Sometimes, a work comes along that is so unique that a review can scarcely communicate the recording's essence. Such is the case with Stan O'Daffer's new release, Sweet.  Sweet is not just a concept album; it is part of an ambitious attempt to unite the written word with music in an exciting way.  It turns out that Stan, a Minneapolis keyboard artist, is also an accomplished writer, as well as a paleontology buff.  So, besides the album Sweet, there is also the book Sweet, due out at about the same time as the CD. 

Sweet is the story of a baby allosaur (named Sweet) who is living during the Jurassic period of prehistory. The album and book detail his travels through his land and time as he is separated from his tribe and must grow up on his own.  Now, you cynics can go right ahead and start chuckling about baby dinosaurs and such. However, by dismissing this CD with such a near-sighted opinion, you will be missing an incredibly varied musical portrait that encompasses such diverse genres as jazz-pop fusion, blistering guitar-oriented rock, piano-based tone poems, and neo-classical adult contemporary.  This complete lack of a single musical motif will undoubtedly throw many people for a loop.  It is to Stan's credit, however, that this vast palette is exactly what his vision called for. 

Joined by capable session players (acoustic guitarist Dean McGraw, electric guitarist and bass player Rik Stirling, fiddle player David Stenshoel, tenor sax player David Marden, trumpet player Tom Beyer, and cellist Tim Perry), O'Daffer has produced a rich sonic story, showcasing his uncommon talent that cuts across many genres.  His piano chops really shine, but it's his composing ability that distinguishes this recording the most.  Musically, here are just a few of the cuts detailed. There is the lush synth and cello opener Dawn, followed by the breezy piano of the jazzy Journey.  This segues into the wah-wah pedal-led rockish Storm of Years.  Still later,
we have the new age-jazz fusion of Gliders (bringing the collaborations of Paul Speer and David Lanz to mind), the smoky slow jazz of Solitude of Silence and the upbeat fun of Hatchlings.  The album closes with the anthem-like Eternity's Tomb which may remind some of you of the prog band The Flock with its use of rock rhythms married with fiddle.

All in all, the scope of this recording is such that, as I said to Stan recently, it's a hard sell to any but the most open-minded.  Jazz fans may be put off by the rock or "new age" textures.  New age music fans might recoil at the outright rock and jazz songs.  And as for ambient lovers, forget it.  But, if your tastes are broad enough and your spirit adventurous enough, the rewards which Sweet offers are many.

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Sweet is a most enchanting excursion into the realm of visual soundscapes for the mind. The adventure rather defies genre classification as it is a soundtrack given to utilization of a broad palette of instrumentation and effects.  Rather likened to a concept album ala' the Alan Parsons Project days of old.  The musicianship, engineering and composition are all world class.  Sweet rocks, is introspective and packed with all of the aural allegories required for a rewarding listening session that takes one upon a magical journey.  
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This is one of the most inspirational and well-thought musical works I have encountered in a long time.  After experiencing the intense artistic quality of the music, I visited Stan's website to learn that the music is only a small part of the work that went into this project.  I highly recommend Sweet to anyone who loves music of any kind.
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