New Age composer and keyboardist Øystein Sevåg was born in Norway in 1957, beginning piano lessons at age five. As a teen he played bass in a rock band but returned to his classical roots in time to study piano, flute and composition at the Music Conservatory of Oslo; by the 1980s, however, Sevåg had become fascinated by the possibilities offered by the development of the synthesizer, and he plunged into electronic music with his self-released 1989 debut LP "Close Your Eyes and See". The product of five years in the studio, the album slowly crept into Billboard's New Age charts, and it landed Sevåg on the Windham Hill label to issue the follow-up, 1993's "Link"…
As per its title, that means I Raised A Monvmentvm More Lasting Than Bronze, the possibly final chapter of TRP saga is an instrumental concept album about the end of the roman empire and the awareness that "non omnis moriar", not all dies as the roman heritage keeps on showing in Europe, Asia and Africa. 57 minutes of instrumental progressive rock in 13 tracks.
Vincenzo Ricca, Steve Hackett, Nick Magnus, David Jackson, John Hackett, David Cross.
This double-disc set might seem to be an item for Baroque specialists only, but general listeners should sample it as well; it's quite lovely, and its history has a labor-of-love aspect that comes through in the playing by Norwegian harpsichordist Ketil Haugsand, a specialist in the music of Jean-Baptiste Forqueray. He built the harpsichord himself and finally managed to record these pieces after several false starts.
The cover of every CIMP CD contains a “statement of purpose” describing the imprint’s m.o. and including the mandate, “Give [the disc] your undivided attention and it will reward you. CIMP records are not intended to be background music.” These words should be kept in mind, especially while listening to Ancestral Link Hotel’s 21-minute title track. Byard Lancaster begins with a chant and a wail, pulls out the Afro flute for some quick runs and eventually picks up his alto. Drummer Harold E. Smith starts on conch shell and didgeridoo. Two bassists, Bert Harris and Ed Crockett, provide spare but percussive drones that come and go as needed. Anyone expecting “something to happen” misses the point. Anyone listening closely will be swept up by the organic flow of the music.
After decades of recording for RCA Victor, Atkins switched labels; this 1985 effort is a summit meeting of sorts with young guitar hotshots like Larry Carlton, George Benson, Mark Knopfler, Steve Lukather, and Earl Klugh, plus session A-teamers like Boots Randolph, Larrie Londin, David Hungate, Mark O'Connor and others. Atkins' tone is, as usual, faultless, and his playing superb. If the "meetings" don't always come off, it's usually due to the overzealousness of the other guitar players (Lukather's over-the-top style screams '80s big hair, for instance), not Chet, whose playing always exercises the utmost in restraint in every situation. All in all, a good modern-day Chet Atkins album, but not the place to start a collection.