Contemporary Instrumental Review and Interview: Darlene Koldenhoven-A Grand Memoir

Release Date: August 7, 2026

Label: TimeArt Recordings

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Darlene Koldenhoven delivers a profound testament to exceptional musicianship with A Grand Memoir, a solo piano recording that serves as a companion to her book Put Your Dress Down and Sing.

To coincide with her book Put Your Dress Down and Sing, a memoir, Darlene Koldenhoven is releasing a recording titled A Grand Memoir as a companion to that book.

Darlene’s career spans several decades as a singer, songwriter, musician, actor, and workshop leader in spiritual healing. Her accolades and accomplishments over the years are too many to count.

Sometimes, the most beautiful and expressive music can come from one instrument, and the piano is one of those instruments that creates the purest setting for that. It is, in fact, like a book taking you page by page through the life of one person.

“Love and Devotion” begins this life account and journey with Darlene behind the acoustic piano. An instrument she is very familiar with. I anticipated a lot of emotion flowing through her fingers. The melody immediately pulls you in as the notes enter your space and consciousness, and the track’s title unfolds note by note. This is beauty and feeling captured in the perfection of music.

“Impressions” begins, and my first thought is “artwork,” impressionism. However, in this context, I believe the artist refers to impressions of people she has known and loved over the years, starting with family and extending into her professional life. The piano’s keys are lilting and elegant, sounding like what a ballerina would look like sweeping across the floor with grace and conviction of the art form. Towards the end of the track, the keys undergo a profound shift, with multiple keys sounding as if two people were playing together; it’s quite impressive. An arpeggio, with the volume up a notch for emphasis.

“Lilac Tears” is simplistic in form and executed precisely to give definition to the pain being felt, but some of that is softened by the flower. I heard classical influences and a strong sense of drama being felt throughout this more mellow track. It is mellower for a reason, and the approach is pragmatic to form the story, so you feel the emotion involved.

“Wright’s Romanza” begins like a slow dance with a purpose in mind. The melody is sublime, and the sounds will enrich your environment wherever you listen. Towards the back end of the composition, she moves those keys so fast, it’s a thing of beauty and eloquence, and a musician or listener would appreciate it.

“Caprice” is romanticism set to music for my ears; however, the meaning of the word has different implications. It is a decision made on impulse, for instance, and when there is a transition around midway, you can hear that loveliness of the keys change in a sidestep that captures the word “impulse” because the change is sudden. It is a brief change, then she returns to the more fluid notes we are now accustomed to hearing.

“Jacaranda Joy” is a reference to the absolute beauty of the jacaranda flower. Jacaranda is a genus of 49 species of flowering plants in the family Bignoniaceae. Assuming that is what this song is about, you must picture the flower, a delicate, colorful, and fragrant living thing that brings so much joy to people. The track’s tempo is measured and slower, fully capturing the artist’s love for this subject matter. The music blooms and thrives as any healthy plant would.

“Le Petit Carrousel” is an amusement park in France. I felt a sense of sadness in this track, but a certain beauty and innocence also came through. I think this was a special place held in the artist’s heart, with wonderful memories attached. That touch of sadness I felt could be the absence of that location and time in her life, which she now misses. The piano’s keys sound like tears of joy and a long look back at a younger, happier day, but a gratefulness for the memory.

“Winter in Vienna” is a definitive time and a strong memory for the artist. I heard a song with a purpose, meant to take her time to look back, as the keys seem to sing the unspoken words. It felt like a long stroll filled with emotions and reflection. An experience to relive a moment in time held close to the heart. Its sheer beauty and eloquence paint the scenery on the canvas of your soul.

“Gentle Song” is to emphasize the “gentle” touch we all need at times in our lives. The warm embrace of a loved one, the handshake of a friend, the reassuring nod of the head. All the songs that life can sing, there is emotion and depth to it, and you can feel that in the music here. The pace is easy, and the notes of the piano resonate and echo through your consciousness like a gentle invitation to a better place.

“Flying With Kites” is something we all should do more of. It can take you back to being a child and, as an adult, serve as a symbol of freedom as you watch the object float in the air and reach higher into the sky as you continue to add balls of string. I can remember one instance of doing that with the boys from the neighborhood and getting a kite to go as far as possible while buying up all the string from the corner store to advance its flight, something so simple and such a wonderful carefree memory that brought us all so much joy and wonder for one day. The track title sparked that memory, and the piano brought it back to life, bringing a smile to my heart.

This is indeed A Grand Memoir from start to finish—a profound testament to both exceptional musicianship and the transformative power of music itself. This is solo piano work extraordinaire that cannot be missed, performed with technical mastery and emotional depth that elevates each composition beyond mere notes into lived experience. 

