7D Media Presents Solace, a New Ambient Jazz Album by Jonathan Crossley, David Kollar and Lukas Ligeti

Special guest: Arve Henriksen

Watch the video for ’They Are Coming’: https://youtu.be/6xCPODJPi3A

Release date: September 11, 2026 | Cat# 7D2602

Genre: Ambient Jazz

Secondary genres: Electroacoustic improvisation, Experimental jazz, Fourth World / post-Fourth World

Santa Fe, NM — 7D Media is proud to announce Solace, a dynamic new set of wholly improvised works from Jonathan Crossley, David Kollar and Lukas Ligeti. Recorded in June 2024 during an artistic residency at the University of Liverpool, the project captures three singular musical minds in deep, real-time dialogue.

On this recording, the digitally enabled guitar practices of Crossley and Kollar intersect with the polymetric, Africa-inflected drumming of Ligeti, generating environments that move between ambient, pulsating and rhythmically intricate states. Crossley's playing fuses guitar, synthesis and real-time digital control into an expanded, gestural improvisational language, while Kollar treats the guitar as a vehicle for expansive, genre-defying expression, ranging from tonal abstraction to avant-garde interplay. Ligeti's drumming draws on experimental, jazz, contemporary and world traditions, weaving overlapping polyrhythms and cross-cultural influences into a percussive approach that is both grounded and exploratory.

On the title track, Solace, the trio are joined by Arve Henriksen, whose haunting trumpet work paints a picture of melancholy and openness within this improvised setting, adding an expansive, textural dimension that underscores the album's emotional and sonic breadth.

The tracks Solace and They Are Coming are already available for purchase/streaming.

Track Listing
1. Solace (10:04)
2. Interlude (2:16)
3. They Are Coming (6:45)
4. Freedom to Choose (3:28)
5. Imagining Marrakesh (3:47)
6. Games to Play (3:08)
7. You Don't Know What to Do With Your Life (4:11)
8. Coda (8:17)
9. Dub Ephemeral (7:52)

Personnel
Jonathan Crossley – Guitar, Synth-Guitar, Bass
David Kollar – Guitar, Synthesisers
Lukas Ligeti – Drums
Arve Henriksen – Trumpet

Production
Recorded live at the University of Liverpool by Phil Almond-Higgins, 27 and 28 June 2024.
Additional recording by Jonathan Crossley and Arve Henriksen.
Mixed by Jonathan Crossley.
Mastered by Andrew Larrabee.
Artwork and design by Michal Kořán.
Label: 7D Media — 7dmedia.com

To pre-order: https://7dmedia.com/solace

For more information:
https://www.lukasligeti.com/
https://davidkollar.com/home
https://www.jonathancrossley.uk/

Press inquiries: Keith James, Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Asai Kastan Duo Releases New Ambient Jazz Album Earth Travelers

Earth Travelers is a new album by Asai Kastan Duo, consisting of Takeshi Asai on piano and Brian Kastan playing fretless bass. Together, they create an atmosphere of space and texture with an ongoing gentle flow of energy. This album is like waves on the ocean; waves are constantly flowing creating tension and release, as a wave gently rises and breaks then forms another wave. Together, the piano and bass are like the wave as the musical tension and release is an ongoing state of flow.

Earth Travelers offers the listener a chance to take a deep emotional journey and tap into an imaginary world. Earth Travelers covers several musical directions, from ballads, jazz blues, open grooves, short abstract moments, to open ambient spaces.

Released April 23^rd, 2026.

The concept behind Earth Travelers is to create dialogue between acoustic piano and fretless bass. At times the bass plays the melody, sometimes it plays the groove, and vice versa with the piano. Earth Travelers offers a unique sensitive listening experience as the piano and fretless bass keep offering each other new musical ideas to interpret and develop into new energy. Often the album is ambient and mellow, sometimes swinging, sometimes grooving, and anything in between.

Earth Travelers was composed and recorded live at Takeshi Asai studio at DCT productions in New York City.

Asai Kastan Duo tour dates will be announced soon.

Takeshi Asai

Traditional yet modern, lyrical yet dramatic, jazz pianist Takeshi Asai has been a one-of-a-kind voice in New York’s jazz scene for more than ten years. His performance combines the melodic lyricism of Bill Evans with the feverish blues of Thelonious Monk, all enriched by the sophisticated improvisational style and the classical piano roots.

