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Sharlene Wallace "Journey of Shadows"
format: album, released: 1998

review by Karl Mohr


Evidently a big fan of the cold months in Canada, "Journey of Shadows"
is a Celtic harp exposé on the topic of winter and its beauty.
Opening with chimes and monophonic bass syncopation, one is reminded
of new age group Shadowfax. While this album establishes itself from
the onset as a new age recording, Wallace's musicianship and artful
composing decisions consistently remind that the emphasis here is on the
notes issued from Wallace's walnut wood "Celtic 40" and not on shallow
atmospheres or gimmicks sometimes associated with the new age genre and
similar recordings. From the delicate notes of the harp, to support from the
inflections of the guest musicians, meaning, environment and atmosphere
are formed - a cinematic sense with a granite-solid backbone. Wallace's
fascination with Alfredo Rolando Ortiz's compositions adds two lovely South
American pieces to the body which, while masterfully executed, arguably
break the otherwise thematically tight winter motive.

Again produced by Evelyne Datl to great success, the musician line-up
this time: George Koller (double bass), the fabulous Rick Shadrach Lazar
(percussion), Rob Piltch (guitar), Evelyne Datl (piano), Carlos del Junco
(harmonica), and David Travers-Smith (trumpet). This combination of talent
and production really make for a superb and utterly listenable experience.

The harp recording work of David Travers-Smith is perhaps more pop-oriented
and less delicate than that of the previous album's Jacques Poirier who
really nailed the expression and wide image of the instrument, but Travers-Smith
builds a beautiful professional pan-global final mix that brings the ensemble
feel to new heights for Wallace. This is certainly a more commercial recording
than "The Rhyme & The River" (1996), and the decision to re-record two pieces
from the previous album makes for a very solid body of work. The performances
are tightly executed - Wallace seems to have made some massive leaps in her
technique, including her use of swing feel. As an album, the musical ideas
are perfect in their sonic presentation through to the final mix.

With the inclusion of the "Winter Danse", this album becomes a perfect Christmas
or seasonal gift, with heavy emphasis on celebrating the cold months, and enough
warm latin sentiments and lush playing to keep the frostbite away. Also worth
mentioning is the satin slick cover of this album created by the team of Cylia
von Tiedemann, Richard Martin and A Man Called Wrycraft. As suggested by the
visuals, both Wallace and her harp are coated in the same mystical cloth.

Standout tracks: Self-composed "Winter Still", the thematic heart of the
record, is a marvellous composition, performed perfectly. "Cold Frosty Morning"
is a strange combination of traditional Irish lullaby in a teetering swing feel
with jazz elements and is a truly fresh world-fusion sound. Wallace's meditative
"Still Life: Bound Branches" is a delicious piece of jazz-tempered work with
excellent integration of the trumpet in a harp context. "Winter Frieze" in its
newer incarnation with Rick Lazar's tasty percussion is thrilling.