Eternal
Miriam Stockley
2007/Tula Records
57:50

The cover of Eternal encapsulates a snapshot of the flowing flaming red hair of vocalist Miriam Stockley. Before even a single note is heard the expectations would suggest something undefined and perhaps exotic. However, they say do not judge a book by its cover though this time around a rush to judgment maybe acceptable. Musically Eternal is about as random and sizzling as the locks of the artist as Miriam continues to intertwine her classical background with her with cultural roots.

Associated as a back up singer with mainstream artists such as Tina Turner, Freddie Mercury and George Michael, this South African born vocalist secured her big break when she was the featured singer on the Karl Jenkins Adiemus series. In fact, Stockley even revisits this series when she performs the title track of the series “Ademius” which was first featured on the album Songs Of Sanctuary. However, this album is not about her past but a continued growth and extension of her solo material.

Eternal represents her third stellar solo effort and continues to be a musical exploration that refuses to be restrained and restricted by one specific genre. Miriam continues to incorporate classical, new age, world and jazz music though this time around the emphasis would lean toward the classical influence. The spirit of this album is essentially encapsulated by four standout tracks starting with the romantic classical beauty “Alla Notte”. Skipping forward, you are engulfed by the old Irish ballad “The Star Of Country Down” that is steeped in sweet violin work of Clio Gould and the lush more restrained vocal work of Miriam. If you enjoy Secret Garden you will unreservedly fall in love with this haunting rendition. In utter contrast, there is the festive percussion and vocal chants featured on the JS Bach composition “Nagana Ka Lona”. Then once again you are transported to another musical world courtesy of the sublime jazzy Gershwin track “Prelude #2” that has Stockley swooning in the microphone.

Between the above stellar tracks there is very little platitude resulting in a recording that is simply breathtaking and inspiring. As expected from this expressive artist there is a multitude of musical exploration and expression that this record may not leave an instantaneous impression. But with repeated visits you will leave with the yearning of musical eternity with one of 2007’s top picks.

CD available at:
amazon.com
miriam.co.uk

While the metaphors classical, operatic, exotic and soulful may sound like an oxymoron they all accurately describe the eclectic and wonderful world of Miriam Stockley. And yes, these words are in utter contradiction of one and another but that is the beauty of this adventurous singer that continues to make strides into the mainstream without compromising her unique signature voice. Second Nature is her second solo effort and effectively avoids the sophomore slump. It continues to build where her self-titled debut left off.

Miriam has been around quite a while with a significant resume list that has associated her with the likes of Elton John, Tina Turner and David Bowie to name a few. Her most well known contributions are as the showcased vocalist on Karl Jenkins' Adiemus collections and most prominently on Songs Of Sanctuary and the latest Live release.

Born in Johannesburg, Miriam brings to the table unique vocal chants of her native country that swirls and intermingles classical pop influences that parallel Sarah Brightman. The interesting blend added to the equation on this particular project is a touch of soulful jazz, giving it an underlying mainstream ambience. But those of you leery and anxious about her uprooting herself need not be concerned, as it is not the emphasis. Stockley has simply added this particular genre to her complex array of unique musical styles to make her music even more appealing and exotic with a little more accessibility.

The album opens with the more recognizable "Umoya" that leans on the traditional trademarks of Miriam with African chants and vocalization, assisted with pulsating percussion work that will move your feet. The trend is continued via the mid tempo complex harmonic vocal arrangements offered on "Rainsong" that closes out with soft distant thunder and rainfall. Speaking of harmonic arrangements, the opening acappella arrangements on the stunning "A Finish Summer Night" are angelic and that is an understatement. It brings to mind a hymn whose title evades the memory at this.
However, as the album progresses, the listener is slowly exposed to the soft winds of smooth jazz influences such as the very accessible "Spring" or perhaps the ominous "Sabancaya" countered by its pleasant chorus. The most obvious smooth jazz track would be "Butterfly" that includes some Ella Fitzgerald scat-like vocalization and tremendous flute work from Andrew Panayi.

Miriam then lets her hair down with the carnival flavored "Ifemli" urging you to book a flight to the lands of the exotica. Fortunately, Stockley is wise to wind it down with the gentle soothing ballad "Tula" that also brings the album to a close. In fact, the above two tracks are sequenced next to each other and effectively reflect the multifarious and divergent styles of this very original down to earth diva.

CD available at:
amazon.com
miriam.co.uk