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"Beyond Black & White is very soulful and beautiful." Kaveh Nicpour, KCSM

Thomas Barth - BEYOND BLACK & WHITE: This Austrian keyboardist has put together some very calm/collected compositions for listeners who want to feel the "heart" of a chord (or a series of them). It isn't "jazz", per se, nor can it be lumped in the (dreaded) "New Age" category... it's pure emotion... laid back most of the time, as on the opener, "Father To Son", or with "spooky" intros, as on "Where I Come From". The word that comes to mind when listening through Thomas' solos is "new"... not new in the sense of "never been done before"; rather, it's new because it's "his take" on what's around him, and his talent is clearly in communicating to the listener exactly what his feeling is. I found this a very pleasant listen.. it gets a HIGHLY RECOMMENDED for all those who like something in between jazz & new age that isn't cliché-laden. Rotcod Zzaj, Improvijazzation

Thomas Barth's Beyond Black & White double CD is a collection of solo piano pieces that range in sound texture, from the powerful to the spirtual. Numbers like "Reverie D'elfs" and "Nocturne In D Minor Op. 139" would not be out of place on a film soundtrack (perfect for a silent film). Other tracks have a more organic and fluid feel to them: "Those Who Are Brave", "Friends And Places", "Lanikeha" and the simply beautiful "Where I Come From".

Barth does seem to have a gift for penning delicate melodies (sometimes adapted from the classics, sometimes not) that stick in the brain and in the heart. While listening to "Vertrautheit", "Isis" and "The Inner Shelf",for example, I found myself being haunted by the melodies and falling under their collective spell. The songs range in length from 54 seconds to 7 minutes, but there is no time wasted here and Thomas Barth can take comfort in the knowledge that he has succeeded in his goal of creating a work that would, and I quote, "heal and enrich other people's lives." Let Beyond Black & White enrich your life as well. Gina, www.eomentertainment.com

"I have aired several selections from Beyond Black & White on my show Nocturnes." Adrienne LaFrance, KEDM

"Beyond Black & White is wonderful!" Brad Hartwell, WSCS

"Beyond Black and White is a great CD." David Oldham, WQFS

Wow! Eine Menge zu entdecken auf zwei CDs, die nur mit Solo-Piano bespielt sind. Das Richtige zum Träumen, zum Entspannen und zum Genießen - dabei auch geistig durchaus anregend.

Ja, man merkt mir vielleicht eine gewisse untergründige Begeisterung an, die ich für das Doppelalbum des Wiener Pianisten und Studenten des Wiener Mozarteums und Meisterkursschüler von u.a. Herbie Hancock und Joe Zawinul, heute in New York zu Hause, empfinde. Das hängt sicherlich damit zusammen, dass ich es bedeutend finde, wenn sich jemand einen Kopf nicht nur für die Musik macht, die er komponiert und interpretiert, sondern auch darüber, wie diese Musik zu Stande kommt, was sie mit dem Interpreten und eventuell auch mit dem Hörer bewirkt.

Hier tun sich musikphilosophische Horizonte auf, die nicht Selbstzweck oder eitle intellektuelle Spielerei sind, sondern der Achtung vor dem Klingenden außerhalb und innerhalb des Menschen entspringen. Barth selbst überschreibt seine Veröffentlichung programmatisch mit "Music for a higher vibration" und versucht genau dies beim Zuhörer zu erreichen. Dafür ist ihm kein Aufwand zu hoch, kein Gedanke zu abwegig, kein Experiment zu unnütz.

Herausgekommen sind wirklich bezaubernde Piecen zwischen improvisationsgleichen und musiktheoretisch stringenten knapp einer und über sieben Minuten Länge, die teils mit, teils ohne musikalisches Vorbild (von Bach über Mozart bis hin zu Brahms und Chopin und zumeist mit melancholischem Grundklang) erschaffen wurden. Audiophile wird sicher interessieren, dass der besondere Klang des Konzertflügels CF III 275 von Yamaha auch dadurch zu erklären ist, dass der Resonanzraum von weiteren 30 im Aufnahmeraum befindlichen Klavieren mit genutzt wurde.

