Contemporary Instrumental-New Age Review and Interview: David Franklin-Music for Ketamine

Release Date:  June 20, 2025

Label: Independent

Website

Music for Ketamine is a collection of 13 songs, soundscapes, and a complete sonic journey designed for therapeutic ketamine sessions. Each track, with its unique blend of instruments and sounds, is a testament to the therapeutic potential of music. Created by David Franklin, this album is a memorable auditory trip that offers hope and healing to its listeners.

 

So, what is Ketamine? Ketamine is a medication that comes from a chemical called cyclohexanone. It's mainly used as an anesthetic to make people unconscious during surgeries, but it also has effects that can help with depression and pain relief. Ketamine can create feelings of hallucination, which means it can alter a person's perception of reality. There are two forms of Ketamine, known as S-ketamine and R-ketamine, and both can help treat depression in ways that go beyond just blocking a specific receptor in the brain. Essentially, it’s a versatile drug that can help with different medical issues, including anesthesia and mood disorders.

 

Armed with this knowledge, listening to Music for Ketamine should be enjoyable and self-healing, making it a compelling choice for those seeking therapeutic music.

 

“When Silence Learns to Speak” starts the journey and is the longest track, at 6:12. The piano begins methodically and softly before adding other elements that make up the track. The track sets up the potential listener with a soft bed of sound to fall into a completely relaxed state of consciousness.

 

“Mycelium Highway” is an interesting track title. Knowing what mycelium is will help. Mycelium is a root-like structure of a fungus consisting of a mass of branching, thread-like hyphae. It is the root system of the fungi. Its standard form is branched, slender, entangled, anastomosing, hyaline threads.

 

The track begins with chanting and a slow tempo that builds into a cool groove. Some constant percussion and synth sounds change the entire fabric of the track. It is an ambient meditative music that reminded me of artists like Tangerine Dream or Vangelis. Those comparisons should create enough curiosity to get you to listen.

 

“Everything and Nothing” immediately creates some thoughts—opposites in meaning, yet living in the same universe. Some people have everything and then lose everything; some start with nothing and then have everything. It depends on your own beliefs about what is essential in life. The track has a constant drone-like sound, however pleasant, to focus on, and then birds chirping are added. That combination is hypnotic; if that is the goal, it was accomplished. Swirling sounds like wind and water moving through the synths give it a spacey feel.

 

“Figure Painting” is finger painting taken to another level? Possibly, I suppose. Words can have dual meanings, and it just hit me as a take on finger painting. The piano sounds serious and focused, like an artist creating a painting on a blank canvas. The bass part is played with one hand as the other picks out the delicate patterns (figures) and rhythms (painting) that unite the song. You visualize this in the composition as the piano keys or the imaginary paintbrush create all the music.

 

“Sylver’s Theme” begins with a guitar and flute sound, completely departing from the previous tracks. Its beauty and ambiance immediately strike you. As one of the shorter tracks, it must make that kind of impact and hold you until it closes out. Then it does with the birds chirping, a nice touch.

 

“Carry Wood, Chop Water” segues from the previous track with the birds chirping. This eclectic music continues with the sound of a hand drum and bell tinkling. The inference of the track title is that simplicity and movement equal spirituality and connection. Piano shifts in and out and resonates with the other elements as it builds into a fuller sound. As it nears the end, the percussion strengthens, fades, the piano takes over, and the curtain closes.

 

Ironically, “The Longest Night” is one of the shorter tracks. The sounds differ significantly from what you heard previously, keeping you focused and expecting change. The synths weave in and out, echoing emotion and thoughts. Even though it is night, it is like watching a billowing cloud move across a clear blue sky, then suddenly ending. There is light in the darkness; you need to find it.

 

“FireCat” reaches back to the more synth-driven spacey sounds. The sounds created are like hundreds of crickets together, as the layers of synths provide the vehicle for them to carry their sounds further. Another track with over six minutes of music opens the door to many things. Then you hear frogs. The sounds of nature make that organic connection for you, keeping it real. A clock ticking sound brings us to the end.

 

“Silver Spirit Dancers” begins with a tribal rhythm on percussion and the flute. It calls out to you in a mesmerizing way. The spirit of the music brings out the dancers as they elegantly go in circles around the ceremonial fire. This is another shorter but impactful track.

