This project represents a merging of old school David Lanz with the new style and sophistication that he has found via his prior collaboration with Gary Stroutsos on Spirit Romance. Continuing what would appear to be the complicated task of merging classical, Native Indian, musky jazz and mysticism, Lanz and Stroutsos effortlessly continue to express their new and very unique musical voice.

The album is actually a soundtrack of the recent visual delight created by Jan Nickman, a name who should be very familiar to the established David Lanz fan. Nickman previously worked with Lanz back in the eighties when they crafted the video music albums Natural States and Desert Vision. Those of you that may be put off by the word soundtrack thinking that the music is disjointed and ambient will do yourself a disservice should you walk away from exploring this musical adventure. With the exception of “Ancient Voice” that flirts with such effects, the remaining tracks are well structured and extend the themes previously presented on Spirit Romance.

Lanz and Stroutsos bring in the usual suspects with Keith Lowe on bass, Glen Velez on percussion with Jonn Serrie and Gary Lanz on the technical side. New additions and appearances come from Walter Gray on cello and even a string arrangement from Kurt Bestor on “Temple Dance”. It is here where you will hear the elements of both the old and new school as Lanz gracefully explores the entire range of his piano as he flirts with the violin and cello embellishments. Equally as inspiring is the soft dance of Lanz’ piano with Stroutsos’ charming flute work on the title track. Some of you may find this song very familiar and rightfully so as it was initially entitled “Ambient Plains” and first appeared on his serene solo album A Cup Of Moonlight. 

Otherwise, the album is composed of all new material such as the optimistic opening track “Sun Chasers” that will bring back memories of Narada days. The difference here is the wistful “voice” of Gary as he floats like a butterfly with Lanz’ elegant piano work. “Rio San Rafael” and the majestic “Rain Dancer” continue this bountiful trend. At this point, you will realize this partnership has created another musical landscape that is more than capable of expressing the visual delight that Nickman encapsulates on the DVD counterpart. In both forms, their tribute to America’s magical Southwest is utterly breathtaking.

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Originally released back in 2003 via the David Lanz website why would one of the major labels not release this splendid piece of “sweet melancholy”.  Is it indicative of the current condition of the New Age market? Their loss as this repackaging not only represents  some of Lanz’s most intimate recordings that he has composed from 1999 thru 2006 but it is also the one of the debuts on the new label Sound Traveler.

The original version included seven tracks that are all included here as well as the still lengthy improvisational track "Heaven And Earth". Despite taking about 7 minutes off the 17 minute track the new 10 minute version still has plenty of room to meander and breathe. It is probably not the highlight of the album as this format is better imparted by Lanz's former Narada label mate Michael Jones. Still, it is wonderful to hear David experiment and venture out.

The remainder of the album is the pure romanticism that his fans have come to love and adore. Some of the tracks may already sound familiar as they have already been made available as downloads on his website. One of the tracks that did appear on his site in the past is the fluttering and flirtatious "Butterfly". This is Lanz at his best allowing his music to live and play out its title. As he flitters over his keys softly one can only imagine the beautiful colors of a weightless butterfly floating gently in the soft breeze.

Meanwhile, there is the very bare title track "A Cup Of Moonlight" that physically and musically falls somewhere between the more accessible "Butterfly" and the roaming "Heaven And Earth". But if you are wanting the more overstated there is the gorgeous classical influenced opening track "Lover's Tarot" and "A Song Of Soul" that are geared more to the Cristofori's Dream era. And what a commercial and critical success that album was. In contrast, there is "In Stillness" that is more placid and would fit more with Lanz's very early recordings.

For those of you that are thinking twice about purchasing the cd the repackaging includes extensive liner notes from Lanz sharing about the origin of each composition. Better yet there are two new songs, the first being “Ambient Plains” that pays a fitting tribute to George Winston. On a more somber note “Along The Garden Wall” pays homage to the soldiers lost in the Vietnam War with an appropriate incorporation of “Taps”.

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As Narada continues to scale back its operations they are currently focusing on their successful yesterdays by dressing up their back catalog. Specifically, they gave Michael Jones’s Pianoscape the royal treatment back in 2002. Now David Lanz’s 1996 Sacred Road has been given a 10 th Anniversary makeover appropriately titled Sacred Road Revisited. Despite its new adorning it feels like an old comfy chair that engulfs you in its warmth and charm all over again.

But let’s digress a little and go even further back to 1990 which saw the release of Lanz’s bold epic Skyline Firedance. Fully orchestrated, it was a brilliant way to follow up his mega seller predecessor Cristofori’s Dream that was released only 2 years earlier. What to do next? Lanz wisely lay low and waited 6 years before he followed up with completely new solo material that came in the form of Sacred Road. Following those two mega monsters has always placed Sacred Road in somewhat of a shadow when in reality it was once again David Lanz doing what he does best; pouring out his heart and soul at the keyboard. Yet David took the best of both worlds combining solo efforts and orchestrated embellishments creating one of his more overlooked gems.  

Sacred Road album was initially composed and rehearsed as solo piano pieces. Then David, and producer Paul Speer, collaborated with the orchestration and embellishments and presented the original master recordings to Narada Records. As it turned out the label wanted the tapes remixed with the piano even more prominent. David and Paul complied and the second remix is what you heard in the 1996 Sacred Road production. Neither the original form nor mix has ever seen the light of day until now courtesy of Sacred Road Revisited.