Darlene Koldenhoven’s virtuosic command of her instrument serves a higher purpose: to chronicle a life’s journey through sound, making each memory, emotion, and moment resonate with universal meaning. These classical-influenced contemporary instrumentals transcend mere entertainment, becoming an essential soundtrack for a lifetime, speaking to the human condition itself. Music matters because it captures what words cannot: the essence of a life fully lived. When you are done listening, you don’t just feel as if you have lived it; you understand why these stories, these memories, and this artistry must be preserved and celebrated.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

May 11, 2026

📜 FROM THE VAULT New Age-Contemporary Review: Darlene Koldenhoven-Traveling the Blissful Highway

Originally Published: August 2022

Tracks:

01. Love and Devotion 4:34 D

02. Impressions 4:22  Eb

03. Lilac Tears 4:47 F#m

04. Wright’s Romanza  3:32  C (Improvisation)

05. Caprice :41 D Dorian

06. Jacaranda Joy  3:43 G

07. Le Petite Carrousel 4:48 Ab

08. Winter in Vienna 4:13 Bbm

09. Gentle Song 4:39  F

10. Flying with Kites 3:51 B

Contemporary Instrumental Review: Jennifer Bellor-Catching Clouds

Artist: Jennifer Bellor

Title: Catching Clouds

          Release Date: April 17, 2026

                                                             Album/Website

"In Catching Clouds, Jennifer Bellor masterfully bridges her deep classical roots with the fluid spontaneity of jazz. From the immediate, magical pull of the piano to the progressive fusion of the saxophone and bowed vibraphone, this album is more than a recording—it is a vivid narrative of sound and color. Bellor and her ensemble have crafted a contemporary masterwork that feels as much like an unfolding stage play as it does a sophisticated musical suite."

Jennifer Bellor holds degrees from Eastman School of Music (PhD), Syracuse University (MM), and Cornell University (BA). She is Assistant Professor of Music Composition at the University of Nevada, Las Vegas, where she is Artistic Director of the contemporary music series, Nextet.

Her sixth recording is Catching Clouds.

As “Cloudbreak” begins, there is an immediacy in the music; your attention is brought to it instantly. The piano sounds magical and inviting, and as the music unfolds, it feels like you are joining the story being told. The added elements to Jennifer’s lovely piano notes add another layer. I felt the drama of the music as the clouds in my mind broke apart and drifted off. The classical foundation of this music and the transitory nature of clouds are mirrored by the music.

“Serpentine Arroyo” begins with a clarinet and piano joining forces. Its length is second only to the closing track at 7:48. The track title suggests a pattern and movement, and as you listen, that is exactly what takes shape. The Spanish word arroyo means brook or is described as a dry watercourse that fills after sufficient rain. So, there you have the merging of the two words. The water moves and traverses the land, and if you look at it flowing from above, it certainly can look like a snake. The vibraphone also has a role in this composition, tying into the piano’s movements and changes. As the composition builds, it sounds like a beautiful orchestra of sound and color. The dry course cut out by the previous flow of water is the empty space now filled with music, which is symbolically the rain.

“Cirrus” is the shortest track at 2:57. I thought it was interesting how it was placed after the complexity of the previous track and run time. Its gentle notes glide off Jennifer’s fingers as if to say, “It’s a short intermission for reflection before going back into a more complex composition once again.” Its poignancy is not overlooked, and its importance cannot be overstated.

“Effervescence” lives up to its name at the outset, as the clarinet sounds joyful and the vibraphone is heard in the background with gentle tones, then comes in with more emphasis, however gently as it progresses. This interplay focuses only on these two instruments as the piano takes a breather before returning. This was a big step in a different direction, offering the listener a different view of Bryan Conger (clarinet) and James Doyle (vibraphone) and their capabilities.

“Querencia” is a metaphysical concept in Spanish. The term comes from the Spanish verb "querer," which means to want, to desire, and to love. This is another lengthy exercise in musical adaptations. What I felt was the drama of a stage play or opera unfolding. The piano, clarinet, and vibraphone merge into one continuous flow of imagery and conception within your mind’s eye. The beauty and mystery presented in the music capture one’s imagination. There is an underlying sexual tension coalescing, as the track’s title suggests.

With “Cloudline,” once again, the music shifts, and this time, Shawna Pennock and the alto saxophone make their presence known. The entire mood and atmosphere take another turn as the flavors of jazz take hold and the elements of classical dissolve. Also, the “bowed” vibraphone, which produces an entirely different sound that you have not heard, weaves in and out of the sax notes. As the song moves along, it feels more like progressive jazz fusion than a straightforward jazz track. My thoughts turned to what Miles Davis did in his electric years.

“Volutus” returns with the solo piano taking the spotlight, albeit for a shorter run, but with a flowing, gorgeous melody and an intermittent, powerful bass note for a darker texture.  Short and sweet yet powerful and beautifully executed.

“Drift Into Midnight” brings back the entrance of the clarinet to the forefront as the piano quietly enters the mix. The vibraphone also comes into focus here, introduced very gently. As the composition progresses, each instrument becomes more prominent in the mix, both in volume and in colorful accents. The clarinet branches off into a solo for a short time, then the vibraphone accentuates that, and the piano has the same effect. I found it compelling how the clarinet took the lead at several points and held its authority throughout.