 

“The Foggiest Idea” is the longest track at 6:30, giving ample space and time for layers of sounds to unfold. As the synth builds, so does the tempo, and there is the sound of a howling wolf. That is what I envisioned and was my first thought when I heard it. Maybe that was my own foggiest idea. The synths create a whooshing, calming sound. Many different sounds and textures populate this track. A significant change happens nearing the end as the electronic synth sounds start with chanting and percussion finish it.

 

I never expected a track named “Finger Painting.” I did not look at the track titles before listening, so it was a pleasant surprise as a follow-up to “Figure Painting.” Figuratively speaking, David’s finger painting is done using the keys he uses for all the sounds. It is 3:26 of perfect piano beauty.

 

“TheLongTale” is spelled that way for a purpose. To simplify, three shorter words are combined; the combination immediately becomes longer, merged into one. He tells the tale at a lower and softer tempo, giving the listener space for thought and reflection. The gentleness and eloquence of the keys bring you peace and enlightenment.

 

“Song for Living” closes the book on this story within the thirteen tracks. It begins with the chirping birds, a sound I know and love once Spring arrives after a long, cold winter. That makes the connection between going out of hibernation and going into a full wake-up mode (winter to spring).

 

Experiencing all the seasons brings more appreciation for the gifts of Mother Nature. David’s piano strokes are measured and beautifully placed. This part of the keyboard reminds you of its versatility as an instrument within an instrument. It sounds like a symphony for my ears, and tracks like this bring that to mind regardless of the tempo. It is a nice way to end this recording. And it ends appropriately with the birds singing their song.

 

Music for Ketamine takes the beauty of the keyboards and integrates it into a healing session of science and helpful chemicals, the suggested path, a process that many people need. That combination of tools is very effective. This is a soundtrack to that process.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 23, 2025

Tracks:

01. When Silence Learns to Speak (6:12)

02. Mycelium Highway (5:30)

03. Everything and Nothing (6:10)

04. Figure Painting (4:56)

05. Sylver’s Theme (2:25)

06. Carry Wood, Chop Water (5:41)

07. The Longest Night (2:49)

08. FireCat (6:10)

09. Silver Spirit Dancers (2:20)

10. The Foggiest Idea (6:30)

11. Finger Painting (3:26)

12. TheLongTale (6:15)

13. Song for Living (6:09)

Instrumental World-New Age Review-Ann Licater-Echoes From The Forest

Release Date:  June 20, 2025

Label: Independent

Website

I am familiar with Ann Licater's work. I covered Between The Stars in 2023 and Beyond The Waves in 2016. Echoes From The Forest is her most recent release.

 

Ann Licater is a remarkably versatile musician. She demonstrates her mastery of 11 flutes, including the Ocarina, Native American, Native American-style, Mayan-style Drone, silver C, and alto. Her performance on Track 1, "Sky Dreaming," where she also handles Synth and vocal layers, and on Track 14, "Journey Beyond," where she plays the Steel Tongue Drum, showcases her diverse musical talents.

 

Ann Licater's music is a captivating blend of instrumental world music and new age music. Once you experience it, you'll be drawn in by its unique and intriguing soundscapes.

 

"Sky Dreaming" opens the recording. The flute's woodwind sounds immediately engage your senses as you await the other layers of sounds and instrumentation to join in. The Synth is a nice additional layer to the track as the calmness of sounds soothes and pushes your mind's thoughts away. The sound of these types of flutes is very organic and earthy. The connection between you and Mother Nature is one of the significant benefits of the mesmerizing sounds emanating from Ann's flutes. We are off to a fantastic start, and your heart is filled with joy and anticipation for the next journey.

 

"Cedar Sanctuary" begins with a different sound, as you would expect, considering all the different flutes Ann plays. The sounds are rhythmic and breathy like a cool breeze hitting your face to refresh and enhance the natural sensations of the outdoors. That intrinsic connection to nature you firmly established in the previous track continues.

 

"Wisdom of the Pines" brings that connection to nature to the forefront with the title alone. Trees are one of nature's magnificent gifts to humanity. They have vast underground networks established through their root systems and communicate through them. Their wisdom of the world around them reaches beyond what humans will never come to understand. The flute sings and dances; you can imagine the trees smiling as they listen.