Spannend auch, wie die Reihenfolge der Stücke ausgewählt wurde: ein Pendel ließ die auf dem Boden verteilten Kompositionen selbst "entscheiden", wer als nächstes "dran" sein sollte. Wer spätestens hier esoterisches Treiben vermuten sollte, kann beruhigt werden. Barth geht es nicht um das Betonen einer Richtung zur Glückseligkeit, noch sind seine Kompositionen als sich selbst überschätzendes New-Age-Geklingel abzutun. Die Richtung ist Ganzheitlichkeit, die Haltung Achtung vor dem Menschen wie vor dem Klingenden. Eine außergewöhnliche Produktion, deren Anschaffung außergewöhnlich empfehlenswert ist. Thomas Feist, www.crossover-agm.de

"We have added Beyond Black and White to our new releases shelf." Scott Stevens, CFRC

"Beyond Black and White has a very clear and pronounced grand piano style." Flyingman Mark Caldwell, WAWL

"We seem to be getting a good reaction from featuring it on our overhead play system. I think it has pretty good potential for sales." Downtown Records, Harrisonburg, VA

Wonderful sound and wonderful energy! Really good piano music!" Five Seasons, Ocean Springs, MS

"Vienna, Austria has seen its fair share of the world's greatest composers. Now add Thomas Barth to that list. Calling his music "audible energy", Thomas composes and performs piano compositions that recall the Renaissance period. His songs are beautiful and indeed have a lot of amazing energy to them. But somehow they're still relaxing and gorgeous. Take in a deep breath and enjoy "Beyond Black & White". - J-Sin, editor's pick, www.smother.net.

"Austrian pianist delivers a 2 CD set on his solo debut Beyond Black & White, a collection of acoustic piano pieces that were recorded in a large room filled with 30 other pianos, introducing a sound concept that he is calling "Holistic Resonance", which apparently can be heard to its fullest effect by listening through headphones. Whether this is a viable concept or not, this set is filled with some lovely melodies and graceful chops from Barth, a player who should be familiar to jazz fusion fans through his material as a band leader working with Mike Stern, Gerald Veasley, Mike Baker, and Craig Handy. Each piece has a haunting and emotional vibe to it, as Barth performs the songs as if the piano was an extension of his body. Not quite jazz, not quite classical, and not quite new age, Beyond Black & White might appeal to listeners of all three genres, and certainly to prog rock afficianados who might like a little acoustic piano music with gorgeous melodies and relaxing tempos. Don't expect to be enthralled here, but if you are looking for 2 CD's filled with sumptuous and mesmerizing piano sounds, this might do the trick. Light the candles, pass around some wine, and dim the lights...that would be the perfect setting for Thomas Barth and his solo outing here." Pete Pardo, seaoftranquility.org, Music for the New Intellectual

Interview by Lauren Jonik / SoundAffects.net (Sep. 04)

To create is to dive through the wave of all that is timeless and to resurface distinctly in the present moment, clutching the pearl that represents our unique beauty for an instant in all of time. Through our creations we are changed, celebrated, redeemed and perhaps most significantly, set free--- and given the opportunity to offer the same to others.

The music of Thomas Barth beautifully encompasses these simple and profound truths. The discovery of his passions and talents came early in life for Thomas Barth. Born in Vienna, Austria, Barth found inspiration in the simplicity of nature and in pondering the larger mysteries. "I always wanted to find out what was behind things and how things work. In nature, I'm very interested how plants are, how frogs are. . . and why we are here," begins Barth. "I always would spend a lot of time reading. I'm doing basically everything I did as a child, just now on a different level--- I feel very blessed and privileged to be able to do that."

Embarking upon his formal musical journey at the age of eight, Barth explains, "I found a wonderful piano teacher back in Austria (Dr. Karl Schnuerl), who would encourage me to improvise with him on two pianos before our lessons started, so that was the first approach when it came to creating. Other teachers, like Herbie Hancock, would come later on. But, I give a lot of credit to this piano teacher for not just supporting me in finding my way in music and giving me the tools--- all the technical, theoretical tools, harmony and how it all works together, and the insight about other composers like Beethoven and Bach, but for also encouraging me to do my own thing and to go my own way."

It is this solid foundation in technical skill and a long-cultivated willingness to experiment that Barth continues to apply to his craft today. In his performances, Barth exquisitely exhibits the ability to go within while expanding outwardly all in the space of a moment. "A performance is like a celebration where people get together and there's music to share. Music does something with the people and then, it creates something that wasn't there before. . . It's a very passionate thing to do to be on stage . . . It feels like a wave and the fun part is surfing on the wave." It is this awareness of the audience and the process of connecting with them that moves Barth. "I think when people are in the state of attentive listening, that's a wonderful sphere which one can sense, even physically on your skin. When people listen to something in an attentive way, there's a lot of resonance already. Wherever you direct your attention and this is a conscious effort, the energy follows automatically."

