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Flomer, John - Of A Stranger Light CD Cover Art CD music music CDs songs album

John Flomer Of A Stranger Light CD

 John Flomer Discography of CDs

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Audio Mixer: Howard Givens.
Arranger: John Flomer's Primal Cinema.New Age Voice (01/03, pp.13-14) - "...With lush and haunting synth strings, Flomer has created epic ambient orchestrations as beds on which to build a set of diverse piano and keyboard layers....One of the best offerings in the ambient genre..."
Of A Stranger Light Music


Detailed Of A Stranger Light Music Information



List Price $8.98 (You save $1.69)
Category Rock/Pop Albums, Jazz CDs, New Age
Label Spotted Peccary Music
Orig Year 2002
All Time Sales Rank   416826  
CD Universe Part number 5060703
Discs 1
Release Date Oct 01, 2002
Studio/Live Studio
Mono/Stereo Stereo
Producer John Flomer
John Flomer Of A Stranger Light Songs


John Flomer Of A Stranger Light Album Track Listing



1.Burning Bush
2.Praying With Fire
3.There Her Forest, These Her Trees
4.Of a Stranger Light
5.To Ponder Many Heavens
6.Auroraflora
7.Aromatic Sand and Stream
8.Mystery of Tea, The
9.Fate of Eden, The
10.Eternal River
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Personnel: Mary Lou Williams (piano); Al Lucas (bass); Jack "The Bear" Parker (drums).
Reissue producer: Matt Walters.
Recorded in 1945. Originally released on Asch (620 & 621). Includes liner notes by Dan Morgenstern and Mary Lou Williams.
Contains 17 tracks, including 6 previously unreleased alternate takes.
Personnel: Mary Lou Williams (piano).
Liner Note Author: Dan Morgenstern.
Recording information: Asch Records Studio, New York, NY (1945).
Knowing the history of groundbreaking jazz pianist Mary Lou Williams' legendary Suite (penned at various times throughout the 1940s) isn't essential to enjoying this new rendering by this quartet led by contemporary piano master Geri Allen (the group also features bassist Buster Williams, a frequent colleague of Williams, who died in 1981). But as chronicled in the fascinating liner notes, the back-story adds texture and perspective to an intriguing series of interpretations of each sign of the zodiac. Williams launched the endeavor with a moody, melancholy play on her own sign, "Taurus," in 1944, followed by the thoughtful and graceful solo piece "Libra," which she dedicated to Dizzy Gillespie, Bud Powell, and Thelonious Monk. Allen expertly conveys the joyful side of the zodiac via playful swing and spirited improvisations on the opening piece "Aries" and "Gemini," one of the most hypnotic and engaging. Individual numbers of the 12-piece "Suite" can be enjoyed as reflections of the development without knowing their astrological reference, but part of the charm is wondering how and why Williams processed certain signs in the unique ways she did. Following the titular suite, Allen and company engage in three epilogue pieces -- Herbie Nichols' seductive "The BeBop Waltz," a frenetic "Intermission," and Allen's own expansive tribute to Williams, "Thank You Madam," which plays like a free-form love letter ...

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Rainbow includes: Joe Lynn Turner (vocals); Ritchie Blackmore (guitar).
Personnel: Joe Lynn Turner (vocals, background vocals); Ritchie Blackmore (guitar); David Rosenthal, Don Airey (keyboards); Bob Rondinelli (drums); Roger Glover (percussion).
Recording information: Sweet Silence Studios, Cophenhagen.
Rainbow ditched vocalist Graham Bonnet after Down to Earth, hiring former Fandango singer Joe Lynn Turner as their frontman. As it turns out, Turner is less hyperbolic than his predecessor, which fits the focused polish of Difficult to Cure. Where Down to Earth was a streamlined version of early Rainbow, Difficult to Cure is a shot at crossover. Problem is, the band never comes up with the right crossover songs. Russ Ballard's "I Surrender" comes close, but much of the record is fairly undistinguished, riding on strident melodies and big riffs that are never quite memorable. It's all given a contemporary sheen, with plenty of studio gloss that now instantly evokes the early '80s. On that level, it's somewhat of an entertaining artifact -- anyone pining for an example of what album-oriented radio sounded like in the pre-MTV years should check this out -- but it's never more than that, since the bids at chart success are only occasionally memorable ("I Surrender," "Magic"). Perhaps Ritchie Blackmore felt stifled by the exacting nature of Difficult to Cure's attempt at crossover -- witness how "Spotlight Kid" veers from a dexterous Blackmore solo to a ridiculous keyboard run, then just verges on collapse -- and that's the reason why each side ends with a pretentious pseudo-classical instrumental that functions as nothing more than a guitar showcase. Certainly, his playing is impeccable, but both numbers are really awkward (particularly the title track, based on Beethoven's Ninth Symphony and with a weirdly synthesized pulse as a rhythmic underpinning) and just highlight the fact that Difficult to Cure would have been better if Blackmore had channeled that energy into the rest of the album. ~ Stephen Thomas Erlewine
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