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Artist: Tony O'Connor Reviews:
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Inspired by and drawing influence from the (at the time) impending release of Peter Jackson's incredible film treatment of Tolkien's Fellowship of the Ring/Lord of the Rings, Tony O'Connor has released an album of dramatic, visual, and cinematic music, filled with moments of elation, triumph, despair, mystery, and romance. The music on Hall of Beginnings certainly mirrors the emotions elicited by Jackson's superb interpretation of Tolkien's literary masterpiece. Whether O'Connor's worldwide fans (who have embraced Tony's wonderful new age music recordings) will find they can resonate equally as well to the overtly "soundtrack" approach (repeated musical themes played on different instruments throughout the recordings) and the occasional high drama of this exciting album remains to be seen. Personally, while it did take me several playings before I embraced what Tony was trying to do, I am now a big fan of this album. Hall of Beginnings is masterfully composed, performed and recorded. There is true and unmistakable majesty in the refrain of the opening title track. You can palpably sense an adventure in the offing as the (synthesized) orchestra swells and the timpani beat out their crescendo. Honestly, it's damn hard to believe that there isn't a real orchestra playing on this recording. It sure sounds like the real thing most of the time (maybe all of the time, in fact). "Wind Seeker" marks a completely different approach musically, as Tony uses a wooden flute and synth-harp (or real harp, perhaps) to lend the song a medieval feel - the music is both romantic and forlorn. Tony's technical proficiency with wind instruments is showcased on this and several other cuts on the album, as well as his solid engineering and production savvy. Hall of Beginnings is an extremely well-recorded album (as are all of this artist's recordings). Bringing even more of a "movie" feel to the album is the inclusion of some sound effects scattered throughout the recording, including sounds that bring to mind life in a medieval village or castle. Do they work for or against the music? That's up to the listener I suppose. They are non-intrusive most of the time, so don't be dissuaded by my mention of them. Since there are only seven tracks on the CD, you can correctly deduce that the music has plenty of time to stretch out and develop on most songs, such as the two-part "A Blessing - The Battle" (sound effects on this track include a horse's hooves clip-clopping in a castle courtyard, church bells pealing, a raven cawing, and monks singing a [Latin?] hymn). It's fairly obvious that there is likely a literal story to the music on Hall of Beginnings, but as if to really drive this point home, Tony has done something unique and highly creative. The CD itself is packaged in a DVD-style case and instead of the normal liner notes, there is a small booklet of fantasy art included inside (the art is quite well-done, I might add, by artist Dmitry Savinoff). The overall effect is undeniable - Tony intends for the music and artwork to inspire the listener to create a "movie" in your mind as the music plays. Besides the wooden flute and his usual arsenal of keyboards, Tony also plays guitar, piano, harp, percussion and his trademark electric woodwinds. As any reader of previous O'Connor recording reviews I have written knows, I consider Tony a consummate musician. On Hall of Beginnings, he flexes his muscles in new and exciting directions. From the achingly sad passage in "A Blessing - the Battle," with plaintive guitar and angelic female vocals, to the almost sorrowful "Lament," graced by some beautiful solo harp work, to the sprightly and fantasy-drenched "Elven Dance," blending fanciful synths, percussion, and electric woodwinds in an intoxicating satyr-like dance of sly mystery, Tony performs in inspired fashion. Whether romantic, majestic, tragic, or celebratory, the music on Hall of Beginnings is truly befitting of knights, dragons, wizards, and brave deeds done on the field of battle. Ambitious, exciting, often quite beautiful, and yet very accessible and (dare I say it) catchy at times, Hall of Beginnings shows that when inspired by something as awesome as Tolkien's Lord of the Rings, Tony O'Connor rises to the occasion and delivers music fit for all of Middle Earth. Delightful and recommended.