What makes Takeshi Asai’s music unique and aesthetic are his multitude sources of inspiration. He sees beauty in 12th-century French troubadours, Gregorian chants, Baroque and Romantic traditions, 20th-century music (i.e. Janáček, Takemitsu), religious music (Faure, Poulenc), the Beatles, Irish and Japanese folk music, as well as modern electronic music.

Besides his constant club engagements in NYC with talented contemporaries and legends, Takeshi Asai has a hugely successful international career; touring in Poland, UK, France, Germany, Egypt, Japan, South Korea and Australia.

He currently lives in New York, where he runs his own production company.

Brian Kastan

Brian Kastan is a prolific composer and improvisor.

Brian has recorded 100 albums under his Space 2 Groove record label and recorded 11 albums with 5 different Grammy-winning jazz artists such as Mino Cinelu, Rachel Z, Scott Petito, Leo Genovese, and Miles Griffith. Brian has completed European tours with the Brian Kastan Freedom Trio and Transatlantic Concept with Urbuli Baba. Plus, Brian toured in China headlining Lincoln Center Shanghai with the Brian Kastan Quartet.

Brian also has composed soundtracks for TV and Film:

Movie: American Criminal, Blue Lives Matter

TV Show: Hospital Arrest with acclaimed movie & TV director Dylan Bank. Starring Robert Loggia, Jimmie Walker, Martin Kove, Gilbert Gottfried, Michael Winslow, Todd Bridges, Jewels McCollough

Side Projects: Played guitar on Rhys Chatham’s A Crimson Grail (Nonesuch Records), played guitar for MTV Rock the Vote, composed songs with Emmy-nominated composer recording engineer Marc Solomon.

To purchase: https://space2grooverecords2.bandcamp.com/album/earth-travelers

For more information:
https://www.space2grooverecords.com/
https://www.facebook.com/brian.kastan.9
https://www.facebook.com/TakeshiAsaiJazz

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

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

Instrumental Contemporary-Jazz-New Age-Classical Review: Javier Marquez-Momentum

Release Date: March 8, 2024

Label: Independent

Website

Before listening to Javier Marquez's third album, Momentum, I read some information he provided: Momentum could be the perfect showcase of Márquez's universe. Its soundscapes are an excellent place to surrender. And there, Javier surrenders to his feelings and daydreams, often using various wind instruments.

I found the cover art compelling, and it reminded me of the Mott The Hoople album The Hoople. It's a different genre, but there are some similarities and good memories for this music fan.

 

Javier plays the Armenian Duduk, bansuri, oboe, soprano sax, piano, guitars, pan drum, marimba, EWI, synthesizers, and sequencer.

 

"Resilience" starts the recording with atmospheric music and superb vocals from Julie Elven. The Armenian Duduk provides some delicate acoustic picking; the dreamy vocals will have you floating away in no time. Give yourself up to the music, as the artist offers all the sounds to allow you to open that window of opportunity to let go.

 

"Duermevela" begins with a soft and light piano, and a Bansuri (Bamboo flute) induces atmospheric sounds of tones and colors. As the track moves on for over two minutes, it takes on a jazz-world feel, most definitely with the fretless bass lines.

 

"Quietude" fits the title perfectly, with its opening Armenian Duduk taking the lead as the piano stays in the background and then goes to the front with the background of strings to accompany it for an orchestral direction. The track sounds sad around the three-minute mark, and you can feel that emotion in the music's quiet. Relaxing and contemplative, we move on to something different to follow.

 

The title track, "Momentum," begins with operatic vocals. The Armenian Duduk is the lead here again, and Clara Sorace lends her angelic voice to give the track a decidedly heavenly touch of class. At 3:25, it is one of the shortest tracks on the album but leaves an indelible mark on your consciousness. Interestingly, this approach was taken with a strong title for the track.

 

"Balada Das Ondas," which translates to "Ballad of the Waves," is another short-lived track and the shortest at 2:33. The piano and guitar are lovely, with a soft touch that gently and convincingly brings you into the music. Because of the song's length, it must move you instantly, which it did to me. It melts the stress away from your day.

 

"Pulsar" starts very differently than all the other tracks. It is upbeat and free from any expectations from hearing all the previous tracks. In other words, it is as eclectic as the entire album has been; however, the difference between this is that the energy and level of instrumentation go in an entirely different direction. It is hard to define any categorization. However, jazz has influenced it more than any other track, and it is the only track featuring the soprano sax.

