PHIL FEATHER & MARILYN HARRIS: Winds On Ivory

Phil Feather & Marilyn Harris

Winds On Ivory

© 2003 Wrightwood Records (761701152121)

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Over an hour of various exotic woodwind & acoustic piano music for meditation and relaxation - tranquil and soothing - perfect for massage, nature walks, deep breathing.

notes

Improvisatory flights of fancy inspired this hour-plus CD of meditation/relaxation music, which features solo woodwind and acoustic piano, with added nature ambience, vocal sounds, light percussion, and 'cello.

Phil Feather performs both jazz and classical music on all woodwinds except bassoon. In demand as a Los Angeles session player, he's recorded with Doc Severinson, Linda Ronstadt and Chicago, among many others. His scoring credits include MATCHSTICK MEN, THE MAN ON THE MOON, SWEET HOME ALABAMA and numerous television shows. In live performance, Mr. Feather has backed such legends as Frank Sinatra, Johnny Mathis, Tony Bennett, George Burns and Bob Hope. Currently professor of oboe at CalState L.A., Mr. Feather is playing some of his more exotic woodwind instruments on this CD: Alto Flute, Oboe d'Amour, Bass Clarinet, Native American Flute, Boxwood Penny Whistle and Tenor Recorder.

Wrightwood Records recording artist MARILYN HARRIS saved her allowance for 5 years to buy her first piano at the age of 10. Since then she's worked with Bette Midler, Jim Brickman, countless jazz luminaries, Vegas acts, new age and cabaret artists, among others. WINDS ON IVORY follows up her recent successful CD release KOTO KEYS. Read about and hear more of her music at her website: www.marilynharris.com

Tastefully adding special touches, producer Mark Wolfram completes the picture to take the listener to another level of consciousness. It's impossible to stay tense or worried listening to this recording!

reviews

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  • Winds on Ivory
    author: Colette Cadwell

    What an awesome duo. Phil excels an every instrument he plays on this CD. It is a true pleasure to listen to.

  • Serene - One of the loveliest and prettiest albums I heard last year
    author: Bill Binkelman

    Following hot on the heels of her previous collaboration with koto player Mara Purl (the superb Koto Keys), pianist Marilyn Harris joins up with yet another consummate musical professional (wind instrumentalist Phil Feather) on Winds on Ivory, a recording that is in the much the same vein as Koto Keys, but is also completely different as far as its literal sound. What I mean by all that is that, like Koto Keys, Winds on Ivory is a serene and peace-inducing album, full of meadering yet purposeful musical improvisations, conveying a flowing, almost stream-like, sense of slow movement that is one hundred percent unforced and completely natural. It’s a damn amazing album, to be honest. How Harris finds a way to make music so beautiful and so naturally calming, yet so devoid of cliché, maudlin faux sentimentality, or new age glitziness or superficiality is beyond me. To do this twice in one year on two different albums featuring two different accompanists (and who play such different instruments) is quite the achievement. Once again, as he did on Koto Keys, Mark Wolfram handled production, mixing, mastering duties as well as playing some keyboards (mostly sampled instruments used for sparse coloring effect of subtle accompaniment to one or the other lead instrument). This guy can really mix an album. There are some nature sounds scattered here and there and the amount and their placement in the mix is textbook - I mean it is flawless. Trust me, if Winds on Ivory were released on a major label, it would be HUGE! Ah, the pitfalls of being an independent musician. Owing to the assortment of wind instruments that Feather plays on the CD’s ten tracks, the songs themselves vary more than you’d expect them to, but the overall “feel” of the album is not just coherent but works almost on the level of long-form ambient. Weird, huh? As she did on Koto Keys, Harris shows remarkable technique in her control of shading and nuance, playing in a sparse and minimal style yet also filling her notes with feeling and grace. Another similarity to her previous collaboration is her unselfish attitude and the way that her and Feather frequently share the spotlight, playing with each other, instead of trading off solos. I would have to say it is this aspect of the music that makes it so enjoyable and also so unique. Don’t bother asking which are my favorite songs on the album. It’d be like deciding between lobster, crab, shrimp or scallops for yours truly (I love ‘em all!). However, from a purely subjective viewpoint, I like the sound of Feather’s oboe d’amour (“Reverie” and “Sanctuary”) and his bass clarinet (“Sky Blue Waters” and “Quiet Forest”) best, although the man is no slouch on alto flute, Native American flute, pennywhistle or recorder, either. This is among the loveliest and prettiest albums I heard last year. Between Wolfram’s layering of nature sounds (along with his other instruments), Feather’s soulful wind instrument playing, and Harris’ evocative piano work, Winds on Ivory is ideal music for late night relaxation, as accompaniment to massage, or you could just sit quietly and drink it in while savoring a glass of wine, a cup of tea or whatever suits your “down time.” I suspect that if you are seeking a few moments of peace and serenity, you will find that this CD will more than satisfy you. I give it my highest recommendation, especially for those who like their acoustic instrumental music draped in true gentility and filled with a deep sense of calm.

  • Really has a handle on the genre
    author: CLH

    The mood stays the same throughout, and a person could use it for quiet background music, meditation, relaxation, even romance. Solid musicianship, with enough variety and musical integrity to keep it from getting boring.

  • This is lovely!
    author: Shea Breaux Wells

    I gave a massage yesterday with [Winds On Ivory], and it was very calming...good for smoothing out rough edges. The piano/bass clarinet combo on 'Sky Blue Waters' has a nice, earthy quality to it that is very grounding. I love how the open chords on 'Native Heartbeat' create a space for the flute to dance. This seems to be one of Marilyn's most effective piano playing methods. I think we all need space to hear, and she certainly allows it with her playing, while simultaneously sculpting that space! 'Canyon Cry' keeps subtly shifting the tonality, keeps me on a journey. 'Citadel' is hauntingly beautiful, makes me think of a windswept cloudy day in a remote spot. 'Renewal' is just plain gorgeous. I will play this at the day spa I work at!"

  • peaceful is the word that comes to mind again and again...
    author: ELH

    Peace blossomed inside me with the first song and grew with each new melody. Without trying, visions of spring meadows and rippling brooks sprang into my mind. In only an hour, listening to this terrific CD creates a weekend away from it all!

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