Kirkwood picks the Best Albums of 2019

The saddest thing about you being you and not being me is that you probably do not enjoy “my” music nearly as much as I do. Which is sad:)


For years I avoided streaming. It just seemed wrong. Then I rented a car that didn’t even come with a CD player. What to do? Don’t laugh-- I just learned that you can listen to music in your car with your phone. Who knew. Now, two months later, I am all about streaming, though I do my best to buy real product when and where I can. I am most taken the Bandcamp model that allows me to purchase music from the artists, and get a download.

For the purpose of sharing, most of these links take you to Spotify accounts, a few to Bandcamp. A few more are available through Youtube. Just press the green words.

Selections are in no specific order.





1) Josh Garrels: Chrysaline (2019) 
      Chrysaline on Youtube

Brooding, melodic, techno-coustic fusion,
A perfect storm of harmonic glow, masculinity, and spiritual vitality.

I hang out on a few Facebook groups where we celebrate the glory days of Jesus Music. People often ask if anybody today is creating music as innovative, unfettered and culturally relevant as they did in the early 70s? I say… Do you listen to Josh Garrels?

2) Dennis Hendricksen, Kari Heise: 
Swimming in the Heart of the Sun

Swimming on BandCamp

Ethereal Sacred music fit for a Cathedral streaming with light.

Dennis Hendricksen, a Canadian Lutheran Pastor is a musician's musician, known to me for his jazz-fusion and ambient instrumental works. Swimming in the Heart of the Sun, with sublime vocalist Kari House showcases Hendricksen in new territory. The lyrics are founded in the the Lord’s Prayer, but I wouldn’t know. I don't understand Latin.







3) Jeff Johnson-Phil Keaggy - Cappadocia (2019)

Ambient-instrumental-middle eastern-transcendent-jazz featuring Guitarist Phil Keaggy and Key-Man Jeff Johnson. See my extended review here.

It’s hard to believe this album has only been out a year. I have lived in it like few others. I especially enjoy the memory of playing it loud in the car while tooling around with my photo-bud Casey Crocker as we searched for Arkansas waterfalls.

4) Phil Keaggy and Rex Paul: Illumination


Big Sound, Arena Rock with a melodic twist from Guitar-titans Phil Keaggy and Rex Paul.

I did not know the name Rex Paul before this collaboration. Now I do and I am thankful, not only for the union, but for Rex’s stand alone work.  And Keaggy, could this guy really be nearing 70.  He sounds like a kid.

I often tell people that I prefer my music at the edges. Give me low production chamber orchestra, old school country… live jazz, or even a dash of punk. Skip the high production middle. Now comes an album with layers of production, and I must eat my words. This music is just so lush, so jubilant so dazzling… it makes me sing. And play a mighty air guitar.

HUGE:  In the last year Keaggy has put all but a few commercial releases  (owned by others) up on BandCamp.  I don't know if he senses the finish line, or is just being gracious, but you can now listen to over 100 Keaggy products (including outtakes, live demos, and quality studio recordings right here.


5) Terry Scott Taylor (Bedroom Demos Collection)

Veteran Jesus music grandpappy Terry Scott Taylor -- front-man for the Daniel Amos Band, and contributing member of The Lost Dogs (Alt Country/Americana) and the Swirling Eddies (Experimental Weirdness) has been described as having more creativity in his little pinky than the rest of Christendom put together,

A few years back Terry Scott decided to offer loyal fans a self-recorded EP a month - presumably until the Lord Comes back or the wife kicks him out of the bedroom. He is now at chapter 28, each EP with 5 tracks.

Some of the remakes are downright astonishing. Imagine a 30 year old Taylor (1980s) recording frenetic, high decibel NewWave with the Daniel Amos Band. Now Imagine a geezer-hippy nearing 70, covering his own 30 year-old self. With at least 15 albums under his belt, Taylor has lots of old material to make new...which is another way of making it wonderfully old. And Surreal.