 

"When We Leaving Home," as it indicates, would have some strong feelings attached depending on the circumstances of your leaving. Whether for an hour, a day, or permanently, each feeling would have a range of intensity. The Duduk and nylon guitar playing is very laid-back and reflective, and there is a hint of sadness as well. A nice flow and softness invite a listener into the music without a care.

 

“Ephémère,” translated, is ephemeral, fleeting, faddish, and short-lived. It starts with an exciting sound, the pan drum (Javier), with its ringing echoing tones similar to steel drums but much higher and more resonant. It is a stimulating track that picks up in pace with varying degrees of sounds and tones. It almost sounds like two instruments playing at once. It was the most intriguing track on the recording because it was so different, an outlier, compared to all the previous compositions.

 

"Under no Flag" could have many meanings depending on your identity and the possibilities. I will look at it as the artist is under his influence, and no country or flag controls what he creates for his audience to listen to. It ends up being one of the more beautifully constructed tracks with three main instruments converging: the piano, oboe, and acoustic guitar. It was the quiet storm of jazz for my ears and a superb way to close the curtain on this mixture of sounds and textures to engage your consciousness.

 

Momentum is a strong release that showcases diversity and musicianship. The mixture of contemporary, classical, new age, and jazz is a musical patchwork quilt that any discerning music lover can understand and appreciate.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

September 3, 2024

Tracks:

01. Resilience

02. Duermevela

03. Quietude

04. Momentum

05. Balada Das Ondas

06. Pulsar

07. When We Leaving Home

08. Ephémère

09. Under no Flag

Instrumental Jazz-New Age-Ambient Review: UMA-Wishing Well

Release Date: July 16, 2021

Label:  ‎ myndstream

Website: https://www.alekseisaks.com/uma/ 

http://robertjyrjendal.com

UMA are the project of two Estonian musician’s guitarist Robert Jürjendal and trumpet/corno da caccia player Aleksei Saks.

The duo came together at the beginning of 2007. The name UMA comes from the South Estonian Seto dialect and it means ‘own.’

The cover of Wishing Well, their latest release, gives a potential listener a soft and pleasing image before the music starts. Imagery is everything, particularly with instrumental music. Even though most listeners will see their own pictures in their mind’s eye, the soft blue color and singularity of the tree on a hill and its shadow on the ground brings you instant solace. The gentle guitar and horn are all these two gentlemen need to create a delectable array of sounds.

Now the idea from this point is to offer a selection of tracks to take that one image to the next step in the process. This is exactly what Robert and Aleksei do with the offering of 10 beautifully done tracks. The music has many elements that intersect including jazz, smooth jazz, new age, ambient, and all of them blended into each individual track. The combination is very effective and quite pleasant.

As you move from track to track the horn and guitar lead the way as well as the unique corno da caccia which is a piccolo horn. If you have any interest or particularly enjoy any of the genres that are part of this music, you will most definitely appreciate what you hear on Wishing Well.

This is duo is very skilled and precise in their presentation and the flow, overall sound, and engineering values of this recording are superb. Sometimes when you put on certain music, it is exactly what you need to hear. In this case that applied 100% for me on this listen. In fact, I would listen any time of day or evening because this is the kind of music I can appreciate. It is warm, inviting, and most of all, the enjoyment you can obtain from beginning to end is notable.

You can have your own private Wishing Well with a click or the push of a button. As all the wonders of modern technology merge with exceptional musicians, the chances of creating something special are always possible. In this case, it became a reality and I am glad I had the opportunity to discover and enjoy all the amazing music on this recording.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder
July 19, 2021

Tracks:
01. Wishing Well
02. Old Diaries
03. Pilgrim’s Path
04. Lightness of the Soul 3
05. Petite Ouverture à Danser
06. Lost A Dream
07. Longing
08. My Days
09. Deep Sea
10. Beyond Skylin

Acoustic Instrumental Review:New Latitude-Wood, Steel, and Grace

Release Date: January 20, 2020
Label: New Latitude Music

Website

Dave Erickson (acoustic guitar), Jim Carr (acoustic guitar), Deon Kuhl (drums & percussion) and Rick Brough (upright bass) are New Latitude. The former bass player Bob Strickland played on 5 tracks. Their latest release is Wood, Steel, and Grace.

This would serve as my introduction and a new discovery, so that starts things off with a lot of anticipation. After reading some history of the band I could tell it was going to be something I would enjoy.