The title track, “Catching Clouds,” is a marvelous goodbye to the listener, just over eight minutes in length. This is a musical statement from all four positions, creating their own ensemble. The piano is melodious and beautiful as the clarinet and vibraphone play off each other with the precision of two in sync timepieces. After about 3+ minutes, the saxophone arrives with grace and beauty, completing the magic of the entire unit and merging into a sound that would make any orchestra conductor smile from the inside out. All the different aspects of their music fall together, classical and jazz fuse to form a wall of sound and excellence that brings the entire recording to a crescendo of sound and color, fitting their many talents. This is a piece that would be amazing in concert and bring an audience to their feet upon completion.

Catching Clouds stands as a masterwork of contemporary instrumental music, seamlessly rooted in the classical tradition while boldly venturing into jazz. Jennifer Bellor and her ensemble showcase exceptional musicianship, their artistry evident in every moment. Each track is thoughtfully crafted, presenting a unique experience and inviting the listener to discover new layers with every listen.

Credits:

JENNIFER BELLOR, Piano

BRYAN CONGER, Clarinet

SHAWNA PENNOCK, Alto Saxophone

JAMES DOYLE, Vibraphone

Keith “MuzikMan” Hannaleck-NAMR Founder

May 5, 2026

📜 FROM THE VAULT Contemporary Instrumental Review: Michele McLaughlin -The Little Things

Originally Published: March 2026

Tracks: 

1. Cloudbreak (James Doyle and Jennifer Bellor)

2. Serpentine Arroyo (Bryan Conger, James Doyle, and Jennifer Bellor) 

3. Cirrus (Jennifer Bellor, piano improvisation)

4. Effervescence (Bryan Conger and James Doyle) 

5. Querencia (James Doyle, Bryan Conger, and Jennifer Bellor)

6. Cloudline (Shawna Pennock and James Doyle)

7. Volutus (Jennifer Bellor)

8. Drift Into Midnight (Bryan Conger, James Doyle, and Jennifer Bellor)  

9. Catching Clouds (Bryan Conger, Shawna Pennock, James Doyle, and Jennifer Bellor

Contemporary Instrumental-New Age-Jazz-Country Review and Interview: Lynn Patrick -Water Stones

 Release Date: October 25, 2025

Label: Dakota Ridge Records

Website

Guitarist Lynn Patrick chose the title of her most recent release, Water Stones, as a metaphor for resilience and transformation. Just as water smooths stone, she sees life’s challenges as experiences that shape the heart toward peace and compassion.

Interpreting that kind of thought process or belief into sounds that please the mind, body, and spirit has always fascinated me as a listener. That feeling and sense of connection are quintessential reasons why I love instrumental music.

“Surfing Lu Lu” starts off with soft acoustic picking and tasty rhythms, set to a bright tempo. The sounds flow with a light ambiance, flavored with smooth jazz that floats seamlessly through the air. A lovely way to get you into your mental “comfy chair.”

“Made Your Escape” keeps the flow going with a different pace and layers of six-string beauty. The lead guitar blends pleasantly with the rhythm lines. Elements of jazz and new age music converge to create an inviting and positive atmosphere throughout the piece.

“When You Find What You’re Looking For” continues with uplifting sounds as the guitar and mandolin create a union that feels meant to be. The rhythms remain toe-tapping, and the consistent flow and approach of these compositions are simply a delight for the senses. Precision guitar lines enhance jazz and new-age inflections with perfection.

“Breezy Sassafras” feels like a soft breeze blowing over your face. Sailing on the ocean on a bright summer day came to mind. As you move through each track, you hear many genres merge into a cohesive sound. I heard blues (with the poignant guitar leads) and jazz on this track, with an underlying new-age approach.  

“Unknown Changes” has a down-to-earth folk-country base, with subdued yet effective lead notes that are bright and perfectly placed between the rhythms. Although it seems unrelated to the track title, it summons up thoughts of riding across open plains as the sunset drops over the horizon, with the sound of a galloping horse in the background. Good music evokes these images in your mind’s eye.

“Water Stones” is soft and warm, flowing like a clear, running stream of consciousness. The acoustic picking is extraordinary and moving, like water over stones, leaving an impression over time and through consistency.

“Love Is Here” is the longest track at 4:14, which feels appropriate given its title. Coming from a place of the heart is the true nature of mankind. Here, music offers a new perspective on life and fosters gratitude for the loved ones in our lives. The rhythm layers are excellent, and the lead guitar fits in elegantly. Like brushstrokes on an empty canvas, the notes flow with ease, engaging the listener in a relaxed, introspective state.

“So Unexpected” maintains the main purpose of this music, with subtle and tasteful improvisation on the guitar strings, while the bass holds its place firmly, providing a strong foundation for the other elements to stretch out and capture your imagination. Beautifully executed.

“Homecoming” has a positive connotation, and here the mandolin returns to add a distinct flavor that only this instrument can offer. At 2:45, one of the shorter tracks accomplishes everything it needs within that time frame. Stringed instruments can be soft and inviting yet burn with passion regardless of volume.

