From
multi-instrumentalist Chris Conway comes a joyous and diverse celebration of music
in many forms. Drawing artistic inspiration from water itself (nature sounds
of the element in various forms, e.g. rain, brooks, waves, etc., flow throughout
the recording) the nine tracks on River of Life crisscross the globe, as Conway
explores all manner of musical fusion. You’ll hear influences from Celtic to Indian,
African, and Brazilian, and encompassing genres such as new age, chill-out, jazz
and who knows what else. Conway epitomizes the term “renaissance man” as he plays
a dizzying number of instruments: piano and keyboards, kalimba (African thumb
piano), percussion, 9-string, nylon string acoustic and electric guitar, vibraphone,
zither, tin and low whistle, voice, and even theremin! He also features some accompanists:
Neil Segrott on fretless bass, Georgina Sear on voice, Mick Oxtoby on violin,
and Clare Johnson on flute, Of course, with mastering by Kevin Kendle, you don’t
even have to ask how this all sounds, do you? Yet, even with all this going on,
this is not some over-produced flashy extravaganza. Rather, it’s immensely
human in feel and at times intimate in scope. Finally, the liner notes are
some of the better written ones I’ve read lately too!
“From One Drop of
Rain” begins quietly with kalimba mimicking the sound of water droplets while
minimal piano plays over a hushed synth line. Things pick up steam and a lively
blend of kalimba, bass, bells, synths and that sparse piano all coalesce into
a delightful album opener. The seven and a half minute “Gathering Streams” is
a superb chill-out tune with lots of cascading bell tones, leisurely playful piano,
soothing layers of synthesizers, spot-on application of wordless vocals, sparkly
BecVar-ish guitar and a solid midtempo drum kit rhythm. Celtic influences color
“River of Youth” with jaunty Irish liveliness and, once again, Conway’s wordless
singing adds, rather than detracts, from the cut. “River of Memory” has a spiritual/mystical
aspect to it, emphasized by the presence of temple bells, zither, and gamelan-like
keyboards. Both Conway and Sear contribute their unobtrusive wordless refrains
(almost mantra-like) to the track. The song builds its drama as it eventually
introduces slow tempo percussion elements. “Rapids” energizes with uptempo energy
contained in its sexy mixture of chill-out, lounge, and samba flavors yet the
spark is somewhat restrained so that it doesn’t spin out of control. “Delta” comes
across like a new age number with a blues undercurrent, buoyed by some laid back
yet jazzy runs on piano, lightly pealing electric guitar, and Sear’s wordless
duets with Conway’s low whistle. Conway goes it alone on the seven-and-a-half
minute “Out to Sea/Commingling/Evaporation,” playing keyboards, percussion and
theremin. Part flowing melodic new age (built around a repeating note progression),
part ambient textures, and part uptempo chill-out, the track showcases Conway’s
composing bravado. “Spirit of the River” concludes the CD with a slow-paced gentle
amalgam of vocals from Conway and Sear, 9-string guitar, low whistle and kalimba,
the mood conveying the gentle flow of a river’s current.
Even if you normally
avoid “wordless vocals” on an album, Conway seems to have an innate understanding
of how best to integrate the lyric-less singing with his vast array of instruments
so that those who might shy away from such a thing should not be intimidated or
turned off. I’m impressed at the multitude of instruments Conway wields so artfully
on River of Life as well (I also wish to acknowledge the accompanists). There
is a palpable sense of beauty and positive energy which permeates this entire
album. Drink long and deep from this water source and I can almost guarantee you
will be refreshed. Highly recommended.
- Bill Binkelman
