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I
was first introduced to the music of Elijah Bossenbroek through
Kathy Parsons' ‘Mainly Piano’ web-site. She was full of praise for
his second CD, Carpe Lumen. I was sufficiently intrigued to make
the purchase, and it was a decision I have not regretted.
From the outset, it should be made clear that this is not
gentle, soporific music. In fact, I'm not even too sure it
features entirely piano- some of the tracks sound
like a keyboard has been used, although the picture on the inside cover would
suggest otherwise. Certainly, the tracks have added electronic
touches, and these embellishments add the icing on the cake to
many of the pieces.
From
the very first track through to the end of the CD, the
listener knows they are hearing something fresh and
different- not to mention very special. This is sit-up-and-take-notice piano music.
It is music with attitude. Piano music with balls.
Elijah Bossenbroek's performance certainly impresses. I
confess to having never heard of him before, but one
listen to this tremendous CD should ensure his listeners
come back time and time again, and they are unlikely to forget his
music in a hurry.
The CD opens with the (perhaps
unintentionally) amusing title, ‘I Give Up’. It
begins sedately enough- almost hauntingly- but
quickly reaches a crescendo. The playing is
frantic, almost out of control- and yet Elijah's
skill at the piano holds it all together. One
might imagine that the ensuing composition would
be difficult to listen to, but the reality is
quite different. Somehow, it holds great appeal
and is both melodic and structured. I
particularly like the accompanying poem by Tammi
Richwine, reproduced below. It creates the
impression that the individual is suicidal and
is set to end it all. But this is not depressing
music in the style of Mimi Goese- to me, this track
conveys someone whose life is all over the
place, with barely a moment to stop. I love it!
Track two is entitled ‘Prism’, a link to the
album's title presumably, which is Latin for
"Seize the Light". The Arizona pianist has
certainly seized the moment. In typical Elijah Bossenbroek fashion, the piece starts off
innocuously enough, twinkling along, drawing in
the unsuspecting listener. Calm. Tranquil. The
tempo and dynamics soon increase however, and
the piece becomes lively. Again, the melody
holds great appeal. ‘Prism’ comes round full
circle, and ends just as delicately as it begun-
perhaps we are seeing Elijah's music from all
sides. This is a lovely track, and is one of my
favourites on the entire CD.
The title ‘Rest’ would imply a gentler piece,
and to some extent this is true. The opening to
this track has a Continental feel to it. It sounds
to me like a combination of piano and keyboard
is at work here. Again, the melody is lovely.
Track 4 is entitled, ‘Life's a Stage Play’. It
again features exquisite piano / keyboard
playing. It's a very upbeat track and impossible
not to like. It's interesting that despite the
vivaciousness of his music, Elijah's
compositions are still relaxing in their own
unique way. They won't send you to sleep, but
they will capture your attention through their
melodic appeal and invite the listener to take
their own special journey.
‘Assault’ starts darkly. Something is wrong.
This is almost gangster music. The synthesiser
embellishments add to the intrigue. Soon a
flurry of notes defuse the situation somewhat,
but the left-hand keeps the suspense going.
Things take a turn for the better after 1:40-
the tempo increases, higher notes are used and a
pretty melody comes along. But, as in all the
best films, just when the listener thinks all is
right with the world, Elijah delivers the killer
blow. A plethora of low notes, maximum volume...
disaster has struck! Soon the situation
improves, but once again the listener might be
lured into a false sense of security. Before
long, Elijah is hammering away at the ivories,
and this time the damage is irreparable. This
track is tremendous fun and is like a
roller-coaster ride of emotions.
‘Always Faithful’ is the album's sixth track.
Its opening is intriguing- sounding like a
military band. In comes a delicate and quite
beautiful melody. But the reader will know not
to fall into the trap again. A few moments
later, a sound of what appears to be a jet
taking off interrupts the quiet moment. The rest
of the track is quite restrained for Elijah, but
is still more dramatic than just about any other
composition found on Piano Heaven!
The CD's seventh track is entitled ‘Try to Keep
Up’. I'm not sure whether that is directed at
the listener who is probably breathless from all
the energy of this recording. Another quite
delightful opening, and then the pace quickens-
but perhaps not quite as much as on previous
tracks. I love the happy melody which shines
through very clearly on this piece.
‘Deserted’ would indicate emptiness and
solitude, and the opening to this track is
certainly sombre and reflective. After about a
minute, Elijah's fingers get to work. Big, low
notes emphasise the sadness and frustration within this piece.
It is quite lovely.
‘Full Cycle’ is extremely beautiful. As ever,
the piece develops. It quickens, then slows and
quickens again. It was whilst listening to this
piece that I realised that I would love to hear
extended versions of the openings of all of
Elijah's tracks- it would make quite a wonderful
CD I think. Elijah has an undisputed ear for
melody, and I think it would make an interesting
and engaging project.
Track ten is entitled ‘Wonder’. Again, it is a
reflective piece with a gorgeous melody
throughout.
On Elijah's debut CD, "Harmony in Disarray", my
favourite track by a country mile was, ‘A Song
of Simplicity’. Intriguingly, an alternative
version appears as the eleventh track, rather
appropriately titled ‘A Song Simply Remixed’. I
like it very much, but it was always going to be
an uphill task to equal the appeal of the
original. I am sure this was never the
intention, and it certainly is captivating, but
the most endearing feature of the original was
its comparative simplicity, and this remix is slightly more
cluttered. That said, this is still a
first-class track.
‘Reality Begins’ is the title of track twelve.
It follows a similar pattern to the other tracks
on this CD, but it was whilst listening to the
album's final section that I came to my second
realisation: this is one consistent man.
Not one duff track in the CD's entirety, and
that is pretty good going. Many of the pieces
are structured in the same way, but the melodies
are always unique and consistently appealing.
‘Falling Away’, the penultimate track, perhaps
hints at the desperation of the situation but
equally holds great appeal to the listener. I
don't know how Elijah does it- on the one hand,
he is writing about people on the brink, with
his music frantic and despairing, and yet he
still makes the music endearing to the
listener... every time! This man
certainly has quite some talent.
I've lost count of the number of piano CDs I own
that feature ‘Amazing Grace’. Fortunately, this
being Elijah Bossenbroek, the version appearing
as the final track on this CD is certainly not
another run-of-the-mill number. It's a glorious
take on the classic hymn. Elijah makes it his
own, and having come this far in the CD, I
expected nothing less!
Overall, this is a superb CD and one that I
highly recommend. It is fresh and original, and
will certainly clear the cob-webs! Elijah
Bossenbroek is an extremely talented composer
and pianist, and I look forward to hearing more
of his work in the future.
S.C.
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