Samples: (May require you to be part of Band Camp to hear)

Colored By (1981)
Colored By (2019)
Shadow Catcher (1986) Youtube.
Shadow Catcher (2019)








6) Bruce Cockburn: Crowing Ignites (2019)

Acoustic Guitar with elements.

Folk-rocking wordsmith Bruce Cockburn has always played a mean guitar, but here he leaves the voice and and amps behind for a collection of deeply textured instrumental ballads. I am not sure how music sounds Canadian, but you can hear the sleet and sting.

Bells of Gethsemane is as powerful as the title suggests.











7) JJ Heller: I dream of You, Volume 2 (instrumental) (2019)

Princess-fairy renditions of essential songs, minus the fairy princess. So this is weird. Take a woman with a surreal, fairy princess voice. Let her make a delightful 2017 album in which she covers essential songs, with her fairy-princess voice... then, reintroduce the same album, minus her voice. (The audio landscape behind her voice is both lush and magical.)

Truth is I like both. Hear JJ with voice here. As a matter of style, I gravitate to the chilly November day with bitter-coffee side of the audio spectrum, but once in a while I find I need... Life, breath and Spring. JJ offers antidote to all in me that is cold and dark.






8) Heath McNease: Be Clean Again (2019)

(Sanctified white-boy rap, modern pop and old school folk, all in one dynamic conglomeration)

This is for the kid in me. Youngster Heath McNease is nothing if not diverse. I was first made aware of his music in 2012 when he released “The Weight of Glory: Songs inspired by the works of CS Lewis.” That caught my attention. Since then I have learned that Heath, a youthful rapper, has ventured into every more diverse soundscape, ever courting his first love.  But hidden behind that voice and style. A mighty writer.





9) Sara Groves: Joy of Every Longing Heart 2019

Piano driven contemplations of Advent.

I haven't made a best-of list in years. If I had, Sara would have made my list every year she releases a new album. Especially these last years in which she is pushing into ever delightful states of understatement. It's not depressed, It is subdued. I love her marvelous restraint and brooding blues. Pull out the Earl Grey. Music of incredible richness and depth.



10) The Porter's Gate: Neighbor Songs (2019)

This is the wrong graphic, but it gives a better sense of the dynamic urban worship experience that is Porter's Gate.  Truth is, I just discovered them. Like ten minutes ago.  Other Kirkwood favorites, Josh Garrels, Liz Vice, and Audrey Assad contribute to mix.   I am living in and loving this music.  For more info see:

https://www.facebook.com/pg/theportersgate/photos/?ref=page_internal

https://theportersgate.bandcamp.com/releases

11) Charlie Peacock Lil’ Willie (2019)

Warm, folk-jazz story song. A tribute to the author’s Dad.

(Album on Youtube) Is there anything that Charlie Peacock cannot sing or produce? Just when I have him pegged he switches gears and tries something new. Lil’ Willie is as warm, supple, and (deceptively) simple as CP's earlier music can be roaring, rapid and complex.


If you want a quick lesson in contrasts, try these links.

Charlie Peacock, Experience (on Youtube)
Charlie Peacock, Wouldn’t Leave Love Alone (2019) Youtube

Note, while listening to this album on Spotify, I came in contact with some tracks that were attributed to Charlie Peacock, but didn't sound like him. Ever the collaborator, Charlie has teamed up with a range of individuals to produce music that is ever different and evolving. Scroll the bottom of the Spotify list to hear some of Charlie’s new audio dallies. Funk, Chamber Orchestra, it’s all there.





12) Kanye West: Jesus is King

Quirky black gospel (mass choir) and rap fusion.

I can’t believe what I just wrote. KANYE West.  I did not like Kanye before. I am not yet sure I like him yet. But I am simply amazed that a man, once a slave to self and sensuality, is now singing the unironic praises of Jesus. My sense. A few of these tunes don’t work. (Closed on Sunday) While a few are just so incredible, both for what they say, how they sound, and who is now singing them, that all I can do is praise God… for His irony. 