“Finish Line” has a clear country timbre, with the violin playing its part and the guitar and mandolin exchanging pleasantries. The track moves briskly while still inviting relaxation. The gentle touch is the hallmark of this music, and that is what anyone who appreciates good instrumental music will recognize.

“Labyrinth Sun” is a lovely acoustic guitar instrumental that brings total focus to that one instrument and the artist’s complete command of it. This is the epitome of folk acoustic heaven.

“Guitar Dance” completes this instrumental cruise across the strings. At 2:16, its brevity offers one last glimpse of how impactful an instrument can be, regardless of how long it is played. The composition is compact and serves as an effective way to close things out.

Water Stones showcases Lynn Patrick’s diverse picking style on acoustic guitar and her ability to punctuate strong, resonant leads between and over the rhythms. I seldom get the opportunity to hear guitar instrumentals like this, and I enjoyed each track greatly.

Credits:

Lynn Patrick – Guitars, Producer, Recording & Editing

Dave Beegle – Lead Guitar, Mixing

Silas Herman – Mandolin

Eric Thorin – Upright & Electric Bass

Sandra Wong – Violin

Enion Pelton – Guest Violin

Christian Teele – Percussion

Tracks:

01. Surfing Lu Lu [3:03]

02. Made Your Escape [2:49]

03. When You Find What You’re Looking For [3:19]

04. Breezy Sassafras [3:54]

05. Unknown Changes [3:37]

06. Water Stones [2:55]

07. Love Is Here [4:14]

08. So Unexpected [4:09]

09. Homecoming [2:45]

10. Finish Line [3:28]

11. Labyrinth Sun [3:01]

12. Guitar Dance [2:16]

Keith “MuzikMan” Hannaleck-NAMR Review Founder

January 7, 2026

Contemporary Instrumental Review: John Otott - Invictus (Classical)

Release Date: July 10, 2025

Label: Independent

Website

It’s been eleven years since I explored John Otott’s Colors. I anticipated a distinct experience with Invictus, and I was not disappointed.

Before listening, keep in mind that Invictus is a short poem about overcoming adversity and self-mastery, written by the British poet William Ernest Henley in 1875.

“A Warrior’s Song” begins this new journey with orchestral arrangements and a cinematic soundscape, featuring rising tempos and wordless vocals. We are off to an exciting and colorful start!

“Giuseppi’s Dream” begins softly, then builds like the previous track, engaging your senses and creating an atmosphere that feels authentic and deeply emotional. The piano’s beauty is not overshadowed here; it is enhanced with uplifting orchestrations and powerful percussive elements.

“Invictus” maintains the continuity of emotion and music, shaping a soundtrack that becomes a picture in your mind. The piano takes the lead right from the start, with higher tones and textures, as the orchestrations are melodious and energetic. As the composition progresses, it becomes more layered and complex. For a title track, the expectations are high and easily met on this masterpiece.

“Into Dark Into Light” is a journey of transition, and it is indeed transitory. For music to capture the essence of that human condition, it must move constantly and change quickly, and it does. The piano takes center stage in leading the orchestral maneuvers. Wordless vocals are interjected once again for more emotion and substance. This is drama set to music, a captivating experience.

“Highlands Rhapsody” immediately sounds like classical-based piano interplay. Its beauty is perfection in notes that effortlessly float into your space and consciousness. The tempo is fast-paced and colorful, upholding the standard set in the previous tracks, with some excellent orchestrations that find a distinct place within the composition while enhancing the solo piano runs—a gorgeous soundtrack with melodicism and an enduring foundation in classical music.

“The Storyteller’s Journey” is the perfect title for music like this. The emotion and skillful musicianship administered in every track, and here, bring any story to life. Things start at a slower tempo and then gently move into a higher tempo, accompanied by a layer of synths that adds an orchestral, dramatic touch. The melody is distinct as the piano keys move with strength and presence, continuing to hold the foundation from which everything else is built.

“A Valentine Waltz” is the dance of the piano keys on your heart. It is the shortest track at 3:44. It captures the essence of the track’s meaning immediately, then builds upon that with short bursts of energy and varying tempos. Music that equals pure love through the keys.

“Call of the Canyons” recalls something organic or the vision of the wonders of nature’s work. The Grand Canyon, with its magnificence and mystery of layers and colors, is what came to me quickly. Being there is something surreal and quite memorable. The music’s sweeping orchestrations and melodies help evoke those memories.

“Remember When” pulls on your heartstrings within seconds. Every listener is different; however, music is universal, and its effects on your being are guaranteed if you look at the meaning of the track title. Reminiscing can vary depending on your age. In my opinion, it can hold happiness and sadness at the same time. That is what music like this does: it moves you emotionally and spiritually. When you hear someone say, “remember when?” that is what the piano and synths are saying loud and clear.

“Dare to Fly” straight away asks you that very question. John Otott is flying high in his music. His compositions ended here; however, what you are hearing—and have listened to—is life in motion, masterfully composed and performed by a talented composer and musician. This is drama and cinema, crafted to engage your mind, spark your imagination, and immerse you in the present.  What a grand finish—a treat for the ears and mind.

