Back in 2003, Brian Crain released the sweet, simple and serene Sienna.  His smooth and uplifting melodies were accompanied with the warmest synthesized strings an artist could possibly create. As for A Summer In Italy, the Italian theme is repeated as are the results by bringing to the table another banquet of delightful and romantic songs one has come to expect from Brian Crain. But is it all good news?

From a compositional point of view it is all good news. After a few retrospective projects, A Summer In Italy is Crain’s first all new material album in over 2 years and it has all the ingredients one has come to expect from Crain. The album opens with the track “Song For Rome” that is dedicated to their first born daughter, Jaime Rome. It includes one of Crain’s trademarks of creating a memorable melody and chorus that is repeatedly revisited and built upon with string embellishments bringing the song to its conclusion. This theme is repeated on the gorgeous “Midsummer Night” that opens quietly building to its conclusion then slows to a tepid pace much like the setting of the sinking sun into the horizons of Mother Earth.

Speaking of the sun, skip forward to “Sunrise On River” and while the repeated visits to the chorus are played out again, here the song has a more classical theme that Crain has been exploring in more recent years. This is even more evident via the more moody and complex “Italian Summer” that logs in at over six minutes. The same can be said for the shorter but equally multifarious song “Blue Sky Rainbow”.                 

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For those of you still not familiar with pianist Brian Crain, he has been recording quality material since the mid 1990’s. His past recordings have been largely tantalizing piano work embellished by synthesized based string arrangements. Recently, Crain has gone organic which has included 2005’s fully orchestrated epic Spring Symphonies and prior to that the retrospective Brian Crain and the BC String Ensemble. Though Crain has continued the more warm and organic approach he decided to present his listeners with another retrospective recording along with a few surprises up his sleeve.

Unlike the Brian Crain and the BC String Ensemble which featured a quartet, Piano and Cello Duets features the elegant and classical cello renditions of YuJeong Lee alongside Brian’s piano performances.  Of the fifteen tracks listed five of them are brand new compositions heard for the first time and that includes the opening track “Spring Waltz”. The surreal and classical integration of the twosome appear to be a match made in heaven which replays itself via “One Morning In June”.

In contrast, there is the more optimistic and buoyant piano work on “Rolling Clouds”. This time around Brian goes it alone with a melody that is uplifting and hopeful. It is not only the album’s most memorable moment but one of Brian’s better compositions that overflows with joy and elation. Brian also performs solo by concluding the album with a tribute to fellow pianist Dax Johnson who died less than two years ago. Needless to say, the song is more reflective and tender paying a loving tribute to his fallen comrade. 

The remaining balance of the tracks allows Brian to revisit his past with his new found musical friend. The most successful arrangements can be found on “Across The Bay”, “A Walk In The Forest” and “Lavender Hills”. The only minor glitch is that five of the ten retrospective tracks have already been revisited on the Brian Crain and the BC String Ensemble. Though some of these repetitions are some of Brian’s finer moments, exploring alternative compositions that had not yet received a makeover would have made this stellar album even stronger.

That said, the minimal duplication is the only the only downside of Piano and Cello Duets. More importantly it also features five new compositions representing Crain in the present tense. As a result, this gorgeous album accommodates successfully as an introduction to new found fans and diehards alike.

CD available at:
amazon.com
briancrain.com

For those of you still not familiar with pianist Brian Crain, he has been recording quality material since the mid 1990’s. His past recordings have been largely tantalizing piano work embellished by synthesized based string arrangements. Recently, Crain has gone organic which has included 2005’s fully orchestrated epic Spring Symphonies and prior to that the retrospective Brian Crain and the BC String Ensemble. Though Crain has continued the more warm and organic approach he decided to present his listeners with another retrospective recording along with a few surprises up his sleeve.

Unlike the Brian Crain and the BC String Ensemble which featured a quartet, Piano and Cello Duets features the elegant and classical cello renditions of YuJeong Lee alongside Brian’s piano performances.  Of the fifteen tracks listed five of them are brand new compositions heard for the first time and that includes the opening track “Spring Waltz”. The surreal and classical integration of the twosome appear to be a match made in heaven which replays itself via “One Morning In June”.

In contrast, there is the more optimistic and buoyant piano work on “Rolling Clouds”. This time around Brian goes it alone with a melody that is uplifting and hopeful. It is not only the album’s most memorable moment but one of Brian’s better compositions that overflows with joy and elation. Brian also performs solo by concluding the album with a tribute to fellow pianist Dax Johnson who died less than two years ago. Needless to say, the song is more reflective and tender paying a loving tribute to his fallen comrade. 