The cover of the album is wood with various colorings, just like the music you will hear on this recording It is acoustic instrumental with a melting pot of styles and genres offered on the nine tracks. New Age, Jazz, and Latin flavored tracks flow effortlessly through their instruments.

I have a kinship for Latin music and “Días Calientes” was a quick favorite. There is that irresistible and colorful rhythm that runs through the song along with some very fast acoustic guitar playing. If they could have picked one spotlight track for the album this would be it. The musical gusto of each member of the band is quite impressive and when all of their talents come together it is like a musical carnival of sounds. 

“Open Road” is a jazz track, the embodiment of the “quiet storm” label minus the R&B reference. 

It is a distinct sub-genre of that particular kind of music. The transition from the previous track is perfectly executed and a reminder that the genres are close cousins in the diverse genre that jazz can give a listener.

“A Serious Man” is a fast-moving track featuring uplifting nimble-fingered guitar interplay. It is a wonderful listen that also spotlights the unmistakable standup bass with well-placed percussion. The choice for bass is excellent for this type of acoustic instrumental presentation, it complements the guitar playing and is the driving wheel of each track.

“Old Friends” was more of New Age style, it reminded me of some of the Windham Hill releases that came out when Will Ackerman was signing on artists to his label and getting this kind of music a world stage. Now the stage is infinite because of the internet and streaming, which is a good thing for any artist looking for exposure. The title of the track was perfect, it was like seeing an “Old Friend.”

The curtain closer “Prismatic Sky,” which also had a New Age sound and atmosphere and consequently was an easy choice to add to my New Age Music Reviews Spotify Playlist. It was a great way to end the album.

The range of musical style and expertise on display throughout the nine tracks is superb and I would most definitely appreciate another helping of this at any time. This is music for any time of day or night, or if you happen to be looking for something that will put a smile on your face and in your heart, then I would recommend listening to Wood, Steel, and Grace.

Keith “MuzikMan” Hannaleck

February 1, 2020

Founder of:

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MuzikMan Productions

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Tracks: 
1. Alpine Bliss (3:10)
2. Cruising Altitude (3:42)
3. Días Calientes (4:31)
4. Open Road (3:40)
5. Alpenglow (3:37)
6. A Serious Man (3:58)
7. Windmills (3:19)
8. Old Friends (3:12)
9. Prismatic Sky (3:03)
 

THE FINAL ON VINYL PODCAST: Interview With Todd Mosby - New Age, Jazz, Instrumental Artist

Instrumental New Age /Ambient/Jazz Review: Jeff Oster-Reach

Release Date: October 5, 2018

Label: Retso Records

Website

Three years ago, I covered Jeff Oster’s Next album. If you do a search on my New Age Music Reviews site it will show several other artist reviews as well. The reason is that Jeff is in demand to play on other people’s albums. There is a very good reason for this. He is one of the few Flugelhorn and Trumpet players in the genre that plays a chill ambient type of music that new age recording artists and listeners alike want to hear. He also is able to interject jazz and funk elements into his recordings. Besides that, it is a great partnership. Jeff is masterful with his instruments and with the new album out now titled Reach, he is in great form and so are the folks that accompanied him on the album.

Reach has nine tracks in total and it is a great mixture of sound and textures that will do many things to you while listening including relaxing, feeling energized and wanting to move, becoming contemplative, just about everything one person can think of or do during the listen of one album really. It invites you in at the outset and you never want to leave that “musical comfy chair.”

I love new age music when it combines jazz and world rudiments. “Le Caveau” is a great example of those sounds and atmospheres getting in sync. The music and sound clarity are amazing. The following track “Five Great Mountains” is just hypnotic. Jeff’s horn is superlative and the bass is incredible, in fact, I thought it might be Tony Levin, who seems to show up on everyone’s albums. It is, in fact, Benjamin J. Shepherd, who plays a huge role in the track, and the entire sound of the album actually. His rhythm and musical leadership in the track are exemplary. That kind of preciseness allows the star of the show to shine even brighter, so hats off to Benjamin for doing such a great job with his instrument. Everyone involved in this project is outstanding so I felt the need to list the credits below.

Some of the other instruments on this recording, besides the horns of course, that give it an overall world-jazz flavor, are the Erhu and Indian Flutes. Then there are very calming spiritual tracks like “The Lotus Within.” In my estimation, the reference would be the Lotus flower, a symbolically important aquatic Asian plant also known as the Indian or sacred lotus.  The emphasis is on sacred for this magnificent composition. 

