A bit of a different departure for me this time is the recent release of Shambhu’s nine-track “Soothe,” which is nothing short of just that: something that soothes with transparency through the notes, with sensitivity and skill. This is world music but, in the old days, this would have been considered Muzak. New Age. Not so here. Well, not so in a consistent manner. There is variety, but it’s by a consummate artist and therein lies the difference. While I do not hear a heavy India influence, despite several instruments traditional to that country, the album as a whole is a cohesive work of art.
The ethereal female vocals on the first track “Knowingness,” — a little awkward as a title for a song — is framed by the beautifully played acoustic guitar, gentle horns and tinkling piano.
This style, to my vintage ears, is strongly reminiscent of the masterful European composers/artists such as Gian Piero Reverberi, (the incredible classic music meets rock album that played widely on FM radio in the late 70’s:“Reverberi,” followed later by “Timer,” and “Stairway to Heaven” albums specifically. These included the magnificent pieces available on YouTube —“Preludio 4 Op.28 – (2nd Part — includes the soaring lead guitar and trumpet exchange that is chilling and the beautiful voice of Wanda Radicchi with her non-lyrical vocal — must be listened to be to be believed).
Then, “Soana,” “Improvviso Fantasia Op 66.” Ennio Morricone and German genius Bert Kaemphert (“Afrikaan Beat,” “That Happy Feeling,” “Happy Trumpeter,” “Red Roses for a Blue Lady”). Some will say Bert who? But Bert is one of the composers responsible for “Strangers In the Night,” (Sinatra) “Spanish Eyes,” (Al Martino) “Danke Schoen,” “Wooden Heart,” (Presley) and many other very popular, timeless tunes). Bert was also the first producer to become involved with The Beatles.
At first, unfamiliar ears will find this particular tune of Shambhu’s too dreamy. Upon closer listen it will reveal subtle instrumental nuances that weave equally beautifully as Reverberi, Morricone, and Kaemphert had — through every measure. This at least, is my interpretation and where I believe the greatness of Shambhu could possibly lie. If it becomes true, he would occupy quite a respectable space beside these musicians.
“Time Travel,” has a sprightlier guitar — similar in nature to Pat Metheny — and the horns are smooth as silk. The strum of the acoustic guitars is Kaemphert in nature. But overall, the style is brilliantly developed by Shambhu – who plays acoustic and electric guitars, adds voice, tosses in a 6-string ukulele, e-sitar and e-pads. Accomplished musicians all, the brass here could touch a little on Kenny G but, this tune has a little more muscle. The addition of varied horns is colorful and nothing crowds the instrumentation. The stereo separation is on the money. This tune, as well, has a little of the Paul Winter Consort type horns that are clean and simply delightful. No second tier musicians here.
Track three features English horn, soprano sax and musician Paul McCandless on “Days Like Falling Stars.” The intricate weave of acoustic guitar and horn is mystical and melodic. At times, there is a pinch of Paul Mauriat of (“Love Is Blue”) fame — remember him? As the music builds and “strings” are slowly added to the mix it really takes shape. Very European in flavor — that’s not a problem, Euro music has strong melodies and it’s so well played it’s virtually universal. The English horn reminds me of the late Johnny Almond of Mark-Almond who at times on their subtle albums would often play with emotion and tenderness.
Some listeners will toss this off as world music, background music, light jazz, fake jazz, cocktail lounge jazz, muzak and whatever tagline they can find. But, they would be wrong. The difference between those types of music and Shambhu is obvious: these songs or should I say pieces, are arranged and are not played as incidental music. The musicians are quite accomplished and precise. Each is carefully charted and far more “brilliant” in style and presentation than mere background music. How do I know this? I like lyrics, and I have written lyrics, and when I listen to these songs they inspire words in me that aren’t sung. This is the special music that is showcased here. “Devotion Tears,” adds Todd Boston’s slide guitar and it’s the sparkle of a summer rain on a spider’s web.