Bonus
Sunday Service Choir: Jesus is Born (12/25/2019)The severe and dense layered vocals of the Sunday Service Mass Choir, remind me strangely of sound-scape I associate with Handel’s Messiah. Apart from the sheer otherworldliness of the sound, the most surprising thing about this recording may be that Kanye West backed the work, then left his name off the project! That, and the fact that it came out when he said it would. On the Money Christmas Day 2019.


13) Andrew Peterson - Behold the Lamb of God 

(20 year touring anniversary remake)

Symphonic-folk

This one gets the prize for feeding my soul real food. You can follow this link for a more detailed story, but basically - Some twenty years ago Andrew Peterson and friends started doing a yearly Christmas themed concert entitled “Behold the Lamb.” They put out a recording of the same in 2004, and now, fifteen years later are offering the same content with added voices and new production. It was stellar then, its stellar now.










14) Pierce Pettis: Father’s Son (2019)
(Muscled folk, Songwriter extraordinaire)

It’s been a few years since I’ve heard from Pettis, is voice is starting to breakdown, blister and flake, which makes it all the more like a beautiful ruin.

15) Bill Mallonee: Lead on Kindly Light (Bandcamp)
Alt country-campfire-beatlesque rouge Americana, 23 song Double CD extravaganza

Bill Mallonee, with over 70 (!) Albums under his belt, has been in the “Autumn” of his life for at least the last decade. And as he gets closer to the down-dark winter close out stage, he seems set on getting EVERYTHING out of his system. Good for us, he has lots of important things to yet to say, and plenty of new ways to say it. Funny, I am hearing some youthful play in this recording that hearkens to the spring.

*Bill has added: The formal release of "Lead On, Kindly Light" will be in Spring 2020;
What you have here is a "soft" release to those who helped us fund the recording via Kickstarter & website pre-orders...
That said, now is a great time to pre-order!












16) Audrey Assad: Peace

Peace is ostensibly a Christmas release.  I could listen to this all year.  Could Audrey be gifted with one of the more sublime voices in universe.  (Yes.)

Let me just say.  I don't get the graphic.   Unless it is meant to contrast two realities.  Dysfunction, Dissonance and Distress against real Peace, despite the presence of Devilish D's.  (Disunion, disharmony, Diabolical, Dead, Drastic, Decaying, Discombobulated, Dysentery, Disaster.... Hmmm  .there seems to be a lot of them.)

Whatever is going on behind the Distortion in the the photo, your heart will dine in splendor with Peace.


*

I am still mulling on what I think of Audrey's re-write of the Battle Hymn of the Republic.  Something gained.  Something lost.





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Works created before 2019, but only recently discovered by me.





17) Pat Terry: How Hard it is to Fly (2018)

Curmudgeon folk-rock.
One time Jesus Music veteran, now a tad more cryptic (and not really happy with current politics) still intoxicated by miracle.


Favorite pick: Sky Full of Stars.


18) Crowder: I know a Ghost (2018)
Catch the Creol and Diesel soaked vibe in this smoky You-tube video rendition of Wild Fire.


19) Liz Vice: Save Me (2018)


If you watched the Crowder Video above, you heard Liz)
What can I say. I wish everyone listened to Liz as a way of life. Soul with Heart.




20) Sandra McCracken: Songs from the Valley (2018)

I would not wish the emotional and spiritual pain that Sandra has known these last years on anyone, culminating in a very public divorce. I can only be thankful she continues to hang on to, and celebrate the God who holds.

Kelly Willard and Rene Stamps

#Wherearetheynow

For lovers of Jesus-Music veteran Kelly Willard, known for the sheer loveliness of her voice, pure femininity, and depth of 80s expression, consider this unusual pairing.

Twang and the Swan.





Should Kelly or her musical partner Rene Stamps read this, I pray they bear with me.

When I first watched the following video and heard Rene’s voice, I thought. "OH  OH my."