To keep things fresh and on your “listening toes,” Jeff follows those two critical tracks with an upbeat jazz and funk-filled number titled “Troppo Y Boffo.” The Latin percussion and bass pulsate and drive the number while Jeff just glides through with his horn putting the veritable icing on the cake. It is Latin bliss, wonderful and colorful as it gets. This track could find a home on any good (worthy) jazz album.

Jeff Oster puts it all together on Reach. Every track is solid and consistent throughout. The combination of instruments, musical style and artistry of every contributing musician make this album one of the best in the genre this year. This comes as no surprise to me as everything I have ever heard from Jeff has been superlative from his own recordings to being a guest on other recordings. He is in a groove that keeps him at the forefront of the music industry and I can see that influence growing more all the time. In conclusion, I think that he will Reach a much larger audience with each successive release

Artists:

Jeff Oster – Flugelhorn, Trumpet

Ruslan Sirota – Piano, Keyboards, Guitar, Vocals

Robyn Ghosh – Guitar

Benjamin J. Shepherd – Bass

Tamir Barzilay – Drums

Pete Korpela – Percussion

Jenni Asher – Erhu (Track 4)

Ravichandra Kulur – Indian Flutes (Track 9)

Drew Allsbrook – Vocals (Track 4)

Keith “MuzikMan” Hannaleck

October 14, 2018

Founder of:

MuzikMan Productions

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Tracks: 
1. Onward
2. Far Rockaway
3. Le Caveau
4. Five Great Mountains
5. The Lotus Within
6. Troppo Y Boffo
7. How Familiar
8. Velvet and Smoke
9. The Pink City
 

Instrumental New Age/World/Jazz Reviews: Erik Scott-A Trick of the Wind

Release Date: August 10, 2018

Label: Erik Scott Music

Website

Erik Scott is an incredibly talented bass player. He is true to his art form in so many ways. He continues with his string of solo releases with A Trick of the Wind. 

Previously I had the distinct pleasure of covering Spirits (2014) and In The Company of Clouds (2016). On A Trick of the Wind I heard a similar mix of new age, world and jazz, which I absolutely love. The mixture is superb and Erik’s bass playing is outstanding as usual. 

To put it into the most logical terms, I think Erik ranks up there with Michael Manring in the new age genre and on a larger scale, with Tony Levin. He has been around as long as those two marvelous players. That about says it all from my perspective.

The nine tracks encompassing this recording is indeed a prolific gathering of music. There is a constant flow of change and unpredictability, which I genuinely appreciate. I get bored very easily, especially with music that has no spark or change throughout it. This is never a problem with one of Erik’s albums.

“Ghost of Storyville” adds a little spice of jazz injections that is just enough to push it over the edge into a “worldly” sound. I do believe that taking any other instrument than the guitar or the keyboards as the lead instrument can be risqué at best. You had better be a complete master with whatever instrument you plan on introducing as the lead. There is no issue for Erik as the lead with his music. There is just enough ambiance and textures added with other instruments that allow him to keep bass in the forefront of the music. Not only that, he demands your attention and his sound is distinctly his own. This is where audiophiles and other musicians separate the men from the boys. 

I found “The Invisible Wand” storybook enchanting. The addition of the female vocals keeping time and a rhythm made it that much more special. If the voice is right for the music it then becomes another instrument. In this instance, it most certainly applied.

I always have to give a nod to the artwork on the album. The cover is self-explanatory. The satin-like red cloth is “A Trick of the Wind.” Notice the way it looks like a ghost behind the text with Erik’s name and the title of the album? I got what it was saying quite quickly and my eyes were attracted to the cover immediately. That is a good thing, so good job with that part of the presentation Erik!

“Born Dreaming,” which is a great title in any case, is a fantastic representation of the music that Erik does the best. It is flowing, bright, attention-getting, and the beauty just abounds from start to finish. If I had to pick one song that says Erik loud and clear it is this one.

Every track is a slice of the artist and for me, it was like saying hello again to an old friend. Two years is too long to wait for your phenomenal music Erik! You bring all listeners a sense of spirit, strength and hope with your sounds. You may see another album of the year from ZMR with this one.

Keith “MuzikMan” Hannaleck

July 4, 2018

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Tracks:
1. Wings
2. The Wind Sings A Strange Song
3. The Ghost of Storyville
4. A Trick of the Wind
5. Solooka
6. Wing and a Prayer
7. The Invisible Wand
8. Born Dreaming
9. A Child Remains