The first seven tracks of Sacred Road Revisited are essentially Sacred Road unplugged, including an alternative demo of the solo piano track “A Path With Heart”. The second portion of the Sacred Road Revisited is the original master recordings that David and Paul presented to Narada Records first time around. While the changes in the mix were not blatant the adjustments and nuances will attract completists. However, the greatest pleasure comes from hearing the tracks in their naked unplugged form strongly supporting that it is not the embellishments that are the essence of a David Lanz composition.

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One of the early pioneers of the New Age genre, David Lanz is also one of the few survivors of the declining commercial appeal of New Age music. David’s endurance is partly due his utter flexibility in being able to play hopscotch with his musical approach. This is best reflected by his last two projects the jazzy pizzazz of The Good Life and the contrasting pastoral stripped down A Cup Of Moonlight.Spirit Romance lives up to that diversity presenting the listener with a moody and musky yet improvised and intellectual collaboration with flutist Gary Stroutsos.

Apparently, this is not the first collaboration between Lanz and Stroutsos. David appeared on Gary’s Native Indian themed cd I Am Walking courtesy of the creation “Evening Serenada”. An improvised version is featured on Spirit Romance titled “Serenada”. This track sets the disposition of the entire album, only this arrangement features Gary on an ancient bamboo Chinese Xiao Flute instead of the Native Indian Courting Flute. Along with Keith Lowe on an upright bass and Glen Velez on soft percussion the album is a potpourri of peculiar mergers of jazz, classical, Native Indian and mystical eastern themes.

Additional written collaborations include “Satori” that follows right after “Evening Serenda” that has a very improvisational influence. It is also the longest track clocking in over 9 minutes that also features the atmospheric keyboard work of John Serrie. Equally as haunting is the title track that has open spaces for Lanz to flutter around gracefully on the piano. However, the limelight is left to Gary’s flute countering and complimenting the violin work of Swil Kanim. This song is simply exquisite and captures the entire essence of this album and deservedly is named the title track.

As for Lanz, at the suggestion of his producer/brother Gary Lanz, he revisited “Wings To Altair” that was previously featured on Lanz’ album Cristofori’s Dream”. Renaming it “Return To Altair Suite”, the arrangement is reworked into 5 separate movements that also include the repeat appearance of John Serrie who was also featured on the original arrangement. Meanwhile, Lanz flies solo, compositionally, and transports us “Between Worlds”.

Considering the odd genre mergers, this is probably one of David’s least accessible album. In contrast, the re-envisioning of the Cuban lullaby “Oguerre”, subtitled the “Blue Largo” arrangement, is exotic and as equally accessible. Along side the title track it is one of the most memorable melodies of the album that does not require a second and third sitting to enjoy.

Granted, Spirit Romance is not an instantly gratifying album that requires some patience and undivided attention to truly enjoy this unique listening experience. However, unlike our worldly romances that are many times temperamental and short lived, Spirit Romance has a lifeline that would suggest a timeless desire for repeat visitations to your cd player.

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One of the fortes of David Lanz is his ultra smooth touch with the piano. He fulfills Cristofori’s dream of not only playing his creation, the piano, but also caresses sweet notes out of the instrument like no other pianist of our time. As such his style is tailor made for the classic Christmas carols but adds significant improvisation to give them a breath of fresh of air, yet, retains the solid foundation that have made them timeless.

Christmas albums are not new territories for Lanz. In fact, if you were to include his effort with Michael Jones on 1985’s album Solstice, Angel In My Stocking actually represents David’s fourth holiday season album. Surprisingly Angel In My Stocking is a very limited edition that in its current format was originally released last year via David’s website. Much like his prior effort Christmas Eve, released over 10 years ago, he elegantly combines traditional adaptations with original compositions giving us something borrowed and something new.

Courageously, David initiates the album with a brand new original composition with the stunning self-titled track. The cascading use of the keys interchanged with the soft touch verses illustrates the alternative characteristics of an angel: the ability to be both animated and serene at any given time. Transforming to the traditional we are presented the very popular carol “Jingle Bells”, though Lanz adds his very unique rendition giving this version a most joyous ring.

The above sequence continues throughout the album that incorporates trusted traditional carols with auspicious original compositions. Just check out the flowing celebrative conversion of “Good King Wenceslas” alongside the rather rigid but regal original “Renaissance”. Fans of Lanz may find the latter somewhat familiar. It is a stripped down interpretation from a portion of the “World At Peace” orchestrated suite that was introduced on his Grammy nominated album East Of The Moon. Also taken from the same movement are “unplugged” renditions of “Prayer Of Peace” and “Transformation”. Considering the artist’s original theme of world peace, its spirit and original intent mesh perfectly with the merriment of the Christmas.

Also sandwiched between the soothing lullaby of the almost unrecognizable “Away In A Manger” and “We Three Kings” is the rather out of place “Standing In The Autumn Sun” at least as far as the title of the track is concerned. Originally found as a bonus track on the Japanese version of Finding Paradise, perhaps this was the artist’s gift to those fans that have the domestic version of the disc.

Merging contemporary material with the trusted tradition carols, this album has the fingerprints of Lanz written all over it. With no official record label release, this limited edition disc is once again available at the artist’s website. Presented in a simple but bold red sleeve embossed with an angel decal, Angel In My Stocking certainly would bring “glad tidings” to anyone’s Christmas stocking. What’s in your stocking?

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