That’s kind of shrill. And twangy. Rene has out-nosed the likes of Iris DeMent.

As for the pairing. Make that trio-ing:

Tis acquired taste bliss.

Kelly’s contribution is understated, but the aging loveliness of Kelly’s voice, in combination with the mountain home quirk of Rene Stamp and the male dude, take me right back to a place that I have only been to in my mind: The sanctified holler, Holy Ghost in the thicket, whiteboard church of blood-washed saints.

This is peculiar on the ears and I like it.

Thank you Jesus for inspiring such diverse artistry.


--

To any do not know why this pairing is peculiar, you can hear the old Kelly here: https://www.youtube.com/watch?v=3s8vXIg9ocI

Jerry Lee Miller - Nancy Honeytree: Look for Me (Review)

In keeping with my theme:  Jesus Music for people who wonder where all the good music went --


Jerry Lee Miller (with Nancy Honeytree) : Look for Me

Released 2017, with early tracks from 2014
Genre: Old World hippy sacred Irish folk (and some folky blues)

Short Play:

I discovered “Look for Me” on a lark. I would tell you more about Jerry Lee Miller, or the genesis of “Look for Me” - but I cannot find a thing. (*) All I know, is was looking for music by Nancy Honeytree, then stumbled on this "off the grid" gem.

I do not actually know if Jerry Lee is an Irishman, but he certainly sounds the part. I picture a wiry old man (or bee keeper), dancing down goat trails in the joy of the Holy Ghost. For lovers of Saint Patrick the penny whistle, stripped down production and haunting melodies, it just doesn't get any better than this.

You can get a pretty quick sense of the music by listening to "The Bird of Heaven Cries" -- a pre-release track that I was used in a film score:
https://www.youtube.com/watch?v=c4Pvb9QYEV4



---

* 
I have since discovered through Facebook that Jerry Lee Miller is a former pastor of Spring Run Church of the Brethren, of middle Pennsylvania, and is active in area environmental issues.  I found a picture of him in handcuffs as part of a Pipeline protest, but figured that might be bad form.






For introductory listen, 
you can hear the entire album on Spotify here.

Or order a download through CD Baby here.



Long Play (mostly about Nancy)

As a long time Jesus Music enthusiast, I sometimes poke around Spotify, Youtube, or Band Camp to see if any of the veterans from the glory years are still putting out projects. And from time to time, I stumble on surprises. Not only are some of my old friends still putting out music, some are taking liberties they may never have taken in the days of record companies and budgets. Early Jesus music was never known for its commercial prowess, but even then, it took money to make records, and producers wanted something back on their investment.

Now I see form

I do not know who took this very find image.
If it is yours please let me know,
and I will gladly credit or remove.

er Jesus Music standouts taking on creative projects they could not have justified in the day. And doing so with lower budgets than when budgets were really low.

In these last weeks I have discovered new music from a handful of Jesus Music veterans, including: Nancy Honeytree, Kelly Willard, Paul Clark, Pat Terry and Bob Bennett. (Possible reviews to follow)

Today I want to look at just one … Nancy Honeytree, and see how she - as a woman nearing 70! is still blessing the world through her presence… this time, not as the “premier vocalist” but as a supporting vocalist on the work of an obscure Irishman. Not. Now I find he is from the hills of Pennsylvania, and a pastor from the Brethren Church. to boot.


For the Unfamiliar Nancy was a folk rocker folk rocker in the tradition of hippy-chic Judy Collins Nancy put out a series of quiet-standout records in the seventies and eighties, then put out a random record the 80s that moved into the realm of chamber-orchestra praise. (See a delightful overview of Nancy’s music by Scott Bachmann here. )



Nancy’s late period work stands out in my ear, because as a woman much into middle life, she finally acquired a husband. Her song “Well worth waiting for” rings in my ear for is beauty… both as a testament to her husband, and as a testimony to God's goodness to her through extended celibacy! Throughout the years I have long held Nancy in high esteem, for her stripped back hippy vibe, ear, and sanctified disposition.