The Australian Tony O'Connor, that brilliant composer of warm, friendly, and affirming relaxation music, is one of my true faves. He always delivers great music, peppered with signature touches yet different enough to never be repetitious. On Under Southern Skies, his latest release, he really hits the ground running, so to speak. By infusing his music with a new sense of urgency and more uptempo rhythms, along with some new melodic directions, he's hit another high. God bless 'im! The opening cut, "Southern Skies," begins with an almost spacemusic intro, but soon develops into a medium fast tempo (with cool thumpy bass notes!) fully orchestrated number with a great dramatic refrain; it's almost anthem-like. Crescendos of strings and timpani are positively joyous. Tony's piano carries the lead line over a whole string section (really just Tony on his arsenal of keyboards, of course). This is grand music - full of life and happiness and a sense of adventure in the classic sense. I could easily see this used as the accompaniment to an excellent travel video, the camera soaring and gliding over waterfalls, forests, coastlines - you name it. Things slow down on " Twilight," a slower-paced and more romantic number. Picking out "instruments" on this album could be a full-time job because there's a lot here to "hear." Per the liner notes, Tony plays piano, four different brands of synths/sampler, two kinds of electric woodwinds (one of his real masterful instruments) as well as guitars, bass, and percussion. Tell me this guy ain't talented! And he does it all with tons of style and grace. Returning to the music, "Twilight" is a soft song featuring harp, strings, and oboe, I think (or is that a French horn?). On the next cut, " Spirit of Capricorn," we're into a faster tempo again, led by bongos or some other kind of hand drum, with the melody carried by acoustic guitar and electric guitar. This piece has a tropical feel, a little like Govi's music but less exotic and more laid back, despite the ass-shakin' rhythm that kicks in later in the song. The nature-sound-enhanced "Chase the Sun" is funkified with heavy synth bass beats and a swirling didgeridoo, courtesy of Matt James. Synth bells and piano share the limelight from a melodic standpoint and do so in a cheery but never sappy way. This one really put a smile on my face. The didge, expertly played by Matt, is used more as coloring so don't be put off by my mention of it if it's not one of your favorite instruments. I think even non-fans will like how it sounds here. Tasteful electric guitar licks enter the song and trade lead lines with the piano later on, adding a certain breezy jazziness to the cut. Other songs include the sweet and slightly sad "Wishing Star," which is vintage Tony O'Connor to my ears - so pleasing to my heart and soul - and the lively "Earth Bound," featuring great hand percussion and a silky woodwind lead that soars and sways. The latter cut truly cooks, but in such a wistful way that you're not really aware just how fast a tempo the song is in until you really listen to it. The rhythms are played against a lush layer of synths and this is another number with a strong visual/cinematic feel to it. The quasi-bluesy "Silent Vigil" features piano and Chaquico-ish guitar. It's a supremely pretty yet quite mournful ballad that's laced with regret even though musically it's exquisite. The final song is a reprise of the first cut, this time done with a more insistent bass line. Synth choruses elevate the song into something almost ethereal at times. As the song progresses to the finish, the beat gets more and more thumping, the piano plays the refrain louder, and basically the album races to a true climax. Strings soar, timpani crash, and by the gods, it's like an adrenaline rush of emotion! What a closing number! I only wish it didn't fade out; I would have preferred a legitimate final crescendo. But that's my only reservation about this CD. Tony O'Connor deserves a much bigger audience in my native country of the USA. I don't know why he isn't consistently on the NAV charts and selling in the stores over here. This man is flat out a great composer and about as talented a multi-instrumentalist as exists today in contemporary music. Fans of Ciani, Yanni, Spheeris, and other similar artists need to listen to this CD. It's meticulously recorded, filled with great melodies and catchy rhythms, and so damn sincere that you can't help but be spellbound. Tony, my man, you done good - real good!
