CD Reviews
CD Reviews |
Strings Of Gold Ink 19 "In about a month or two from now, when spring has been fully awakened, I know I will have an even deeper appreciation for Celeste Ray's music. This is a collection of sun-drenched Celtic songs, about as pleasant and engaging as Irish folk music gets. Fans of Enya might want to tune in now although Ray doesn't touch her synthetic atmospherics...(Read More) |
Celtic Blessings Los Angeles Times (Excerpt) "...Celeste is a songsmith and a habitue of that warm-spirited area where folk, world music--with a leaning toward Celtic--and traces of jazz meet. The most intriguing instrumental track, and also the least typical, is "Blessing of the Elements/E-Jam," a happy marriage of folk and Middle Eastern sounds. Here, Howard sings a melody with an Indian flavor...(Read More) |
The Gateway Muse Reviews, Green Egg "Celeste Howard opens a gateway with her adept fusion of Celtic folk , world, and jazz. Her second CD features Paul McCandless and is inspired by Arthurian and Celtic legends. Her compositions include music for a variety of instruments, including voice, piano, psaltery, cello, oboe, and recorder. Her melodic arrangements and vocal harmonies are eclectic and impressive." - 1998
|
Place With A View Heartsong Review "This mellow, jazzy album becomes a warm friend very fast and is a delight to anyone who loves clear, bright saxophone tones. Its lush harmonies give it the feeling of a sunny day, and the lively beat is uplifting to the heart like a constant companion. This elegant, vital music serves as an excellent backdrop for creative pursuits and small get-togethers." - 1992 |
Performance Reviews The
following excerpt is taken from an article appearing "The Artists Studio, Rockaway Artists Alliance" By Susan Hartenstein "...I hope you had the pleasure of attending the concert by Celeste Ray with Celtic Legend. It took place last Saturday at St. Francis de Sales Church and was very well received by the enthusiastic audience. The talented Ray sang and played bowed psaltery. The other musicians in the group were equally splendid. They included James Gilchrist on guitar, Norbert Satchel on flute, Eric Mauriello on bass and Andrew Potenza on percussion. A special treat were dancers from the Connelly School of Dance under the direction of Elena Marion. Kudos to Sophia Skeans for organizing the event and to Apryl Green for her technical expertise. Special thanks to Monsignor Gerhaty, St. Francis Church and Mrs. Brenna for providing the space, the refreshments and the beautiful, warm atmosphere to the concert. RAA was happy to lend its assistance..." # # # Read
an online interview with Celeste @ # # # The
following excerpt is taken from an article appearing in "Celeste Ray's Celtic Songs Enthrall Unitarian Audience" By Rose Deschenes NEW YORK CITY:-----The next time the Celeste Ray Ensemble gives a concert in Brooklyn, or anywhere, really, I hope it takes place outdoors. The music of contemporary compositions and traditional Celtic songs, accompanied by James Gilchrist and Kyle Sanna on guitar, Ben Kono on flute and oboe, Eric Mauriello on bass, and Andrew Potenza on percussion, should be enjoyed in the environment that inspired it--in nature. Outside, where people can dance freely to the music they are hearing, is where this music belongs. Celeste Ray, the group's vibrantly spirited leader, introduced the exotic and ancient sound of her signature instrument, the bowed psaltery. Known to be simple and easy to learn, the bowed psaltery is the most recent incarnation of the earliest instrument to use a bow, and was designed to teach children music theory. Despite its simplicity, in the hands of Ray the psaltery's sweet, ethereal sound became an instrument capable of fierce expression. Ray admitted that she came upon the psaltery by luck. Then, as a piano player, she was drawn not only to its unique sound, but also its convenient compact size: She wanted an instrument she could bring with her wherever she went. Her piece "Cliffs of Tintagel" came about in a moment of inspiration in southwestern England at the castle where legend says that King Arthur was born. Fortunately, she had her psaltery there with her, and thus began to compose the lively yet other-worldly medieval song right there on the spot. This song was among several of Ray's own compositions, two of which were piano pieces inspired by Celtic music and other world traditions such as flamenco guitar. Pouring herself into these pieces, Ray seemed as if she would float into the air along with her music. Slow, searching and mystical, or fast and light-hearted, the songs were energetic, accessible, and beautiful. The ensemble as a whole worked well together. Most notable was the flutist Ben Kono, whose gentle ornamentation complimented Ray's psaltery and voice. James Gilchrist quickened the pulse with a rock number inspired by the John Keats poem "La Belle Dame sans Merci." Is it possible that another source of inspiration was Ricky Martin's "Livin' la Vida Loca"? Despite its Celtic roots, this piece had a distinct Latin flavor. The audience appreciated the modern compositions, but truly came alive with the traditional numbers, keeping the beat with clapping hands and tapping feet. True to Celtic tradition, two songs encouraged audience participation. Ray welcomed the efforts of the audience and complimented them on their singing and enthusiasm for the Scottish traditional "Loch Lomond," and the famous Irish Lullaby "Too-Ra-Loo-Ra-Loo-Ral." These lively songs expressive of nature and folk music traditions invoked the history, people and natural beauty of the countryside of Ireland and Scotland. As she sang and danced and played, Ray's apparent enthusiasm for her music invigorated the small hall, and gave a taste of another time and place... # # # The
following excerpt is taken from an article appearing "The Artists Studio, Rockaway Artists Alliance" By Susan Hartenstein Thanks
for your positive feedback on last week's column about the Celtic
harp. It seems that a lot of people, of different ethnic backgrounds,
love Celtic music. # # # |
|||