 

"Echoes from the Forest" is a continuation of the last track from a conceptual viewpoint. However, as one would expect, the sounds of these different flutes are much more extensive. As there are echoes within the wooded areas, so the flutes emulate that, answering back and forth and resonating with their distinct tones, rhythms, and flawless beauty. This is the longest track on the recording and one of the most fascinating. I felt I was standing in the middle of the forest, turning my head back and forth to listen to each flute talk to each other in their special language.

 

"Peaceful Willow" keeps the connection to all these organic elements and resides in the middle of nature's glory. The willow's nature is to have long branches draping over, almost touching the ground, as its vast roots continually grow and stretch out, searching for water and nutrients. Visually, they are peaceful; their roots are aggressive and determined underneath their trunks. The flute's sounds are picturesque, creating the vision of the willow fully grown and thriving.

 

"Ancient Vistas" has a title that immediately recalls pictures stowed away in the back of your mind that you may have seen in person, in a documentary film, or read about. Once again, the synth creates a lovely layer for the flute to drift over, and all the sounds created perfectly address the track titles' meaning. In your mind's eye, the colors and vision take you to places you may have been or wish to be. It is hypnotic and beautiful.

 

"Redwood Canyon" is one of the shortest tracks; however, it paints the picture of a canyon easily with the resonating and echoing tones of the flute. Short and sweet, the mysterious sounds of the flute keep you fascinated.

 

"Circle of Trees" sounds spiritual and indicative of a sacred ceremony that may recall the Indian tribes worldwide that respected and revered all living things and only took what they needed to survive. The flute brings you into that circle and holds you as you reflect upon all the possible meanings of the track's title and significance to the artists and likely many others with that connection to the music and nature.

 

"Woven Reflections" are all the things that you may be feeling and experiencing while listening to this music. The sound weaves its way into your consciousness and your very being. The power and spirit of these woodwind instruments make you realize their significance and how they are connected to living things. Reflection is essential; the soothing tones and colors emanating from the flute help you get into the right frame of mind.

 

"Wings in the Mist" are the birds of flight going through the trees and surrounding areas as they forage for food and water. The morning mist will eventually clear and dry as the sun's warmth changes the temperature and conditions. The flute sounds joyful and invites you to join in this dance of nature and our feathered friends.

 

"Earth Calling" is a prolific title that fits the meaning of this recording and all the tracks you just heard. Everything that makes up the Earth is part of what the flutes' sounds are inspired by and instantly connect to seamlessly. The dexterity of Ann's playing and all-important breathing make this an invitation to be part of all she is offering through her tones, colors, and vibrations. So beautiful.

 

"Bird and Breeze" continues with the journey of one of nature's wonders, birds. The flutes emulate the callings of those marvelous creatures. Hearing those sounds from an instrument is so sweet and endearing. It is the shortest track, but one of the more fascinating displays of the Ocarina’s sound.

 

Your "Journey Beyond" now comes full circle and to a completion with the sounds of light percussion in the background. As the rhythms connect effortlessly to the call of the flute, so do you. This track is very different from all the others, yet it is an excellent way to close out this recording. I found so much inside this track with the tenderness of the synth layer and the soft invitation of the percussion as the flute happily dances along, so does your heart and soul.

 

Ann Licater's Echoes From The Forest is a clear stream of collective consciousness about nature and Mother Earth's endless gifts that are present all around us. The tracks offered here make connecting to all that musical communication easy. It is one of the best new-age instrumental world releases this year.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 16, 2025

Tracks:

01. Sky Dreaming 4:31

02. Cedar Sanctuary 3:43

03. Wisdom of the Pines 2:50

04. Echoes from the Forest 4:37

05. Peaceful Willow 2:53

06. Ancient Vistas 4:12

07. Redwood Canyon 2:01

08. Rose Moon 3:24

09. Circle of Trees 3:13

10. Woven Reflections 2:32

11. Wings in the Mist 3:42

12. Earth Calling 2:02

13. Bird and Breeze 1:35

14. Journey Beyond 4:18

Fiona Joy Hawkins Review and Interview: When Shadows Talk-Contemporary Instrumental-New Age

Label: Little Hartley Music

Main Link

Bandcamp Orders Available Now

Fiona Joy Hawkins's latest recording, When Shadows Talk, is her eighteenth proper release.

