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CHARLIE CAWOOD

The Divine Abstract

(2017 – BAD ELEPHANT MUSIC – UK)

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https://charliecawood.bandcamp.com/

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The first downbeat of this complex multi instrumental solo release by Charlie Cawood latches on to you, and you know it is special. Filled with vivid eastern fused world music, exotic melodies galore, and colors you can hardly imagine. Charlie is known for his work in Knifeworld (bassist), Mediaeval Babes (instrumentalist, arranger), and My Tricksy Spirit (stringed instruments), however none of his previous or present roles will prepare the listener for this ultra-beautiful lotus blossoming of his debut album.

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Charlie studied classical from his preteens, then enlarged his musical education in India, China, Bali and beyond. I’ve lost count of how many different instruments he has learned to play from around the world, as he continues to choose a new one to conquer each time I turn around. On ‘The Divine Abstract’ Charlie limits his equipment to acoustic, electric & classical guitars, Fender VI, acoustic & electric bass guitars, sitar, and pipa. A large number of musicians are added to various compositions. Including Katharine Blake (treble & sopranino recorders), Lucy Brown (French horn), Flora Curzon (violin), Hannah Davis (vibraphone, glockenspiel), Julie Groves (flute), Chlöe Herington (bassoon), Steve Holmes (piano, celeste, Minimoog, bass synth), James Larcombe (piano, dulcitone), Dennis Kwong Thye Lee (xiao), Nicki Maher (clarinet), Ben Marshall (oboe, cor anglais), Elizabeth Nott (darbouka, riq, frame drum), Josh Perl (clarinet & bass clarinet), Alexandra Petropoulos (flute), Oliver Sellwood (baritone saxophone), Diego Tejeida (piano),  Francesca Ter-Berg (cello), Lucie Treacher (kendang, ceng ceng, gong, kempur, kenang, klentong, kempli, genterak), Wang Xiao (erhu), and Ben Woollacott (drums, percussion & cymbals). Some may recognize James Larcombe from Stars In Battledress, North Sea Radio Orchestra, Admirals Hard and appearances on William D. Drake solos. All pieces on ‘The Divine Abstract’ are composed and orchestrated by Charlie Cawood. Produced by Charlie Cawood and Amir Shoat

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The number of musicians and instruments alone make your imagination flutter but the recording is mostly soft melodic passages, with tranquil pieces, some pulsing with lively sway and travel. Bits and parts sound like Oregon, a more exotic Penguin Cafe Orchestra, and eastern minimalism, yet never right in the exact isle of any. Far too elaborate and layered to really fit any such category, but a net of all the above, plus a fantasy combo of Stephan Micus (who Charlie has much in common with), mid period Georg Deuter, Philip Glass, Ryuichi Sakamoto (especially from era of ‘Merry Christmas Mr Lawrence’), and definite Canterbury essence.

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Although many of the tracks range from one to three minutes, and only a few go over six minutes, there are sets of songs, neatly divided into movements, which bring vivid selections of images, atmospheres. and dynamics. The flow and action stays fresh. As a whole, it is wondrous. Every listen is full of new discoveries. Brilliantly managed writing skill encompasses early music, classical modes, minimalism, rich oriental structures, and styles which ebb and flow, often missed by the ear first time around. ‘The Divine Abstract’ is simply a display of astonishing craft and great taste, with a bonus in invention. Up on a pedestal, this is a contender for 2017’s best progressive recording. EXTREMELY RECOMMENDED.

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Reviewed by Lee Henderson 12 – 30 – 2017

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A  magazine focused on inventive, progressive, and creative music in any genre that stands out from the rest
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ACQUA FRAGILE
Moving Fragments
(2023 - Maracash - Italy)


https://maracashrecords.bandcamp.com/album/moving-fragments


  A group who have the uncanny talent of keeping their classic  sound along with staying up tpo date. This amazing return is from 1970's Italian progressive rock outfit, with frontier man lead vocal Bernardo Lanzetti, who made this band and some PFM albums so specifically brilliant. At this decade, to expect more beauty would be a fantasy, yet it is set before your ears, even with the first notes, this masterpiece of Italian, (and not only Italian) progressive rock that certainly grasps the notion of what the genre of "progressive" was always meant to be. ACQUA FRAGILE create another sweetly classic knockout recording, not with even a heavy breath of past to present effort.  In fact, it sounds and feels more authentic than ever.  Bernardo sounds as if he never aged a week, and all muscians present are at full force, not passing up the chance to make another massively classic album.   An album to put Acqua Fragile at the top of the few chosen progressive rock choices of all time. The first song ('Her Shadlows Torture' 05:52 - editors note:  A misspell on the 'Shadows' which is on Bandcamp at this writing - but is correct as 'Her Shadow's Torture' on physical CD)  hug you and give all relief, as to any possible doubts of a long awaited fourth album by this top notch Italian band. I claim it will leave your heart lay bleeding. Grab the spectral energy and enjoy a glimpse of beautiful cocoon birth.

  Not one song is with sacrifice, even a wink of lamb. In fact, some elements are added to further enchance and stun the audience, such as inclusive female vocals by Rossella Volta. The bulk of the outfit is Piero Canavera (drums, percussion, vocals),  Franz Dondi (bass), Bernardo Lanzetti (lead vocals, guitar, Glovox),  Stefano Pantaleoni (keyboards),  Claudio Tuma (guitars), with special aid by (aforementioned vocalist Rosella Voita) ,  Gigi Cavalli Cocchi - drums (1,6),  Sergio Ponti - drums (4,9), Stef Burns- guitar (2),  Brian Belloni - guitar (4),  Davide Piombino - 7 string guitar (5),  and David Jackson - sax & flute (6). Could you ask for more?   After one listen you cannot want more. Thank Maracash label (Italy) for standing behind so many great Italian artists who have done the blood, sweat, and tears in earlier years, and deserve the attention now.
Although the band name translates to 'Fragile Water', it might be better described as Precious Water at this point and time in our decreasingly cared for world. Perhaps even better, Rare Water. The beauty of this entire recording is apparent, true, sincere, and a step forward. Better than one would dream of, past the point of how all old fans could imagine, and  actually done in the upper atmospheres of what anyone could have dreamed of. Everyone is top notch and most of all, Lanzetti is 100% present, making it another masterpiece.  It is my deep recommendartion for all fans of both classic progressive rock and the new fields of progressive music to give this a direct and full attention (no distractions) listen. RECOMMENDED.
  ©Reviewed by Lee Henderson 1 - 19 - 2024


 

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