As for Jerry Lee Miller and Nancy Honeytree together: It’s a perfect vocal pairing.

I get this sense that Nancy has gone full circle, intersecting her seventies self, with some added miles.

As for Jerry Lee. So glad to have made aware of you before we die. You must be a hoot.  And a mind. I would love to sit in your parlor, or help you tend bees.

As for everything else, I won’t say more. You can listen, and love it as I do… Or walk away, missing the joys of quirky, hard-scrabble bliss.

Rachel Wilhelm: Songs of Lament

Preface:

I am part of a group on Facebook given to the "glory" years of Jesus Music (1979-1989). I am not sure exactly how the group decided upon those years, however, there is a shared feeling among members that given the homogenization of Christian Praise music, that few people today are creating music that matches the importance, vitality, or skill of our chosen era.

While I sometimes join them in head-shaking as we look at the state of Christian artistry (especially that which hits the airwaves) I am convinced that many in the group are simply not aware of the many profoundly gifted musicians and singers making new music in the Jesus Music tradition. Over the next year, I hope to highlight artists (maybe one a week) that stand out for creating music that is current and sanctified and culturally engaged, and has not succumbed to the homogeneity of the age.  My first pick:

Rachel Wilhelm Songs of Lament - 2017 (Bandcamp link) Sacred/Folk/Adult Contemporary

For as long as I can remember, I have been in love with minor keys. I came out of the womb enveloped in them. I imagine my soul connecting to each tendril, as I lose myself in melancholy.

I have always written my own songs, but when I finally recognized the beauty of God’s Word, I realized that some of those words found their pairing with the minor keys that so inflamed in my heart, seeking to be consoled. God’s Word showed me, in effect, that it was okay to be sad.” (Rachel Wilhelm)

Quick Spin:

Songs of Lament, by Rachel Wilhelm is an album of refreshing clarity and beauty, given to themes of sorrow and God’s mercy in times of pain. Rachel gives voice to sober reflection inside a bed of stylized folk with lite-jazz and celtic underpinnings. I am claiming this for  my “essential listening” file.

Long Play:
I came across Rachel on a lark, while tooling around NoiseTrade. Not only is the music lean, spare, haunting, it chases territory that much in need of chasing.

NoiseTrade, in describing Rachel’s audio ethos, place her in company with Sara Groves, Sandra McCracken, and Audrey Assad.  Of these three, Rachel, probably compares most directly with the rougher-hewn Sandra McCracken, though Rachel sings at a decidedly higher register, making her a more direct vocal compare with the unnamed Jill Phillips. (Both have what I might call a northern quality).  She brings a voice wholly suited for desperate melancholy: feminine, lilting, broken and strong.

Songs of Lament showcases production values that fully match my ear:   Rachel is surrounded by quality musicians who expertly twine electric and acoustic elements. (Piano, cello, upright bass, Wurlitzer, sundry guitars etc.) Production is thicker than “folk” but decidedly restrained. The music fully supports the spirit of lamentation.


--

When my bride and I were young in marriage we attended a church given to the practice of Exclusive Psalmody -- the practice of ONLY using lyrical paraphrases of the Psalms in corporate worship. While my wife and I did not embrace the conviction of the assembly, I count that a rich year of worship life, in part, because the Psalms address themes largely hidden from contemporary life.  Look at our modern praise songs and you find the shelves stocked with celebration and “happy” themes. Largely absent are songs that address misery, depression, or the judgements of God. But if Jesus was a man of sorrows it seems part of what it means to follow in his footsteps is to feel the grief of God.

In putting out an offering anchored in lamentation (Sometimes from the very book) Rachel has elevated the music of real experience --  into reality.

Since discovering Rachel’s music I have reached out on Facebook and now, have an ear, not only for Rachel’s music but her opinions as expressed on social media.   Turns out Rachel is a worship leader -- formerly from Minnesota, and now serving Redeemer Anglican Church of Dacula, Georgia. I knew there had to be a liturgical influence!