The title, When Shadows Talk, reflects the album's theme, which explores the emotional depth and complexity of human experiences. As Fiona herself says, 'My greatest hope is that my music makes a difference.'

 

I had a detailed overview of what each track meant to the artist, but I decided to listen and respond to what I envisioned in the music. I like to stand by that thought process, as each of us who listens will have a blank canvas to create what the music inspires us to think, feel, and absorb.

 

As the piano began to play its lovely notes in 'Stasis', I was immediately moved by its beauty and intimacy. Fiona's playing is fluid and rhythmic, and I was drawn into the music's stillness, despite its inviting nature. The emotional stimulation and sense of stillness coexisting were a unique experience.

 

"The Ghosts of War Are Marching" seems like an ominous title, and I think this should feel "haunting" with echoing piano keys, which is precisely what it sounds like. The melancholy and realities of war set in and bring my thoughts to my father, who served in WW2. The emotional pain and depth of loss if you are involved in killing another human being must be insurmountable. We all have heard the term "hauntingly beautiful," which perfectly explains this composition.

 

"Lava and Snow" are opposites in temperature and textures, so I wondered how different this track would sound. It starts most beautifully like measured steps down a path to a destination. Gradually, the tempo picks up, and the rhythm and force of the music change, like the flow of lava from an active volcano. However, there is no explosion from the top; it is gradual and consistent, like how Fiona's fingers press the keys. This was like beauty in motion, developed in my mind's eye as the snow cools the molten hot lava, it hardens, and the notes are forever trapped inside you.

 

"Angel's Message" is the longest track at 5:20. It immediately gives recognition to classical influences as I know them. The title indicates one of spirituality and prolific communication to all listeners. I found it very interesting separating her hands on the keys. To me, that is one of the fascinating aspects of the piano and how one person can play two parts and make it one gorgeous symphony of sound. One woman, one piano, and the creation of resonating sounds of piano keys that draw you in, and permanently hit you all at once. I am astounded by her sense of rhythm and the incorporation of different tempos; it's the song within a song.

 

"The Lost Ballerina" is thought-provoking. Interestingly enough, I just went to see the new movie Ballerina last night; however, that is an entirely different setting and story. I heard an infinite sense of rhythm and purpose, with hints of sadness all around the edges of this thing of elegance, telling me the story. The playing is very purposeful, creating imagery from beginning to end. It's gorgeous.

 

"In the Deep" is short at 2:22. The melody emanates an unknown darkness. As the piano chords paint that picture, you feel like falling into it. It feels real, as images of the deep ocean come to mind.

 

"Outside the Circle" can create emotions and thoughts just by the title's implication. A circle is drawn to capture something; boundaries are there, and you may feel trapped and unable to break free. But outside the circle, you are "outside" looking in. You are free, but limitations are imposed because you are not "in" the circle. The piano weaves its tapestry of sound and light, giving more meaning to the track's words. The keys ebb and flow like a river of sound coursing through your soul. Its simple beauty defines the meaning of the words.

 

"Finding the Clearing" is an interesting choice of words after the last track. This would indicate another path, an alternative to any other that allows total and complete freedom. There are no lines in the sand here; you can roam and discover your truth and destiny. Once again, the piano's keys directly reflect that one thought that the title would indicate. It sounds like a waltz or lullaby to soothe those who need that kind of reassurance and calm to get into the clear.

 

"The Mirror" recalls looking into that glass. What do you see beside your image? Do you define yourself by what you see in front of you or what is inside you as a sentient and spiritual human being? The tempo is slow and defined, and meant for you to "reflect" on thoughts that immediately come to mind. Is the mirror inanimate, or are there other people you use for that reflection? Perception is indeed in the eyes of the beholder. I felt a realistic sadness to the track, although its beauty gave me hope.

 

"The Journey" is what you have been on, listening to all this piano-based music. The journey of life and all that enters it is what you are about. The music builds as does your life's journey. This is how the piano's keys speak to you and all your senses. Music can be transitional, and so is life. Fiona's playing is simply extraordinary on this track. The heart and emotion come through clearly.

