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Riley Lee - Postcards From Bundanon (The Very Best Of) Album

Riley Lee - Postcards From Bundanon (The Very Best Of) Album

Performer: Riley Lee
Title: Postcards From Bundanon (The Very Best Of)
Released: 2001
Cat#: NWCD029
Label: New World Music
Country: US
Style: Early
Category: Folk, Country
Size MP3: 1113 mb
Size FLAC: 1730 mb

Tracklist

1Morning Rain: Sparkling Light9:10
2Prayer For Children5:45
3Felucca To Zanzibar3:02
4Shimmer7:38
5Voices Of The Night5:10
6El Sueño/The Dream8:30
7Ancestral Beings5:21
8Suzuru/Cranes Nesting6:28
9Sacramental Lullaby8:09
10Spirits Dance6:53

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
NWCD728Riley Lee Postcards From Bundanon ‎(CD, Comp)New World MusicNWCD728Australia2000

Barcodes

  • Barcode: 767715002926
  • Matrix / Runout: C2 171543-02 NW029
  • Other (Mastering SID Code): IFPI L892
  • Other (Mould SID Code): IFPI 4M01

Comments:

Mezilabar
Bundanon is an artists' retreat/nature preserve found south of Sydney, established by the late Australian painter Arthur Boyd. Shakuhachi (a flute made of bamboo root) player Riley Lee, a Texas native, spent part of the 1990s as an artist in residence at the center while he recorded music and performed in his adopted home country. Postcards from Bundanon, a compilation of works from eight recordings made during the decade, commemorates his stay and Boyd's memory. Listeners charmed by the ethereal, meditative tones Lee coaxes from his flute on such gems as Oriental Sunrise and Sanctuary: Music from a Zen Garden will find Postcards to be a more diverse affair, mixing solo works with collaborations with assorted instrumentalists (harp, tablas, koto, bass, didjeridoo, et al.). Lee explores a broader expressive range here, at times introducing trace elements of classical ("Sacramental Lullaby") and jazz textures (heard in the unusually inviting "Shimmer") into his slowly evolving soundscapes. While still gentle in spirit, Postcards offers a touch more musicality and mystery, and a little less bliss, than the two recordings mentioned previously, though Lee again demonstrates an astonishing command of this ancient, rudimentary instrument. The evocative "Morning Rain: Sparkling Light," for example, is as lovely a piece as Lee has ever recorded. --Terry Wood

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