Invictus will hold different meanings for many listeners. If you focus on the meaning of the album title or immerse yourself in every track and let the music shape your thoughts and emotions, either way works.

Keith “MuzikMan” Hannaleck-NAMR Review Founder

October 22, 2025

Tracks:

01. A Warrior's Song 4:17

02. Giuseppi's Dream 4:24

03. Invictus 4:15

04. Into Dark Into Light 3:47

05. Highlands Rhapsody 5:43

06. The Storyteller's Journey 4:05

07. A Valentine Waltz 3:44

08. Call of the Canyons 3:53

09. Remember When 4:04

10. Dare to Fly 4:35

Contemporary Instrumental Review: Lynn Tredeau - Time Dances Past

Release Date:  September 26, 2025

Label: Independent

Website

Time Dances Past will be Lynn Tredeau’s eleventh proper recording. I had previously covered Shifting Sands and Fellowship of Solitude. So, it’s been seven years since I had the opportunity to enjoy the solo journeys of this fine artist.

Lynn said it well when discussing the album, noting that Time Dances Past evokes the reality of an unstoppable passage of time and the silent ballet of moments slipping through our lives.

 

The album, comprising thirteen tracks, commences with the enchanting “Her Hands.”  This piece serves as a gentle introduction to solo piano music, creating an atmosphere of tranquility and introspection that is sure to captivate the listener.

 

Instrumental piano music can be moving, and it will engage your senses in so many ways. This one had a hint of sadness around it, yet the pure honesty and beauty of the music stood out to wash away those feelings that surfaced.

 

“Special Wish” continues with the slower tempo and gentle touch on the keyboard. It is similar to a lullaby in its feel and compositional structure. That is my first impression of the music; however, that may not have been the intention of the artist at all. Music such as this is always open to your interpretation.

 

“Small Town Summer” takes on a significantly different aspect of Lynn’s music. I could feel a lot of the “looking back” type of emotion here. Being from a small town myself, I then moved to a city, which was the path I took as a young, restless man. I would eventually return to that small town and live in the house where I grew up. Not everyone gets that kind of opportunity or meaning in their lives, but I did, and so did my children, who grew up in the same house. One song held so much meaning for me, and it made me realize just how fortunate I am.

 

“Thread the Needle” suggests a task that requires intense focus and concentration to complete, but the level of difficulty may not have been anticipated. The analogy of a quarterback completing a pass to an overcrowded defense on its receiver is a good way to put that term. The track took on a more serious tone to emulate that phrase. Even though the shift of thought here changes, the piano remains consistently beautiful and elegant.

 

“Daisies in Her Hair” is the shortest track, clocking in at 2:54. This composition has a light and airy feel about it. A musical poem for a beautiful girl or woman, perhaps? The daisies make the beauty held by that individual even more prolific. Short, sweet, and impactful.

 

“Falling Softly” is something we all would wish to do with an event in life that precipitates some event that involves a fall of some sort.  We all have been there before, and the key is getting back up on our feet again and walking forward. The keystrokes hold a promise or redemption through faith, even though it hurts to move through it all. This one hit my heart and brought tears to my eyes due to personal experiences and challenges I have overcome throughout my life. Still, the excellence of artistry through the piano got me to move on to the next track and feel what I needed to feel.

 

“Socks on Shoes” is a title that made me think of the innocence of a small child. The love behind that thought runs deep and true in my heart. It holds more meaning with each passing year as my children are at the stage in life where they may have their own family. Life is fleeting, and the simplicity of the track’s title is felt as Lynn’s talented fingers paint the picture of these thoughts so beautifully in my mind.

 

“It’s Complicated” says exactly what it means to each listener. People, places, and things that populate our lives can become a long string of knots that need unraveling. Music, however, particularly solo piano, does not have to be complex; it can be straightforward with no frills and can speak to you just as clearly. Life can be as complicated as we make it; the decision is ours to make.

 

“Capture the Breeze” is an excellent title for a song. To capture mother nature with one breath, a glance, a feeling of warmth, is one of the splendors of life we may take for granted. The song makes you think more about what that can mean on any given day. To me, the piano playing made me think this could be a love song, but a different kind of love, not for another person, for life itself. Now that is meaningful.

 

“Wild Horses” couldn’t drag me away. The Rolling Stones song was my initial thought, until the piano started to play. Lynn’s tempo is measured so beautifully in every track, and this is no exception. Her playing is soft and inviting. It’s as if Lynn is evoking a scene through her fingers for each listener. There is nothing gentle about wild horses traversing the land; however, their graceful steps and the strength of their muscles carry them like they are gliding through the air.

 

“When I Dream” can be revealing, magical, and at times mind-boggling to interpret the meaning. They are messages to your soul. The tempo of Lynn’s playing gets you in the right mindset to think about the title of the track and what meanings it may hold for you. We can dream in the day or night, either way, it’s energy pushed out to the universe seeking something. In the same token, it could be innocent thoughts streaming in and out of your consciousness.

 

“One Last Time” is finality. Does it have to be so finite? It depends on your thought process and interpretation. I can view it as a process of feeling or doing something, then moving on to the next level. Of course, the piano intimates some sadness because it’s the end of something, but a new beginning is on the horizon as we “Turn the Page .”