 

"Hitting the Glass" suggested the term "hitting a glass ceiling" used in conjunction with corporations, where one stops in growth and opportunities, and incites you to begin looking elsewhere for those things. It's short and sweet, and the tone of the keys quickly conveys the message. It is the shortest track at 1:22.

 

"The Brown Bird" begins like a classical masterpiece, with emotion and energy like a bird in flight. Then, with a quick shift down in tempo, it suddenly lands. The music is short-lived, but the image is created with immediacy and stays true to the last note played.

 

When Shadows Talk is a prolific title with music to match. Fiona Joy Hawkins creates an instrumental piano masterwork with 12 thought-provoking, colorful tracks. Her artistry and deeply felt emotions bleed through the keys with a purpose and meaning beyond words.

 

The track titles evoke a thought, and your journey takes different paths as you move through the music. This is a must-listen for anyone who enjoys instrumental music, particularly piano-based music.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 12, 2025

Tracks:

01. Stasis (4:38)

02. The Ghosts of War Are Marching (3:07)

03. Lava and Snow (4:52)

04. Angel’s Message (5:20)

05. The Lost Ballerina (Solo Piano) (3:22) 

06. In the Deep (2:22)

07. Outside the Circle (4:41)

08. Finding the Clearing (3:09)

09. The Mirror (3:14)

10. The Journey (Solo Piano) (5:03)

11. Hitting the Glass (1.26)

12. The Brown Bird (2:30)

Contemporary Instrumental Review and Interview: Wayne Bethanis-Sonic Bloom

Release Date:  May 30, 2025

Label: King Tut

Website

Wayne Bethanis, a prodigy who earned his PhD in Music in his 20s, is a celebrated new-age artist with awards for his music. His most recent release, Sonic Bloom, is a captivating journey through diverse musical themes, each offering a unique listening experience.

Of course, the first thing that caught my attention was the cover artwork. The artwork is both eye-catching and thought-provoking. The fact that it's in black and white makes it striking, and you can see what is coming out of his head. That is the first doorway a musician must decide upon for their creation. The key is getting the potential listener to walk through it, and here I go…

 

“We Will Rise Once More” begins the journey softly, then launches into a cinematic melding of sound and color. The changes happen quickly, with some singing from a choir and a nice guitar line as the piano rolls gracefully and elegantly. It reverts to the softness of the beginning, then the building of the sound and voices once again, finally, a beautiful outro before moving on to the next track.

 

“Don't Look Back (The World is Changing).” And is it ever? As our globe spins, change is continual and unrelenting. The piano speaks volumes with its notes impressing your consciousness as you ponder the prolific statement the track title makes. The music flows out and in, like the ocean's changing tides. The piano emulates that with the changing tempos.

 

“You Know I Will Remember You (Room 112)” has a bittersweet sadness in the keys, pulling you right in. The synth orchestration adds more emotion and reflection on a time that has passed and will never return. Its beauty and gentleness can bring a tear to your eye.

 

“There is a Place Beyond the Heart” continues with the melancholy mood of the last track. Less than a minute later, there is a definitive change in tempo and mood. There is a confidence in the tone, like you just climbed one of those mountains in life and reached the top, and now you are looking down above the clouds with elation and joy. Wordless vocals and orchestrations make it cinematic and triumphant, as the melancholy has melted away.

 

“These are More than Memories” infuses you with more energy and hope. The melody is joyful and full of rhythm. Your feelings are instantaneous, and your mood swings into another frame of reference. The ladies begin singing like a choir of angels, beckoning you to join. The piano is superbly placed with elegant notes.

 

“Dream of the Golden West” is the longest track at 6:57. It begins with coyotes, the wind blowing, and a horse trotting back to the stable. This all feels like pure cinema. The piano starts to play, telling its story. As the sound of the synths and orchestrations arrives, it changes again into something new and exciting. More changes develop as the layers combine, as Wayne lets his piano dance over the top of the sounds. His playing is fast and furiously beautiful, as your interest never has a chance to wane for one second. It's like watching a movie with a continual change of scenes. It winds down as it started, then finishes with one more quick burst of energy.

 

“My Father Never Saw Paris” is a title that makes you think this may have some sadness and regret. The music tells the story again with hints of the music you may hear from that legendary city. The piano has a look back with the optimism of a chance at another life and another time. Reflection of memories haunts the keys with exceptional imagery and beauty, hoping that maybe wherever father is now, he can see Paris through this composition—a lovely tribute.