But her interest in song goes far beyond form or personal expression, she is deeply interested in the whole theology behind worship.   She shows a deep concern for both spirit and truth, and uses social posts to explore what honors God in heart, head and affections.

Beyond that, I have learned Rachel has quite a backstory. Since it is hers to share, I will not repost it here, only to say...Rachel showcases a deep awareness of human fallibility, and God’s extravagant grace.


My recommendation. Start with her music on Bandcamp -- let her music soak into your soul, then if it touches a cord, reach out to her on Facebook and take in her honed insights on a life of living worship.

--

For further listening, Enjoy Rachel's first work:

This project started in 2012 in Wendell Kimbrough’s DC apartment. Our common goal was to record hymns with our friends, some new, some old, for our local churches where we led music. This particular project has four old hymns with new tunes, and two new hymns.

The Kindling Glance (EP) 2016 (Bandcamp Link)

Jeff Johnson and Phil Keaggy: Cappadocia

Cappadocia.
Jeff Johnson and Phil Keaggy
Genre: Ambi-coustic (New Age) with touches of Art-rock
Release 2/2019



Quick Spin:

Cappadocia, the third joint-instrumental work by ambience-keyman Jeff Johnson -- and guitarist Phil Keaggy, showcases both artists at their collaborative best. In keeping with the recipe of their earlier ventures, Cappadocia is at at once impressionistic and precise, hypnotic and varied, melancholy and sublime. “Volume-III” flows naturally from their earlier works, but gives greater space to bold Keaggy licks, a touch of the middle east, and the feeling of soaring. This is the kind of music I lean into, savoring every delicious sound. Those who listen loud will discover all kinds of subterranean textures, and sounds inside of sounds. Emotionally rich, Cappadocia traffics in in both solemnity and full-on joy.



Cappadocia (the album) draws its name and from a weirdly weathered region in central Turkey. Video footage highlights a drip-castle collage, a valley of soft rock dunes. The dunes,in turn are studded with caves, tunnels and man made chambers. Cappadocia (the place) played a vital role in the expansion of the early church, providing place for refuge and worship. (The CD art features pictures of primitive churches hollowed inside the the soft stone dunes)

The music reflects the typography of land and spirit. On the physical: drips, echoes and doves. On the spiritual: that which envelopes and fills. Cappadocia (the album) suggests the very presence of God in mind and place.
 
This  is the language of Sanctuary. 

Beyond that, modern day Cappadocia is a favored land for hot air ballooning. And so we soar on multiple levels.

I might have worked longer to describe the music, but figure you can just listen here.  (Bandcamp)


But if you want to better hear what you are hearing, return here!

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Long Play



IF I corner you in a room, or drive you in my car, it’s not long until I have introduced you to the music of Jeff Johnson or Phil Keaggy. Or better yet, a two-fer.

These two men have gone as far as anyone to shape my ear, or provide a significant background for key events in my life. I still remember where I was the first time I ever heard Phil Keaggy. The year was 79 or 80. I was palling around with friends from the Baptist Student Union. It was night, We were headed to the lake and someone threw Keaggys seminal work, Master and the Musician into the tape deck. I was in a moment, transfixed and transported. Keaggy’s classical guitar riffs swelled and turned, or exploded in high volume rock riffs, only to return to the understated and sublime. I felt pulled into the very throne room of God. The music gave me the holy willies...and I have never quite recovered.

A year or two later, I discovered Jeff. This time a wacked out prog rock offering, that sounded at times like the band Styx mixed with melancholy piano and anchored in the fantasy writings of George McDonald. I was like nothing I had ever heard before. I became a lifelong fan. Johnson is the king of collaboration. His recordings over the years are shaped by the many talented people he has befriended. I am in love with both his variety… and minor hues.


Put the two together and we have peanut butter and jam.

