humor and strong, soulful style while the highly infectious "OOh La La" and "Welcome To My World" demonstrate her ability to craft powerful rock and roll hooks.

Lightly arranged acoustic ballads like "Rose Tattoo," "California" and "Thunder and Stone" reveal a more sensitive side. The contrasts within "Just Like You" between ballad and gentle rocker certainly make it one of the album's standout tracks. We especially enjoyed the Americanastyle of "Walk Down The Road" and bluesy "Killed My Man" and "WaterUnder The Bridge" not only in contrast to the other tracks on the album but for the stunning vocal work within them. "Mary," a song about a woman panhandling, show Bet's compassion and gift for storytelling.

Musical Discoveries' readers will appreciate the tremendous production qualityof the album and the fact that vocals are mixed way up, well over the instrumentals.However the instrumental arrangements are an equally strong element of the album,sometimes overlooked in a female vocalist's work. This is an album to be savoredand played over and over. As Guitar One magazine put it "She's blessed with all the right stuff; a fantastic voice, a talent for songwriting, good musicianship and a charasmatic stage presence."

Rose Tatoo is certainly an album to delight female vocal enthusiasts,especially those that track Tori Amos and Sheryl Crow to whom Bet has beenfavourably compared. Find out more about the artist at her website and read further reviews, listen to soundbites and order the album from amazon.com here. Certainly worth a cross-country journey, Rose Tatoo is amust listen!

(05 October 2001) The debut album from 19-year old American singer songwriter Lennon Murphy, comprised of twelve primarily metal-edged rock tracks, is entitled 5:30 Saturday Morning (Arista (USA) 07822014669-2, 2001). Lennon clearly has it all—songwriting dexterity, gorgeous voice, looks, and body as well as a polished on-stage persona—as the videos at her website clearly illustrate. Rolling Stone wrote, "Lennon Murphy is every hard-rock-loving dude's wet dream—a voluptuous teenage vixen with a penchant for bawdy lyrics and dark metal riffs."

Ever since Lennon played her first gig—a three hour show at a dingyclub in Hendersonville, Tennessee, when she was only fifteen—she's understood how to raise eyebrows. "I like to say very sexual thingsjust for shock value," she explains. "When I was younger, it was fun to hear whispers around the room like, 'She's fifteen!'."

Until recently Lennon's primary audience—not to mention mentor, collaborator and inspiration—was her mother Kathleen Murphy, anaspiring songwriter. Floored by her daughter's talent, Kathleenassumed a management role, culling players from the Nashville scene,booking gigs and negotiationg with the various record companies,vying for the young artist. Meanwhile Lennon's life was, "School—basically all honours classes—and between homework andtests, I wrote songs and did shows."

Just after she turned 18, Lennon returned home from school tofind her mother dead, apparently from an allergic reaction. Shebecame responsible for her eight-year old sister, Mariella, andsecured a record deal with Arista that helped her prevail over a fierce custody battle with an aunt who had suddenly yang to stepinto their lives.

An accomplished singer and piano player, having studied guitar and saxophone as well, Lennon sings and plays piano on her debut album. She is joined by Scotty Smith, Eli McFadden and Spider (guitars), Kenny Aronoff (drums), Jerry Flowers and Scott Borland (bass). Production credits are split across Jeffrey Pringle, Scotty Smith and others. Signed to Arista, the production quality on Lennon's debut album is simply tremendous. Enthusiasts of Lacuna Coil's Cristina Scabbia (review) are certain to Lennon's debut album.

Tracks on 5:30 Saturday Morning range from typically heavymetal, including occasional 'grunting' ("Property of Goatf***er")to anthemic rockers to gentler and more subtle ballads. Anthems like "Morning" and "I Hear" with their relentless rhythm andlead guitars to love-is-hell pieces such as bleak and trechorous "Brake of Your Car" and "These Days," a storm of menacing guitars, lushkeyboards and monstrous background growls, it is obvious that Lennon is into the hard stuff. Yet she also uncannily mergesthe heavy with the heavenly on "Couldn't Breathe" and weildswhispers on the Fula-like (review)hammering "Trying To Make Me."

"My Beautiful" is especially reminscent of Lacuna Coil withLennon's gorgeous voice in stark contrast to raunchy moderatetempo electric guitar lines while the ballad "Asking You" is one of the most gentle tunes on the album highlighting the artist'smore tender side. Although harder than the Alanis Morissettesong with a similar lyric, "Thank You," is a cross between balladand anthem, sung over richly arranged guitar and percussion.The blend of traditional rock, heavy metal and ballad works extremely well in "Couldn't Breathe." Accompanied only by piano,the title track that brings the project to a conclusion is the gentlest and most sweetly sung of the album.