 

“Waltz of the Sirens” is a title evoking a different age, centuries ago, when life was much simpler. Its classical undertones and foundation lead the fingers of this piano player into a musical time machine of regality and elegance that we will likely never witness again in this world. The orchestrations and synths again make their magic, creating a heavenly layer of exquisiteness for the piano keys to find a home.

 

“Ten of Hearts” takes on a different atmosphere and upbeat approach. The sounds are light and happy, as the piano sets the tempo with quick rolling bursts. The additional sounds make it all sound like a huge step away from everything you heard prior. It has a jazz pop feel with a saxophone, giving you a taste of eclecticism from the artist and an unexpected delight.

 

“New Age Music Box” winds up and then goes in an entirely different direction. The beauty of the music transcends time, and the inanimate object becomes alive once again after you wind it up and let it play. It is like a lullaby of love from the piano to you. The sweetness and innocence of youth are heard in the piano keys as it winds down and ends with a flair of joy.

 

“St. Declan's Dulcimer Candy Corp” is quite the title and surely holds some meaning for the artist. The sounds are rhythmic, and they have a strong melody. This is the briefest track at 2:54. Even so, the airy atmosphere and tinkling keys steal your heart away once more.

 

“That's How We Say Goodbye” is the perfect way to end the recording with the title and music. There is always a mixture of happiness and sadness in goodbyes. Wayne’s piano speaks to this in the simplest yet significant way. The subtle background orchestrations allow the piano keys to resonate in all their pride and beauty. After hearing all this music, you know that the piano is the one instrument that can tell a story better than any other.

 

Wayne Bethanis' meticulous artistry and storytelling create a compelling listen on the appropriately titled Sonic Bloom. Like blooming flowers, the music resonates with deep emotions and fantastic beauty, inviting you to press play and embark on an emotional journey.

Keith “MuzikMan” Hannaleck-NAMR Reviews Founder

June 6, 2025

Tracks:

01. We Will Rise Once More 03:49

02. Don't Look Back (The World is Changing) 03:12

03. You Know I Will Remember You (Room 112) 04:21

04. There is a Place Beyond the Heart 03:45

05. These are More than Memories 04:13

06. Dream of the Golden West 06:57

07. My Father Never Saw Paris 03:51

08. Waltz of the Sirens 03:21

09. Ten of Hearts 03:55

10. New Age Music Box 03:31

11. St. Declan's Dulcimer Candy Corp 02:54

12. That's How We Say Goodbye 03:51

World-Jazz-New Age-Instrumental Review & Interview With Ron Korb- Global Canvas

Release Date:  February 28, 2025

Label: Humbledragon

Website

Ron Korb's latest recording, Global Canvas, is a musical journey worldwide. His instrumental compositions, ranging from up to 4:59 to as short as 46 seconds, paint a diverse and vibrant 'canvas' of sound and colors, all guided by his extraordinary flute playing.

 

The recording's information promised a journey through sounds of Asia, Afro-Cuban rhythms, Brazilian samba, and Bossa Nova, all immersed in jazz and world music textures across the eighteen tracks. This promise was more than fulfilled, as the album proved to be an absorbing and satisfying listen, engaging the listener from start to finish.

 

Joining Ron on this multicolored musical project are a group of esteemed musicians. These include Latin Grammy-winning Afro-Cuban jazz pianist Hilario Durán, known for his innovative compositions and virtuosic playing, percussionist Rick Shadrach Lazar, whose work with Manteca and Loreena McKennitt has earned him a reputation as a master of rhythm, and guitarist Bill Bridges, whose collaborations with Lena Horne, Tony Bennett, and Peggy Lee have solidified his place in the jazz world. Also contributing are bassist Steve Lucas, known for his work with Bruce Cockburn and Levon Helm, George Koller, a versatile bassist who has worked with Holly Cole, Peter Gabriel, Phil Woods, and Dizzy Gillespie, and master tabla player Muthu Kumar, a student of Zakir Hussain and former member of Alice Coltrane's band.