 

What an appropriate title to end an album. After all those emotional journeys I experienced through the piano playing of one person, it’s time for me to “Turn the Page.” And even so, another book awaits to be written by Lynn Tredeau using the piano to tell a story. Such a beautiful song, and the last note played closes the curtain perfectly.

 

All the moments I was reminded of that slipped through my life were my silent ballet, and they left an indelible imprint on my soul. I have the music to thank for that.

Keith “MuzikMan” Hannaleck-NAMR Founder

September 4, 2025

Tracks:

01. Her Hands (3:41)

02. Special Wish (3:17)

03. Small Town Summer (3:15)

04. Thread the Needle (3:06)

05. Daisies in Her Hair (2:54)

06. Falling Softly (3:18)

07. Socks on Shoes (3:21)

08. It’s Complicated (3:24)

09. Capture the Breeze (3:40)

10. Wild Horses (3:18)

11. When I Dream (3:42)

12. One Last Time (3:03)

13. Turn the Page (3:18)

Featured Track: Stephen Peppos-Ballerina

Stephen Peppos’s piano playing is a unique blend of his body, mind, and soul. Having had the privilege to listen to numerous great players over the years, his style stands out as truly exceptional.

Music that resonates with you leaves an indelible mark. If a single track can achieve this, it has succeeded in making a profound impact on you.

Here, you’ll find two distinct versions of the track. One features the piano, while the other is solely strings. Both versions, while individually captivating, offer a unique listening experience.

Stephen’s touch is graceful, precise, and technically sound.

“Ballerina” projects what is intimated on the cover art. The notes float beautifully through the air as a ballerina would, gracing and gliding from one side of the stage to the other. The tracks are picturesque and atmospheric, taking the listener away on a separate journey devoid of distractions.

Stephen’s consistently stand-out recordings will resonate with anyone who enjoys contemporary instrumental-based piano recordings.

Keith “MuzikMan” Hannaleck

August 6, 2025

https://www.stephenpeppos.com/

Stephen has released eight contemporary instrumental albums in the New Age genre. In 2008, Stephen’s debut album "Vertigo" debuted at #3 on the World New Age Top 100 Chart, and his next release, "Follow The Mist," was a 1st round GRAMMY ballot choice for Best New Age Album in 2009. In 2017, his ambient

album "Leaving Terra Firma" was a final ballot choice for the 60th Grammy Awards in the Best New Age Album category. His music has garnished him 6 Telly & Rim Awards. And he received the "Best Instrumental Album-Piano" award from Lifestyle Music Awards for his "Follow The Mist" album. Stephen also spent years playing guitar and keyboards in popular cover bands in the Virginia Beach, VA, resort area and in other East Coast clubs, which garnered him valuable musical experience.

Contemporary Instrumental-New Age Review and Interview: David Franklin-Music for Ketamine

Release Date:  June 20, 2025

Label: Independent

Website

Music for Ketamine is a collection of 13 songs, soundscapes, and a complete sonic journey designed for therapeutic ketamine sessions. Each track, with its unique blend of instruments and sounds, is a testament to the therapeutic potential of music. Created by David Franklin, this album is a memorable auditory trip that offers hope and healing to its listeners.

 

So, what is Ketamine? Ketamine is a medication that comes from a chemical called cyclohexanone. It's mainly used as an anesthetic to make people unconscious during surgeries, but it also has effects that can help with depression and pain relief. Ketamine can create feelings of hallucination, which means it can alter a person's perception of reality. There are two forms of Ketamine, known as S-ketamine and R-ketamine, and both can help treat depression in ways that go beyond just blocking a specific receptor in the brain. Essentially, it’s a versatile drug that can help with different medical issues, including anesthesia and mood disorders.

 

Armed with this knowledge, listening to Music for Ketamine should be enjoyable and self-healing, making it a compelling choice for those seeking therapeutic music.

 

“When Silence Learns to Speak” starts the journey and is the longest track, at 6:12. The piano begins methodically and softly before adding other elements that make up the track. The track sets up the potential listener with a soft bed of sound to fall into a completely relaxed state of consciousness.

 

“Mycelium Highway” is an interesting track title. Knowing what mycelium is will help. Mycelium is a root-like structure of a fungus consisting of a mass of branching, thread-like hyphae. It is the root system of the fungi. Its standard form is branched, slender, entangled, anastomosing, hyaline threads.

 

The track begins with chanting and a slow tempo that builds into a cool groove. Some constant percussion and synth sounds change the entire fabric of the track. It is an ambient meditative music that reminded me of artists like Tangerine Dream or Vangelis. Those comparisons should create enough curiosity to get you to listen.

 

“Everything and Nothing” immediately creates some thoughts—opposites in meaning, yet living in the same universe. Some people have everything and then lose everything; some start with nothing and then have everything. It depends on your own beliefs about what is essential in life. The track has a constant drone-like sound, however pleasant, to focus on, and then birds chirping are added. That combination is hypnotic; if that is the goal, it was accomplished. Swirling sounds like wind and water moving through the synths give it a spacey feel.