The remaining balance of the tracks allows Brian to revisit his past with his new found musical friend. The most successful arrangements can be found on “Across The Bay”, “A Walk In The Forest” and “Lavender Hills”. The only minor glitch is that five of the ten retrospective tracks have already been revisited on the Brian Crain and the BC String Ensemble. Though some of these repetitions are some of Brian’s finer moments, exploring alternative compositions that had not yet received a makeover would have made this stellar album even stronger.

That said, the minimal duplication is the only the only downside of Piano and Cello Duets. More importantly it also features five new compositions representing Crain in the present tense. As a result, this gorgeous album accommodates successfully as an introduction to new found fans and diehards alike.

CD available at:
briancrain.com

One of the surprises of 2003 as a reviewer was the first exposure to the piano work of Brian Crain and his graceful release Sienna. With a total of nine available albums to his name it appeared that now was a good time to reflect on his catalog. Rather than just cut and paste the compilation together, Crain decided to re-record his compositions and add a string quartet along with some very nominal percussion embellishments.

The album clocks in close to one hour with a total of 17 tracks with the lion share spotlighting the most recent recording Sienna with a total of six tracks. Considering the previous work of Sienna all the tracks representing this album are a wonderful addition here. To avoid replication the Brian Crain Live is not represented and nor is the thematic A Traditional Christmas. Oddly enough, the same is said for A Change of Seasons and Morning Light. But to counteract that oversight the compilation features the tracks " Sunrise" and "Gentle Rain" that were previously featured on the now out of print album A Light In The Trees. In fact "Sunrise" is strong enough to open the album and if this reflects the overall quality of A Light In The Trees then perhaps a revisit to the "print room" may be in line to make this album available once more.

Meanwhile, the remaining albums are given equal billing with an emphasis of the strings being found on the passionate tracks "Moonrise", "Flight of the Eagle", "White Dove" and the fluid finale "Fly Away". But then again this is just indicative of most of Crain's compositional talents one that in general has been mysteriously overlooked by the music industry to date.

This album is not only a wonderful addition to Crain's long term fans but it is also an excellent introduction for newcomers to check out this palatable piano man. While Crain's keyboard embellished string arrangements have always been warm; the classy and cozy use of a string quartet only intensifies the beauty of Crain's compositions. Based on the evidence here, this an avenue that should be seriously continued.

CD available at:
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In 2004, Brian Crain took the opportunity to reflect on his recording portfolio by revisiting his catalog and re-recording with a string quartet. Apparently, this was one small step toward the giant leap that Crain has made here. The great adventure is that his latest recording includes a collaboration with the 52 member Czech Philharmonic Chamber Orchestra. This progressive statement comes without the backing of any recording label and yet the results are grand and magnificent.

In a short two-year period, Crain has gone from the synthesized string arrangements of the 2003 Sienna to organic warmth of the quartet arrangements on his retrospective release last year. This time around Spring Symphonies, despite all the risks and investment is not only a heroic but equally bold and successful creative step. Crain not only collaborated with a full orchestra, he also traveled to the Czech Republic which was probably a huge financial risk taking into account that the project comes with no label backing.

Considering the creative use of an orchestra, the classical influences are obvious and are even reflected in the title of the compositions that are also divided into two symphonies. The intermission comes courtesy of the one stripped down track appropriately entitled “Piano Solo”. The tempo is slow and the mood very somber giving the album its most philosophical and reflective moment. Otherwise, the remainder of the album makes full use of the orchestration made available to Crain who continues to emphasize the melody line that he repeats over and over with additional embellishments from various members of the orchestra. Though Crain maintains his own identity his blending of classical movements along with memorable memories brings to mind the musical comparisons of Tim Janis. The tearful strings of “Andante Affettuoso” are about as powerful as the vapors of an onion to the naked human eye.

Also most memorable is the opening movement “Andante Cantabile” that is arousing and emotive. Countered by Brian’s piano bridge brings the listener to the early realization that Spring Symphonies has something very special to say. Though not quite as complex, it would be daring to compare this album with David Foster’s Symphony Sessions and the equally remarkable Skyline Firedance of David Lanz. Again, keep in mind that these two talented artists created their epics with the backing of major recording labels. Crain still managed to pull this feat off without the same assistance.

Frankly, all of the movements are for the lack of a better phrase, very moving. But one specific mention should be given to “Allegro Maestoso” that has a stunning piano bridge that returns the listener to a luscious string overture. It is simply wonderful, as is the entire 49 minutes and odd seconds of this ambitious and audacious album.

Brian Crain has shown the ability not only to create and compose but do so on a grand scale whether it comes with major label backing or not. This artist will not be stopped and is starting to secure the word of mouth that is far overdue. However, Spring Symphonies is so superior to anything Crain has done that the only negative aspect is how does he follow up on this tour de force? However, this is a great quandary to be in.

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