 

"Havana Sun" immediately captivates with its Latin essence of percussion, setting the stage for the other instruments to weave their way over that strong foundation. Ron's flute adds an airy and joyful sound, while the piano, bass, and nonstop percussive elements drive the piece from start to finish. The rhythms and beats are extraordinary and irresistible, with the flute adding a jazz overtone to the mix and the piano taking flight. It's a vibrant, colorful, and moving piece that embodies world music's essence.

 

"Kindness" moves on to other lands in the Far East with its definitive textures of the Chinese erhu player Xiaoqui Lin. The track is picturesque, capturing the atmosphere and tradition of millennia gone by. There are also the delicate strings of a harp that I heard to accentuate the unique beauty of the erhu. The mixture is stunning and memorable.

 

"Isla Grande" provides a magnificent piano to help create that Latin atmosphere. The piano blends with the percussion elements and Ron's flute, which flits in and out like a beautiful bird in full flight. I am reminded of some of the music of Flora Purim, and I might add, most fondly. The music is sublime and relaxes you from head to toe.

 

Then, to take things in an entirely different direction (an ongoing feature of this recording), "Angkor Wat" features the Cambodian Pie Pook woodwind instrument. The sounds emanating from that flute are mystical. Some folks may also consider it eerie, as it has many atmospheres. Either way, you will interpret what you hear, as it immediately pulls you in with a mesmerizing effect.

 

These are four examples of how diverse musical styles, genres, and cultures can make a listen multicolored and eclectic. The merging of the world musically does have its advantages. I appreciate how Ron Korb brilliantly incorporates that inspiration into his compositions using the flute as the lead instrument. Taking a non-traditional lead instrument and mixing so many genres takes tremendous talent and skill; Ron does so consistently from start to finish.

 

All good music has a power and strength, and all these tracks have that one factor of persuasion and force upon you that will resonate long after the last note is played, making Global Canvas one of the year's most highly regarded world music releases of 2025.

Keith “MuzikMan” Hannaleck-MuzikMan.net Reviews Founder

June 4, 2025

TRACK LIST: 

1. Dream of the King Prelude 0:46 

2. Dream of the King (cinematic flavour Asian flutes, cello & harp) 3:29 

3. Desire Prelude (feat Muthu Kumar tabla) 0:57 

4. Desire (feat Muthu Kumar tabla & Japanese koto) 4:59 

5. Havana Sun (feat Latin Grammy Winner pianist Hilario Duran) 4:41 

6. La La Formosa (Brazilian Samba) 4:48 

7. La La Formosa Postlude (percussion by Rick Lazar - Samba Squad) 1:26 

8. Kindness (feat erhu Chinese player Xiaoqui Lin) 4:10 

9. Isla Grande (feat Latin Grammy Winner pianist Hilario Duran) 4:16 

10. Bossa Guitar Prelude (acoustic Brazilian guitar) 0:51 

11. Bass Flute Bossa (Brazilian Bossa Nova) 3:24 

12. Blue Heron (jazz crossover with piano, flute, violin, cello) 4:37 

13. Azure Nights (Latin mid tempo) 4:12 

14. Angkor Wat (featuring Cambodian Pie Pook woodwind instrument) 4:29 

15. Hinamatsuri (featuring Japanese bamboo flute, koto & shamisen) 4:41 

16. Peace Flute (featuring bass flute) 3:31 

17. Three Kingdoms Prelude (Asian flutes & Korean percussion) 0:45 

18. Three Kingdoms (featuring erhu & Korean percussion) 3:37 

“Global Canvas” by Ron Korb | Album Review by New Age CD and New Age Notes Radio Staff

What do you get when you have 19 renowned musicians from all over the world merge their talents together for one big, beautiful album? You get a “Global Canvas,” of course. 

“Global Canvas,” Ron Korb’s 30th album release, offers a vibrant and innovative exploration of global musical traditions across 18 tracks. Here, we have a brilliant weaving together of the rich sounds of Asia with Afro-Cuban rhythms, Brazilian samba, Bossa Nova, jazz and world music.

This thoroughly engaging album showcases intricate, elaborate arrangements and all acoustic performances – with no AI, no pitch correction, and no autotuning – by world-class musicians from around the world. The result is an incredibly dynamic fusion of jazz spontaneity, classical precision, and global rhythmic sophistication.

