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(52:54, Azul Music)
TRACK LIST: 1. Miragea 4:45 2. Amethysios 5:53 3. Star 4:15 4. Pegasus 4:08 5. Lightwalk 5:15 6. Firefly 5:00 7. River 4:51 8. Talisman 3:57 9. Dreams 4:04 10. Supernova 5:46 11. Air 5:00 LINEUP: Corciolli – piano, synthesizers; sequencers, samplers Christiano Rocha – drums, percussion Claudio Machado – bass With: Tony Levin – bass (3, 7, 8) Andre Matos – vocals (3, 9) Ulisses Rocha – guitar (5, 10) Renato Martins – triangles (5, 10) Nana Vasconcelos – congas (2, 3, 6, 7) Marcus Viana – violin (4)
Prolusion. Since his debut in the early ‘90s, Brazilian composer and keyboardist CORCIOLLI has been a highly prolific artist, releasing albums at a rate few can compete against. He has established himself internationally as well, and has apparently worked with notable artists such as Vangelis, Sarah Brightman and Yossou N'Dour in the 15 or so years he has released solo material. "Lightwalk" was issued in 2009, and sports guest appearances from high profile bassist Tony Levin (King Crimson, et al) and Andre Matos (Angra) as arguably the main points of interest for progressive rock fans.
Analysis. Corciolli may be an unfamiliar name to many despite his relatively high profile in the world of music. Personally, I'll have to admit to being completely in the dark about this artist prior to receiving this CD for review, and others I know with more of an ear for mainstream music hadn't come across this artist either. The fact that he's a Brazilian may have something to do with that, as well as the music he creates. It seems that the foundation of his exploits resides within new age territories in terms of style, and albums of that sort tend to go under the radar screen for many, no matter what type of music they normally listen to, with descriptions such as elevator music attached to this genre more often than to other stylistic expressions. And while this particular album stays mostly on the right side of that particular territory, there's no denying that new age is a term that pops up pretty soon while exploring this creation. The compositions are generally light, unchallenging and positive, where wandering piano themes and lush synth textures create fluffy, comfortable and highly relaxing atmospheres. Some tracks are indeed highly cliched efforts, heading directly into elevator music territory and staying put there throughout, but thankfully there are a few endeavors here that offer more tangible and sophisticated takes on the new age genre as well, even to the point that they may be described as approaching progressive musical landscapes. On these escapades darker textures are added in to provide contrasts, subtle additions from percussion and bass in particular and synth-based textures with more of a symphonic touch to them create a richer sonic tapestry. And while far from being challenging in any normal definition of the word, these efforts at least provide something to listen to besides the safe and sugary-sweet landscapes which are so much a trademark of generic new age music. When that is said, the level of sophistication isn't by far up to the standards provided by your average progressive rock oriented outfit. The compositions providing a more elaborate landscape here do so in the context of new age music, although elaborate takes on the genre they are a part of and when compared to other artists exploring this style of music.
Conclusion. While the presence of Matos and Levin as guest musicians on this disc may warrant some interest in itself on behalf of followers of progressive rock, I suspect that those devoted to sophisticated progressive music for the most part will find "Lightwalk" to be too much of a fluffy, unassuming affair to interest them. Those who enjoy light, positive music with a firm foundation in the new age genre should find this production highly interesting though, and those who love the dreamier parts of the back catalog of artists such as Vangelis might as well place an order for this CD right away.