| | Michael Gulezian Language Of The Flame CD Michael Gulezian Discography of CDs
 (2 Customer Reviews)
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Praised and embraced by the irreplaceable guitar legend John Fahey, Michael Gulezian was signed to Fahey's Takoma Records imprint in the late 1970s. His 12-string compositions were given a wider audience and placed him within the pantheon of greats including Leo Kottke, Robbie Basho, and also Fahey. LANGUAGE OF THE FLAME's guitar sound is amplified acoustic, full of slides and exquisite detail. In the starts and stops, the sound recedes into the body of the guitar only to reawaken in stunningly beautiful sequences with harmonic sparkle. "The Room of Doom" has great emotional range as Gulezian is able to release expansive moods. "Oh Suzannah" uses vocals to put a twist on the familiar tune. "All We'll Never Be" is a breathtaking arrangement with a poignant melody and full-bodied depth of sound. All the songs on LANGUAGE OF THE FLAME mesh together effortlessly, forming a completely resonant singularity, not merely a solo finger-picking record.
Michael Gulezian is a highly acclaimed solo acoustic guitarist who is a phenomenal technician of the fretboard. "Language Of The Flame" is a landmark for the genre of the solo acoustic guitar, a work of striking originality and stunning emotional depth.
Solo perfomer: Michael Gulezian (acoustic guitar).
Personnel: Michael Gulezian (vocals, guitar); Jared Tyler (dobro); Jack Dwosh (charango); Derek Jones (upright bass); Tom Roady, Andy Behrens (percussion).
Recording information: Amerisound Studios, Columbus, OH; Sound Wave Studios, Nashville, TN.
Photographers: Bruce Schockett; Randi Anglin.
Translator: Daniel Ladinsky.
Arranger: Michael Gulezian. Language Of The Flame Music | List Price | $15.97 (You save $3.88) | | Category | Rock/Pop Albums, Jazz CDs, Folk, Instrumental, New Age | | Label | Timberline | | Orig Year | 2001 | | All Time Sales Rank |  161794  | | CD Universe Part number | 2804520 | | Discs | 1 | | Release Date | Jan 21, 2003 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Danny Green; Richard Adler | | Personnel | Tom Roady, Derek Jones, Andy Behrens, Jared Tyler, Michael Gulezian, Jack Dwosh |
Michael Gulezian Language Of The Flame Songs | 1. | "I'm No Seismologist, " Chortled the Metrognome |
| 2. | Little Meggie |
| 3. | Undo the Buncombe |
| 4. | Room of Doom, The |
| 5. | Oh Suzannah |
| 6. | Jello Moves |
| 7. | My Trampoline Heart |
| 8. | All We'll Never Be |
| 9. | Michael Hedges Goes to Heaven |
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Language Of The Flame Music Review Average Rating: (5 out of 5 stars)  best solo guitar recording I've ever heard
in the guitar world, the really innovative work being done today is not in electric music, but in the acoustic realm. and the best solo acoustic guitarist i have ever heard is Michael Gulezian.
amazing technique, but even more amazing expressiveness. great sound, great recording, great sonic texture to the six and twelve string guitars. sophisticated compositions, where the melodies are not so obvious as much as they're implied.
becomes more and more rewarding with each listen.
incredible guitarist, musician, artist. incredible recording
Submitted by Jake (Austin, Texas)
Was This Review Helpful? Yes No completely off the scale of greatness
Along with "Oracle" and "Aerial Boundaries" by Michael Hedges, and "Six and Twelve String Guitar" by Leo Kottke, this relatively unknown CD ranks IMHO among the best acoustic guitar recordings of all time.
Anyone expecting to hear acoustic guitar folkie music will be stunned - most of these songs knocked me against the wall. "The Room of Doom" is insane. "Michael Hedges Goes to Heaven" is incredible. There are some slower, prettier pieces as well, and they are BEAUTIFUL, but mostly this is ultra high octane guitar, from an artist at the peak of his powers.
Highest rating, highest recommendation.
Submitted by Gary Valerno (Seattle, WA)
Was This Review Helpful? Yes No | Have you heard this album? |  |
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Prelude was a successful match of McDuff's small-combo organ jazz with big band arrangements by Benny Golson. In part, that was because the blend was well-executed, never fighting with or drowning out McDuff's organ. But it was also because the mixture made it stand out amidst the scads of organ jazz records being churned out in the early '60s. While a very young George Benson was in the core quartet on guitar, a dozen others supplemented the players, including trumpets, trombones, French horns, and saxophones. McDuff wrote about half the material, and while Golson was responsible for just one number, it's the standout title track, "Prelude." That nine-minute piece moves from an opening of almost classical orchestrated grand solemnity to a slow-bopping section dwelling on McDuff's mourning organ. Nothing else on the album matches it, but the rest is pretty good, sometimes leading off with other Golson orchestrations; Benson gets a chance to steal the solo spotlight for a bit in "Dig Cousin Will." The 2003 CD reissue of the album more than doubles its length with 11 bonus tracks, all taken from 1964-1966 sessions (originally released on five different LPs) which were either arranged and conducted by Golson, or featured Benny Golson's Big Band as players. ~ Richie Unterberger
Though the first nine tracks of this CD duplicate McDuff's original Prelude LP (recorded in December 1963), this expanded reissue more than doubles its length with 11 bonus tracks. All of the bonus cuts are taken from 1964-1966 sessions (originally released on five different LPs) which were either arranged and conducted by Benny Golson (who also arranged and conducted on the Prelude album), or featured the Benny Golson Quartet as players. Prelude itself was a successful match of McDuff's small-combo organ-jazz with big band arrangements by Benny Golson. In part that was because the blend was well-executed, never fighting with or drowning out McDuff's organ. But also it was because the mixture made it stand out amidst the scads of ...
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