Named one of the "Ten Best Flute Players in the World,” Japanese-Canadian flutist Ron Korb, a two-time Grammy® Award nominee, a celebrated musician, composer, and producer is legendary for his extraordinary virtuosity and wide-ranging musical influences. Ron’s music ranges from the fiery to the sublime, as well as to the intimate and cinematic. Among the 18 compositions is the track "Isla Grande,“ which won "Best Instrumental Composition“ at the USA Songwriting Competition.

A fascinating story also weaves in and out of this masterpiece of musical artwork. The original idea for this project is from the Korean myth about a magical bamboo flute called “Manpasikjeok,” which inspires the beginning, middle, and end of this album.

Joining Ron on this exceptional album is a host of first-rate musical talent, such as Latin Grammy® winner, Afro-Cuban pianist Hilario Durán, bassist Steve Lucas, George Koller, percussionist Rick Shadrach Lazar, guitarist Bill Bridges, Brazilian jazz guitarist André Valério, cellist Margaret Maria, Celtic harpist Sharlene Wallace, master tabla player Muthu Kumar, and erhu player Xiaoqiu Lin.  The underlying brush strokes for this canvas include Asian flutes and stringed instruments, ambient, multi-faceted textures, along with fascinating world rhythms.  All 18 tracks are original and are composed and produced by Ron Korb.

I like that the album opens with a 49-second prelude, which sets the stage for all that comes next. We feel ourselves nicely drawn in with its haunting flute and light drumming, beckoning us enticingly to explore further. Next, we are led to the tranquil, delightfully melodic and mesmerizing, “Dream Of The King.”

“Desire Prelude” is an enchanting 1-minute prelude, again with ethereal flute and light drumming. The composition, “Desire,” has a beautiful and sultry flute melody, with strings and percussion adding texture, depth, and a unique rich tapestry of sound.  This is very uplifting and captivating on so many levels.

While we can’t address every track on this outstanding album, here are some other highlights: “Havana Sun” is so fun and filled with the joy that encompasses that “vacation vibe,” where one can just escape from all that ails them. I love the keyboards here in particular. Ditto for “La La Formosa,” which can translate to “the beautiful island.” We just feel transported.  I must mention that this track has a “postlude,” which I find fascinating and very effective in terms of artistic expression.

After all this fun, we encounter the gentle and flowing “Kindness.” This is very nicely done with many expansive layers and textures.  I can completely understand why “Isla Grande” won the big songwriting competition award that it did. This is thoroughly engaging with many twists and turns.

“Bossa Prelude” is 49 seconds of enticing guitar seducing us more than effectively into “Bass Flute Bossa.” This is a “must have” for Bossa Nova lovers everywhere. Just outstanding.

Conjuring up that “feel good” vibe, “Azure Nights” gives us another great escape. Violin and cello, among other interesting instrumentation add to the allure.  And “Peace” is just that in a flute solo by Ron. Love it.

This breathtaking album winds up with the sinuous “Three Kingdoms,” with flute, piano, violin, cello, and much more leaving us with just the right amount of breathlessness and awe, knowing we have just partaken of something extremely special. Get the whole thing! In my opinion, it’s a Picasso.  Bravo!

Get it here or your favorite digital service: https://ronkorb.com/store

Review by Dyan Garris, New Age Notes May 31, 2025

Featured Contemporary Instrumental Track: Samer Fanek-Glass Half Empty

Is your glass half-empty or half-full? Everyone has a different perspective depending on who they are and the moment in life when they choose how to look at something.

The ironies we experience can influence that choice, and even if it's on the pessimistic side of the thought process, we can still smile and raise that glass as half full. Samer Fanek shares this sentiment and expresses it through his music.

 

Samer's latest single, "Glass Half Empty," embodies that thought process, and it does so with his grand piano playing.

 

With a jazzy flair and ambiance, this contemporary instrumental piece injects color and lightness into your being, making you smile from start to finish.

 

Keith “MuzikMan” Hannaleck-NAMR Founder

May 30, 2025

Samer Fanek is an award-winning pianist, composer, and producer of instrumental piano music. He pursues a lifelong dream of building genuine connections with listeners worldwide by offering songs that he hopes will become soundtracks to meaningful moments in their lives. In his music, he strives to express powerful emotions, inviting listeners to feel the stories and sentiments he pours into each song through the lens of their own experiences, whether heard live in concert or through his recorded albums...READ MORE...