Laura Sullivan

Earlier this year I reviewed Laura Sullivan’s CD, Pianoscapes and I loved it. I am happy to report that one wasn’t a fluke. Sullivan has done it again. This CD is just as lovely…maybe even better.

Lush, warm beautiful music that just washed over you. Not only is the music gorgeous, but also the production is top notch.

Maybe it’s because it’s that time of year, but this recording makes me feel all Christmas-y and could easily replace George Winston’s “Winter” as my must-listen-to Holiday CD. - Collected Sounds

One term that keeps coming up in connection with Laura Sullivan's pianism is "classical-influenced." That isn't to say that Mystical America, Sullivan's second album, is actually European classical music; this 2004 release will not be mistaken for an album of Beethoven, Chopin, Mozart or Rachmaninoff melodies. But the European classical tradition is definitely a strong influence on this pensive, evocative effort, which is very much a part of the new age genre. Some might argue that Sullivan's compositions are an attempt to simplify classical music and make it palatable to modern ears -- sort of like the way soul-jazz organists simplified hard bop in the '60s. But truth be told, Sullivan isn't pretending to be anything other than what she is: a new age instrumentalist along the lines of Liz Story, Suzanne Ciani and George Winston. And like a lot of new age instrumentalists, she is very nature-minded. Nature was a major influence on her first album, Pianoscapes for the Trails of North America, and it is definitely a big influence on Mystical America (which was produced by guitarist Chris Camozzi). From "Mt. Shasta" to "America's Stonehenge" to "Hawaiian Islands," every song on this 2004 release has been inspired by nature in some way -- specifically, nature in North America. While Sullivan's charming, thoughtful new age melodies owe something to the European classical tradition, she is an American performer who grew up in California -- and her U.S. upbringing is reflected in titles like "Chaco Canyon" and "Red Rock Ridge." Anyone who has enjoyed the new age pianism of Liz Story or Suzanne Ciani will find a lot to enjoy about Sullivan's second album. - All Music Guide

I know a work of love when I hear one. Contemporary pianist and composer Laura Sullivan does not say it outright, but the love on this album is for someone special. Feast of Joy & Love is a well-crafted romantic album that celebrates a bond that no man can put asunder. Shamelessly borrowing from classical masters and infusing the recording with her own original music Laura offers a musical repast that is only for lovers. New lovers, old lovers (like me) and lovers that have memories to relive or create. The music is intricate yet light with a touch of whimsy and passion. Lots of passion. The order of the album is set up like a bill of fare to a musical brunch. Appetizer, two courses and a desert fill your senses with a tuneful five-star banquet. You can read Laura’s bio on my other reviews of her albums, but this is about the music.

Bouquet of Bach is one of the Starters and full of surprises. Laura Sullivan sings! Her soft, echoing voice graces a fascinating adaptation of Jesu, Joy of Man's Desiring and she does a splendid job on it. Cafe des Artistes is a warm, sunny seat along the Seine. Ah, Paris. It is for lovers. It is a bit of a walk to the Place D'Etoile, but holding hands it is well worth it. Waltzing with Beethoven is influenced by his Sonata in C Minor, Pathetique. For some reason the tune comes out pastoral under Laura’s performance, but is beautifully rendered.

The first course includes Greenleeves, Pinot Noir and Morning in the Meadow. On Greensleeves once again we hear a wonderful vocal with layer upon layer of seraphic voices. Pinot Noir is a bluesy, sexy pas de deux that lasts way into the night after all the candles have been melted and the sun peeks up from the horizon. It is a song that says, "I just want to hold you and never let go" and hopefully, the earth will keep on turning for one minute more. Morning in the Meadow replete with nature sounds has Laura at her best. Her piano speaks volumes on a flawless composition of nascent beauty.

The Second Course has Albinoni's Secret Smile, Memories of the Ice Cream Truck, and Porch Swing Night Romance. Tomaso Albinoni was noted for writing over 50 operas and his lush instrumental music. His Adagio is world famous and Laura takes the familiar and renews it with a sultry vocal and warm tempo. Where I lived as a child the tinkling of recorded bells brought a big, white boxy truck and frozen treats. Like the pied piper, we followed the truck until our nickels were traded for summertime bliss. Hot, sunny days, pick-up baseball and the public swimming pool at the park are memories that Laura dredges in her delightful tune. Bright stars punch holes in the black velvet sky, fireflies are flying just beyond your grasp and the creaking of the porch swing seems to beat in rhythm to two hearts. Porch Swing Night Romance brings back the evenings when dad was peaking through the curtain and mom just smiled.

On Desert we hear Shalealah, which is my favorite tune on the album, A’la M’Ode to Joy and Last Kiss. Shalealah, an original composition featuring haunting vocals and a phonetic language. The lead is engaging and the melody dreamy, a young heart’s fantasy in music. Her Ode to Joy tribute is bright piano work was a great deal of expression. Last Kiss is well, melancholy. If parting is such a sweet sorrow, then the light will never break upon yonder window. Laura's solo keyboarding is outstanding as she allows the piano to weep for the sad farewell. But there is always tomorrow.

Laura Sullivan has outdone herself on this purely romantic album. It is a musical celebration of passion that only lovers can know. When you hear this music, you will know that love is to be shared in order to be requited.

- New Age Reporter