Tony O'Connor is one of the real masters of music for relaxation. His recordings are like sonic canvases on which soft and comforting music is painted. That may sound like hyperbole or dross, but I assure you, it's neither. He has released several albums all at once in a "re-launching" of his label, Studio Horizon Productions. All of them are excellent. Here are two that I recommend. Whispering Sea is a warm and melodic voyage into dreamland. If this isn't ideal massage music, I don't know what is. The discrete use of nature sounds (the nature of which should be obvious from the CD's title) add to the ambiance of the CD. The instrumentation consists of keyboards, flutes, acoustic guitar, and wind instruments. The songs flow easily, one from the other, yet can be quite dissimilar. The opener, "Whispering Sea," uses gently swelling synths, woodwinds, and synth bell-like tones to create a peaceful rocking piece. "Cool Water" is more reflective, anchored by piano that is plaintive but never really sad. "Sunrise" is dramatic without being the least bit bombastic. And so it goes on with four more songs. This music is a stroll down a beach at sunset, an afternoon in the sun watching the waves roll in, or simply laying on the sand watching the night stars blink on. But, however you describe it, it's bliss. Awakenings is a totally different type of album. Since it has its roots in the new age concept of balancing one's chakras (energy centers) through the application of music, the music itself has a specific aim. I can't evaluate the success or failure of this, as I don't practice this form of meditation. However, I can state that the music on -Awakenings is a relaxing blend of semi-minimalistic textures (featuring piano and keyboards), interlaced with very subdued didgeridoo (used more as a trance-inducing aid than as a lead instrument). In addition, Tony also uses various reed and wind instruments on some cuts. The overall effect is somewhat like Whispering Sea, except that the music here is less romantic, less warm, yet still quite positive in feel and mood. Melodic style is much less structured, yet this is not random noodling, either. The music (as is Tony's trademark) flows easily from song to song, going from serene to introspective to even a little energetic (barely, though). In the album's liner notes, Tony states that this is the most relaxing piece of work he has ever completed. While I think he has done other recordings equally as relaxing, I can also state that, as I listened to this, I did really start to drift off. Not so much as in fall asleep, but my conscious mind started to retreat somewhere else. The music, especially the wonderfully droning didge at times, seemed to be telling me to relax and breathe deeper. I don't consider the music on Awakenings "new agey" or soporific. Instead, I prefer to look at it as proof that there is something happening here in addition to just peaceful music (which this CD has in abundance). Again, I'm no chakra expert. But, this recording certainly got me to unwind. And that is quite an accomplishment.
Live in Concert is an excellent live album (the available video of the concert&emdash;which I was fortunate to view&emdash;is just as good). Production-wise, it's flawless. The various guest musicians are well-placed in the mix, and the concert/CD has a nice blend of midtempo numbers with more ambient soundscapes. The songs vary from midtempo and lively to calm and refelctive. Since the concert had a backdrop of nature images being projected, there are also some nature sounds (very low-key, though). Tony plays keyboards, guitar, and woodwinds (or, it could be an electric woodwind&emdash;it's hard to tell and the liner notes don't identify it) and is joined by other musicians on guitar, percussion, and didgeridoo. Everyone meshes well, as they should in a concert setting. Tony mixes up his keyboards enough to avoid the CD sounding monochromatic. His woodwind playing is graceful and flowing. I'd hazard a guess that, like Yanni, Suzanne Ciani, and Chris Spheeris, Tony is a romantic at heart. Also like those artists, he is an accomplished musician, as well. Tony's music is intimate and reflective and I think that's his greatest talent. Live in Concert is not just a good live album, but a good album period. The video is nice, too. So, Tony, when ya comin' to America, mate?
Like a refreshing shower in June, listening to this great assortment of songs (played mostly on acoustic piano and acoustic guitar, with some keyboards and EWI used discretely) is almost cleansing in its peacefulness and warmth. With its subtle environmental sounds (of rain and water, of course), Summer Rain is as good a recording of this type as I have heard in a very long while. In fact, despite this being nothing like Kevin Kendle's work from a musical standpoint, this recording affects me the same way&emdash;I feel my cares start to melt and I just relax into my own thoughts. When I listened to this one afternoon in our sunroom, I almost gave up listening to the rest of the review CDs I had set aside. I just wanted to stay in this wonderful mood I found myself in. The first song, "Castle of Dreams" features lovely piano and guitar each taking turns, sometimes alone, sometimes together, with a gently rolling refrain. "Follow You" starts off with wind chimes, the sound of rain falling and some animal noises&emdash;all very well done, too. Tony (the keyboard player of the two&emdash;Paul is the guitarist) then enters with a softly-played piano melody. The music is not syrupy in the least, probably owing both to the composition and Tony's obvious sincerity in his playing. Synth strings are used to add a touch of wistfulness to the song and, while strings can easily be overdone, I think that Tony does an excellent job in keeping things just on the edge of melodrama. Whether the songs feature just Paul on guitar, Tony on piano, or both of them, Summer Rain is a delight for people who like peaceful and warm music. Unless you need an abundance of electronics in your music to help you relax, I think this one is a keeper. Between the piano and electric oboe of "Hello Old Friend," which is bittersweet and touching, or the album closer, "Raindancing," with guitar, electric oboe, and synths, the musicianship is without fault. Playing this CD, I felt like a good friend had settled in the chair next to me and his presence brought much warmth to the room. If you have any romanticism in you, I think you will like this one&emdash;a lot. |
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