Clearly one of the best albums by an emerging artist we'veheard this year, Lennon's 5:30 Saturday Morning is onethat will delight Musical Discoveries' readers. Additional biographical information, photos, music samples and video segments are both available at the artist's website. Read further reviews, listen to soundbites and order Lennon's album at amazon.comhere. Clearly an album worth a cross country or perhaps even a trans-Atlantic journey, this one is a must listen!

(05 October 2001) The seven-track debut album from Canadiansinger songwriter Shannon Weir is entitled Nature About You(Socan (Canada) SHAN 002, 2001). The album is dominated byShannon's voice; she also provides piano and organ and is joinedby producer Ian McNally (guitar, mellotron, leslie organ), Andrea Bettger (violin), Alex McMaster (cello), Paul Passmore(bass) and Randy Cooke (drums). The album will almost certainlyappeal to fans of Jennifer Nobel from Grey Eye Glances (review. Unlike most singer songwriter albums of the day, there is no multi-tracking; the listener is treated to Shannon's lead vocal exclusively.

Shannon's voice is sweet and crystalline; songs are sensuallysung over light arrangements with vocals mixed way up. Gentlyrocking tunes compliment the ballads that form the majority ofthe album. "Beach" is a lovely ballad with an arrangement thatbuilds as the song progresses featuring strings and electricguitar underscoring Shannon's soaring vocals. The softly rocking"Catch Me" is one of the most Grey Eye Glances-style tracks onthe album with a catchy chorus.

"Imagine That" is a darker ballad with organ and light percussion providing a backdrop for the sensitively sung vocal line. Violin andcello are the main accompaniment for a lovely ballad "Lunar Eclipse"which effectively blends dark with bright spots to acousticallyillustrate the song's lyrics; vocals are bright throughout, soaringabove the arrangement. The soft rock tunes "Shannon Falls" and "Day and Age" are the album's standout tracks; guitar and piano provide a lovely texture for Shannon's sensitively sung vocals.

The album concludes with "Stop," a lovely pop-oriented piece of electronica full of lush keyboards sharply contrasting the other tunes on the album and demonstrating the artist's range. Certainlyworth a journey, Nature About You is a wonderful introductionto Shannon Weir and a very nice listen!

(12 October 2001) The latest album from RichardWileman, Ileesha Bailey and others performing asKarda Estra is a magnificient seven track epicentitled Even (Cyclops (UK) CYCL 104, 2001).A complete work, similar in some respects to theirearlier works Thirteen From The Twenty Firstand A Winter In Summertime (review), theproject is very soundtrack-oriented; vocals drift in and out introducing or echoing melodies. We remainedimpressed with the songwriting and vocal skills ofthese talented artists.

Writes composer, Richard Wileman, "Eve is inspired by the short novel The Future Eve, written in 1886 by Villiers de L'Isle Adam. It tells the story of the 'world-famed inventor and master electrician Professor X', who creates a 'perfect' mate for his disturbed friend Lord Ewald. The story is full of fantastical descriptions and images - the android ('Andraiad'), the not yet fully formed human potential or spectre that would become her soul and the quasi-scientific apparatus of Professor X."

He continues, "The Future Eve also fondly brought back to mind films like Bride Of Frankenstein and Frankenstein Created Woman which also played a large part in helping me set the scene. I find these kind of 'morality' plays just as relevant and chilling today with the ever-increasing developments in genetic engineering and artificial intelligence. Also, when the creation is female, an added dimension of cruel Pygmalion-like manipulation appears."

Richard Wileman and Ileesha Bailey are joined by Helen Dearnley (violin), Caron Hansford (oboe, cor anglais), Zoe King (flute, alto saxophone, clarinet) and RachelLarken (viola, violin). Recorded at the Twenty Firstand well produced like the earlier Karda Estra albums, the project is highly orchestral, extremely moody and has the soundtrack quality required to capture thecomposer's desired theme.

A continued departure from Richard Wileman's earlier vocally-oriented progressive rock work with Lives and Times, the music is as relaxing as it is insightful. Ileesha's vocals are sweet and melodic—we only wish she had an opportunity to contribute further. Instrumentallycomplex and of epic proportions the album is clearly worth a journey, a very nice listen!