 

“Figure Painting” is finger painting taken to another level? Possibly, I suppose. Words can have dual meanings, and it just hit me as a take on finger painting. The piano sounds serious and focused, like an artist creating a painting on a blank canvas. The bass part is played with one hand as the other picks out the delicate patterns (figures) and rhythms (painting) that unite the song. You visualize this in the composition as the piano keys or the imaginary paintbrush create all the music.

 

“Sylver’s Theme” begins with a guitar and flute sound, completely departing from the previous tracks. Its beauty and ambiance immediately strike you. As one of the shorter tracks, it must make that kind of impact and hold you until it closes out. Then it does with the birds chirping, a nice touch.

 

“Carry Wood, Chop Water” segues from the previous track with the birds chirping. This eclectic music continues with the sound of a hand drum and bell tinkling. The inference of the track title is that simplicity and movement equal spirituality and connection. Piano shifts in and out and resonates with the other elements as it builds into a fuller sound. As it nears the end, the percussion strengthens, fades, the piano takes over, and the curtain closes.

 

Ironically, “The Longest Night” is one of the shorter tracks. The sounds differ significantly from what you heard previously, keeping you focused and expecting change. The synths weave in and out, echoing emotion and thoughts. Even though it is night, it is like watching a billowing cloud move across a clear blue sky, then suddenly ending. There is light in the darkness; you need to find it.

 

“FireCat” reaches back to the more synth-driven spacey sounds. The sounds created are like hundreds of crickets together, as the layers of synths provide the vehicle for them to carry their sounds further. Another track with over six minutes of music opens the door to many things. Then you hear frogs. The sounds of nature make that organic connection for you, keeping it real. A clock ticking sound brings us to the end.

 

“Silver Spirit Dancers” begins with a tribal rhythm on percussion and the flute. It calls out to you in a mesmerizing way. The spirit of the music brings out the dancers as they elegantly go in circles around the ceremonial fire. This is another shorter but impactful track.

 

“The Foggiest Idea” is the longest track at 6:30, giving ample space and time for layers of sounds to unfold. As the synth builds, so does the tempo, and there is the sound of a howling wolf. That is what I envisioned and was my first thought when I heard it. Maybe that was my own foggiest idea. The synths create a whooshing, calming sound. Many different sounds and textures populate this track. A significant change happens nearing the end as the electronic synth sounds start with chanting and percussion finish it.

 

I never expected a track named “Finger Painting.” I did not look at the track titles before listening, so it was a pleasant surprise as a follow-up to “Figure Painting.” Figuratively speaking, David’s finger painting is done using the keys he uses for all the sounds. It is 3:26 of perfect piano beauty.

 

“TheLongTale” is spelled that way for a purpose. To simplify, three shorter words are combined; the combination immediately becomes longer, merged into one. He tells the tale at a lower and softer tempo, giving the listener space for thought and reflection. The gentleness and eloquence of the keys bring you peace and enlightenment.

 

“Song for Living” closes the book on this story within the thirteen tracks. It begins with the chirping birds, a sound I know and love once Spring arrives after a long, cold winter. That makes the connection between going out of hibernation and going into a full wake-up mode (winter to spring).

 

Experiencing all the seasons brings more appreciation for the gifts of Mother Nature. David’s piano strokes are measured and beautifully placed. This part of the keyboard reminds you of its versatility as an instrument within an instrument. It sounds like a symphony for my ears, and tracks like this bring that to mind regardless of the tempo. It is a nice way to end this recording. And it ends appropriately with the birds singing their song.

 

Music for Ketamine takes the beauty of the keyboards and integrates it into a healing session of science and helpful chemicals, the suggested path, a process that many people need. That combination of tools is very effective. This is a soundtrack to that process.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 23, 2025

Tracks:

01. When Silence Learns to Speak (6:12)

02. Mycelium Highway (5:30)

03. Everything and Nothing (6:10)

04. Figure Painting (4:56)

05. Sylver’s Theme (2:25)

06. Carry Wood, Chop Water (5:41)

07. The Longest Night (2:49)

08. FireCat (6:10)

09. Silver Spirit Dancers (2:20)

10. The Foggiest Idea (6:30)

11. Finger Painting (3:26)

12. TheLongTale (6:15)

13. Song for Living (6:09)

Fiona Joy Hawkins Review and Interview: When Shadows Talk-Contemporary Instrumental-New Age

Label: Little Hartley Music

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Fiona Joy Hawkins's latest recording, When Shadows Talk, is her eighteenth proper release.

The title, When Shadows Talk, reflects the album's theme, which explores the emotional depth and complexity of human experiences. As Fiona herself says, 'My greatest hope is that my music makes a difference.'

 

I had a detailed overview of what each track meant to the artist, but I decided to listen and respond to what I envisioned in the music. I like to stand by that thought process, as each of us who listens will have a blank canvas to create what the music inspires us to think, feel, and absorb.