While none of the individual piece’s sound like the previous each seems linked as if written like classical music. “Prelude 2” – a Gershwin tune arranged by Shambhu — has that guitar tone like Les Paul or Tony Mattola but, when the sax enters the guitar seems to blend seamlessly and it becomes an instrumental sound that does not emanate from any one instrument. This time out, George Brooks provides the soprano sax with an equally effective expertise reminiscent of Johnny Almond (“Everybody Needs a Friend” – Mark-Almond). It is powerful in a gentle and not an overstated manner. This is a beautiful piece. Over before it should have ended. If singer-classical guitarist Jon Mark ever wanted to reform Mark-Almond – George Brooks has my nomination to step in for Almond. If Shambhu were contributing as well — even better.
Track six – “Through New Eyes,” is a more invigorating instrumental charge – and it features a potent bansuri flute from Ravichandra Kulur. The saxes, percussion, acoustic guitars – all comes together like a big plate of Italian food on Sunday. It has the meat, potatoes, the pasta, meat tomato sauce (not gravy), hard bread and wine. What am I saying? The music is that tasty, served up hot. This piece is just delicious and this from a writer who doesn’t listen to this type of music every day. Or maybe he should. Bravo to all.
Up next is a percussive track that dresses up this fine feminine type piece. Loaded with dynamic other-worldly female vocals (ala Reverberi) the tune is rich and magical. All musicians assert themselves wonderfully on “Gaia Sweet Divine.” This track was written by Shambhu Neil Vineberg (his full name) and Kristin Hoffman.
What keeps it attractive to American ears is that persistent clear Shambhu acoustic guitar as it cuts through without intruding. The vocals are deep and they whirl and that’s all performed by the vocal magician Kristin Hoffmann. She reminds me a little of The Paul Winter Consort female vocalist Susan Osborne when Susan sang “Lay Down Your Burden,” (on YouTube) back in the mid-70’s on the “Common Ground” album. This type of music is excellent and it transcends time when a musician like Shambhu takes up the reins and provides a listener with a peek at how music can be the medicine someone would need. It’s filled with peace, solitude, and resolution. Once again, the beautiful flute work of Ravichandra Kulur graces the tune.
The title track “Soothe,” opens with pristine and pensive acoustic guitar. At times this kind of music is similar to passages performed by The Moody Blues at their height. However, Shambhu is not just offering a sample, but an entire piece with female vocals just under the surface, soaring benevolently. The tone is similar to acoustic guitar master Leo Kottke and is intricately beautiful in the same way as many of his classic instrumentals. The only difference between Kottke and Shambhu is that this album is more rooted in European flavors than Americana. But, that’s not to say Shambhu couldn’t play Americana. Sometimes while listening to an accomplished musician such as this you can almost tell he could play anything.
This album ultimately is versatile and that’s what makes it special.
“Walking Through a Dream,” is ethereal and the piano more obvious. The focus is on the acoustic guitars also and they weave through like the interconnecting links of a spider web. The melody is steady, no drum intrusion, the light almost invisible and the thud that keeps the beat is like distant thunder. This track is a little more jazz tinged with flavors that could have been plucked from Dave Brubeck, Wes Montgomery, and Johnny Almond. The tune is a beehive of notes and in the end, it’s honey.
So? Did I like it?
For someone who listens usually to harder, more in your face music, I would have to say yes. Probably because there was a little nostalgia for me. I always enjoyed Bert Kaempfert when I was a kid and I just feel any musician who can play similar (not always) but sometimes, like the musicians mentioned in this review – then they are worth the time — certainly the effort to give them a spin. Shambhu is worth giving a spin…not once, but many times. It will make you forget the ills of the world (and we have plenty). It brings you down to earth again.
The nine-track album was produced by Shambhu and slide guitarist Todd Boston. It was recorded in various parts of the United States (CA, NY, VT) with some pieces tracked in India! The album art is a four-panel full color designed by Banalata Sundquist. With all photography by Andrea Boston.
Website: http://www.shambhumusic.com/
Bandcamp: https://shambhumusic.bandcamp.com/
FaceBook: https://www.facebook.com/ShambhuMusicHome/
Disclaimer: The opinions expressed in this review/commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as a reference and will be removed on request. YouTube images are standard YouTube license.
John Apice / No Depression / April 2017