(12 October 2001) The latest album from viruousoVanessa Mae is entitled Subject To Change(EMI Music (UK), 2001). A two-track single of Mae's unique rendition of "White Bird" with the album and analternative mix has been released. Twelve tracks adornthe compact disc and unlike the artist's earlier popand classical releases, this one is full of vocal elements; and they work very well. Both lead and choral sections are highly inspired, well produced and polished to an absolute shine.Vanessa Mae sings in three different languages; her soft whispy voice just adds to the ambience of the music on the stunning "White Bird" as well as on "Love is Only A Game" and "Jamais." World sounds once again enter the mix but theproduction is highly accessible and will certainly haveeven broader appeal than the artist's former projects.The album grows on the listener with repeated listens.

Reviewer Georgina Collins writes, "Vanessa Mae has always described her music as techno-acoustic fusion but Subject to Change explores further than ever before into the techno (or rather not acoustic) aspects of her work. The album finds her teaming up with Killing Joke bass player turned prolific dance producer Youth, her virtuoso playing takes very much a back seat to his sweeping synthesisers and imposing drum machines."

She continues, "... there are plenty of tracks which highlight her skill and the violin-led melodies are as beautiful as they are intricate as on the flamenco tune, "Laughing Buddha". The opening piece "Yantra" is not indicative of the rest of the album. It has a poppy-trance intro which could be mistaken for ATB that would have been quite exciting once upon a time but now sounds a little dated. The production is very slick and has a feel that Mae is getting closer to the sound she is looking for but with patches of tired ideas subduing the innovative moments, Subject to Change has a way to go yet."

The latest album from Vanessa Mae is one to be explored atlength and savored by the educated listener. The artist iscertainly finding her stride. Read further information ather website; orderthe album, listen to soundbites and read further reviews atamazon.comhere. This digest concludes with an album worth a crosscountry or even trans-Atlantic journey; it is a mustlisten!

(01 January 2002) Contributed by SuviKaikkonen: Gabriel Yared has proven his talent forcapturing the beauty of sadness on a recording. His composition for AutumnIn New York (Centropolis / Hollywood Records(USA) HR62280-2, 2000) established Yared as amaster of producing musical accompanimentfor emotional heavy and bittersweet stories.

Unlike The English Patient andThe Talented Mr. Ripley, however,the music for Autumn In New Yorkhas an identifyable and consistent thematicheart. The score, while maneuvering toaccommodate the film's tragic nature, succeeds in illuminating the spark of lifecreated by the romance between the charactersCharlotte and Will. With a jumpy step ofjazz reminicent of Bernstein scores of thepast, Yared portrays a glimpse of springin its opposite season.

The title theme is upbeat and contemporary,with the urban setting accentuated by the performances of a sax and piano throughout.So seldom is a sax used in scores these days that it's refreshing to catch a few performances by one here. The opening titles and character theme which starts the score section of the album use jazz to assis New York City in becoming a three dimensional character all in its own.

Yared employs two key elements that keep the music interesting and listenable on album. First, while an orchestra with decent strings provides needed depth, solo performances by woodwind instruments add a touch of flavour. IN their wandering paths, a true sense of the autumn season is conveyed. On top of the sax, a clarinet and oboe shine in this role. Secondly, Yared enlists the voice of a quickly growing star to perform the elegy theme for the Charlotte character. You will likely recognise the voice of Miriam Stockley from either scores such as Great Expectations or The 10th Kingdom, or the Adiemus album that was featured prominently during Delta Air Lines adverts a few years back.

Her voice, as usual, is haunting in its clarity, and surpasses Yared's use of Sinead O'Connor for "Lullaby for Cain" in The Talented Mr. Ripley. Stockley performs two lyrical passages of about six minutes in total, with a few wordless vocals thrown in near the end of the album. Once again, an album with a Stockley performance can do little wrong.

The album itself is well constructed. An hour in length, it features two songs from the film and two additional songs. The song "Turn This World Around" by Amy Grant, is absent from the album, but featured on the film. Yared's score, however, is extremely listenable in and of itself. Even though it is comprised of over 20 short cues of score, the album's flow is surprisingly easy and quiet. At any rate Gabriel Yared, although a veteran of 25 years in the scoring industry, is continuing to impress audiences with his recent scores for top rate American films.

Read further reviews, listen to soundbites and orderthe album from amazon.comhere. With Miriam Stockley on vocals, this album is worth further exploration and certainly a very nice listen!