 

As the piano began to play its lovely notes in 'Stasis', I was immediately moved by its beauty and intimacy. Fiona's playing is fluid and rhythmic, and I was drawn into the music's stillness, despite its inviting nature. The emotional stimulation and sense of stillness coexisting were a unique experience.

 

"The Ghosts of War Are Marching" seems like an ominous title, and I think this should feel "haunting" with echoing piano keys, which is precisely what it sounds like. The melancholy and realities of war set in and bring my thoughts to my father, who served in WW2. The emotional pain and depth of loss if you are involved in killing another human being must be insurmountable. We all have heard the term "hauntingly beautiful," which perfectly explains this composition.

 

"Lava and Snow" are opposites in temperature and textures, so I wondered how different this track would sound. It starts most beautifully like measured steps down a path to a destination. Gradually, the tempo picks up, and the rhythm and force of the music change, like the flow of lava from an active volcano. However, there is no explosion from the top; it is gradual and consistent, like how Fiona's fingers press the keys. This was like beauty in motion, developed in my mind's eye as the snow cools the molten hot lava, it hardens, and the notes are forever trapped inside you.

 

"Angel's Message" is the longest track at 5:20. It immediately gives recognition to classical influences as I know them. The title indicates one of spirituality and prolific communication to all listeners. I found it very interesting separating her hands on the keys. To me, that is one of the fascinating aspects of the piano and how one person can play two parts and make it one gorgeous symphony of sound. One woman, one piano, and the creation of resonating sounds of piano keys that draw you in, and permanently hit you all at once. I am astounded by her sense of rhythm and the incorporation of different tempos; it's the song within a song.

 

"The Lost Ballerina" is thought-provoking. Interestingly enough, I just went to see the new movie Ballerina last night; however, that is an entirely different setting and story. I heard an infinite sense of rhythm and purpose, with hints of sadness all around the edges of this thing of elegance, telling me the story. The playing is very purposeful, creating imagery from beginning to end. It's gorgeous.

 

"In the Deep" is short at 2:22. The melody emanates an unknown darkness. As the piano chords paint that picture, you feel like falling into it. It feels real, as images of the deep ocean come to mind.

 

"Outside the Circle" can create emotions and thoughts just by the title's implication. A circle is drawn to capture something; boundaries are there, and you may feel trapped and unable to break free. But outside the circle, you are "outside" looking in. You are free, but limitations are imposed because you are not "in" the circle. The piano weaves its tapestry of sound and light, giving more meaning to the track's words. The keys ebb and flow like a river of sound coursing through your soul. Its simple beauty defines the meaning of the words.

 

"Finding the Clearing" is an interesting choice of words after the last track. This would indicate another path, an alternative to any other that allows total and complete freedom. There are no lines in the sand here; you can roam and discover your truth and destiny. Once again, the piano's keys directly reflect that one thought that the title would indicate. It sounds like a waltz or lullaby to soothe those who need that kind of reassurance and calm to get into the clear.

 

"The Mirror" recalls looking into that glass. What do you see beside your image? Do you define yourself by what you see in front of you or what is inside you as a sentient and spiritual human being? The tempo is slow and defined, and meant for you to "reflect" on thoughts that immediately come to mind. Is the mirror inanimate, or are there other people you use for that reflection? Perception is indeed in the eyes of the beholder. I felt a realistic sadness to the track, although its beauty gave me hope.

 

"The Journey" is what you have been on, listening to all this piano-based music. The journey of life and all that enters it is what you are about. The music builds as does your life's journey. This is how the piano's keys speak to you and all your senses. Music can be transitional, and so is life. Fiona's playing is simply extraordinary on this track. The heart and emotion come through clearly.

 

"Hitting the Glass" suggested the term "hitting a glass ceiling" used in conjunction with corporations, where one stops in growth and opportunities, and incites you to begin looking elsewhere for those things. It's short and sweet, and the tone of the keys quickly conveys the message. It is the shortest track at 1:22.

 

"The Brown Bird" begins like a classical masterpiece, with emotion and energy like a bird in flight. Then, with a quick shift down in tempo, it suddenly lands. The music is short-lived, but the image is created with immediacy and stays true to the last note played.

 

When Shadows Talk is a prolific title with music to match. Fiona Joy Hawkins creates an instrumental piano masterwork with 12 thought-provoking, colorful tracks. Her artistry and deeply felt emotions bleed through the keys with a purpose and meaning beyond words.

 

The track titles evoke a thought, and your journey takes different paths as you move through the music. This is a must-listen for anyone who enjoys instrumental music, particularly piano-based music.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 12, 2025

Tracks:

01. Stasis (4:38)

02. The Ghosts of War Are Marching (3:07)

03. Lava and Snow (4:52)

04. Angel’s Message (5:20)

05. The Lost Ballerina (Solo Piano) (3:22) 

06. In the Deep (2:22)

07. Outside the Circle (4:41)

08. Finding the Clearing (3:09)

09. The Mirror (3:14)

10. The Journey (Solo Piano) (5:03)

11. Hitting the Glass (1.26)

12. The Brown Bird (2:30)