---

Cappadocia is Jeff and Phil's third collaborative work. I read one review where Phil called this their best. I am not convinced that it is better...though it may be more intricate and lush. All three live in me.



I have a theory. While each of these projects bear a name that unleash its own set of images, I surmise that Jeff and Phil are secretly working on a four-season collection. Naming each work after seasons would be so 1723 (Vivaldi) ... and my theory is not without holes, but still I see a pattern.



Frio suite: With its deep ambience and echoes, reminds me of Texas Creek in late September or October, which is still pretty warm but colored in the stuff of copper, trickle and reflection.   

Water/Sky: with its darker hues, stark minimalism, and gnarly guitar runs winterish. (Not without exceptions) but I can imagine the churning chill and warm of complex February.

As for Cappadocia. It soars. There is quite-joy in each of these recordings, but I hear in Cappadocia, tones that bespeak unbridled joy...a bountiful flowing. Listen to the closing section of That Which is Hidden and see if hear the hidden brilliance of May following a freshing shower. And when I hear the closing sounds of Chapel of Stone, I hear nothing short of radiance... the sun pushing out over a gilded valley with the very city of God descending!)

While the idea of “sacred” - or Christian instrumental music is largely uncontroversial, I remember when, in the days of the Jesus Music revolution, some people questioned the utility of music without words. They wondered whether music alone could serve a missional function. The answer we came to collectively is that music need not be missional; there is great freedom in Christ to engage in all sorts of things with or without sacred utility. That said, I DO hear Holy Spirit lessons all through this music.

Paul, in the book of Galatians says that the fruit of the Spirit is love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, (and) self-control.

So...What do I hear when I listen to Cappadocia?  A:  A basket, filled with the fruit.

The gentleness, peace and joy are pretty much direct readings of the sound. The patience and kindness, together with self control are suggested by the process. Both men exercise musical restraint. Rather than make Cappadocia a show-off session, Jeff and Phil embrace musical discipline, sublimating their gifts to each other, even working to make each other shine. I think too of Jeff’s many hours on the tweaking side, with the long-suffering required to execute the blend.

Within Cappadocia I hear a few primal Keaggy tunes.  (The final track plays delightful nods to Master and the Musician, while other tracks mirror sounds I associate with the Streets of Madrid, Phantasmagorical, or Wind and the Wheat. What makes them new is the setting, which so expertly frames Keaggy's guitar pearls. Then, both men manifest restraint, so as not to tear the larger musical fabric. Cappadocia is cohesive in its Holy Ghost discipline.

Finally, I fully believe that this music represents embodied love.  I imagine there is a certain amount of trust that each man gives to each other in abandoning himself to the other's gifts. (including pushing out an unbridled vocal that will be, given the magic of machine, turned into angel song.) Join all that, to the Love of God shed abroad in the hearts of those who call upon Him,  and this is testament to love-filled craftsmanship.


==

I would be curious to learn more about the recording process. These sessions are peculiar in that Jeff and Phil recorded (as I understand it) each of their many tracks in separate places, then shared files. Both musicians have a home studio.

Many - but not all of the songs begin with Jeff Johnson piano. I can imagine that Phil responded to - or improvised on top of a musical bed. But did it always work that way? Some songs seem more Jeff, some more Phil.  The sound blend is so smooth that it is hard to believe that these could have been recorded in separate spaces. Each is playing off each other… Or responding to their own earlier work, in second or third layers. There are times too, where I am hearing notes inside of Keaggy's guitar, almost as if Jeff came in and dropped little chime bells inside each brush of the strings. (Forgive me for my non techy language.) Cappadocia is a work of studio magic.





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Closing note -- I have a wish: That Jeff and Phil will find another work yet left in them. Cappadocia dishes Joy, Rev, and peace of mind, but I’ve still got a hankering for all the rock’n heat Jeff and Phil could throw at a summer thunderstorm! Bring on the chaos.

Should that never happen, I will yet die a satisfied man:)