Taking it a step further, Barth continues to expound on the immense power that music has held throughout all of time. "I believe in the very shamanic aspect of a musician--- it used to always be that way. In ancient cultures, people would heal, perform music and harmonize society and usually, all people were working together. I assume that through the Western separation of thinking, those roles got divided. What I am doing is about bringing people together as good as I can and inspire them to remember seemingly lost connections."

Currently focusing on offering this talents in several incarnations--- solo, with musical artist Mary Fahl and with a trio including bassist Massimo Biolcati and drummer Ian Froman, Thomas Barth relishes each of these experiences. "The trio music, when it comes to instrumentation--- acoustic piano, acoustic bass and drums--- has its own sound", Barth explains. And, while labels can serve to define, they can also limit. "I am seeing my music not so much as some expression of some vertical categories like jazz, classical, etc., but rather. . . it is music that comes deep from my heart and is meant to come out in a way beyond self-expression to a degree where, together with the people who listen to it, it can change the vibration in a room to a very enlightening and uplifting experience for everyone."

Barth highly values his role as not only an entertainer, but as a catalyst for bringing joy and positive change to the lives of those whom his music touches. To ensure this almost sacred connection, Barth remains aware of being in the moment while performing and as he explains, he will play a song "as if it would be played for the first time. And, putting yourself in the state of someone who is listening to it for the first time also helps. It's like a relationship to a person--- every single day is important. Any love, any affection is a thing that depends on a good here and now. You can't keep yourself warm by yesterday's fire."

But, performing is only half of the reciprocal creative equation. As Thomas Barth concludes, "Composing is like baking a bread and performing is having a dinner with that bread. Both of them influence each other in a wonderful way. Both are so essential." When writing alone, the music comes to Barth all at once. "I believe in that power and the initial energy of a thought, a sound, a line or something else. Then, the composition has another part involved as well, which is a very down to earth, real thing, where you sit down and have these things and put them in order. There are a lot of different cognitive processes involved in this act." But, notably, though Barth is moved by events in the external world around him, he does not rely upon them. "The inspiration itself inspires the inspiration. The idea comes without having to have an external trigger. I believe in the reason why something is coming through quickly with a spin and a certain intensity."

Barth experiences this same magic when collaborating, as with singer/songwriter Mary Fahl. Barth recalls the first time he heard Fahl. "I was totally mesmerized and still, although we work on a daily basis, every time she sings a note, I get the same feeling. It's like an electric reaction." When working together, Barth likens it to "diving together." "There are some things you do when you dive together and some things you experience on your own. It can enrich your own palette immensely."

Thomas Barth seized the opportunity to have a most unlikely composing "partner" of sorts: Beethoven himself. In 1999 in an attic in London, England, a string quartet fragment composed by Ludwig van Beethoven in 1817 was discovered. It was only one page long and was later auctioned at Sotheby's, where ten minutes before the auction, it was given to a string quartet and they recorded it in one take. Barth found an MP3 of it online and the first four notes inspired Sleeping Beauty, which appears on Barth's 2003 solo double CD, Beyond Black and White. The title of the song has a unique twist. "Sleeping Beauty means the beauty of a work that has been sleeping and is now rediscovered. I always had a strong connection to Beethoven, so it's my homage to this great composer." And, indeed, this connection to his musical elders is brilliantly evident in his performances, where it's easy to envision, through his masterful playing, what a live performance by Mozart or Beethoven might have been like.

The recording of "Beyond Black and White" was significant in and of itself. The album was recorded in Austria with thirty pianos in a single room with no artificial reverb added. "We call it holistic resonance recording," says Barth of the specific piano sound he wanted to capture. "I wanted the listener to dive into a journey like a three dimensional tunnel--- to be in the piano. It was a successful attempt to transform vibrations going beyond the audible spectrum. "Beyond Black and White" is about overcoming polarities."

Believing that instrument and player are united as one, Thomas Barth has a special appreciation for quality. In the Summer of 2004, Barth became the first endorser of a new grand piano called "Passion," which was built by Austrian piano manufacturer Bruno Weinberger. "This is an instrument of rare value. It's going to be the first "Passion" in the United States." Barth immediately connected with the character of the piano in both sound and aesthetic appearance. "When I saw the piano, I said, "That's the sexiest baby grand I've ever had my hands on," Barth says, smiling. "From a design point of view, it looks really sexy. Even though it's a baby grand, which would fit in any room, it has an enhanced sound. It took a lot of sophisticated building techniques to produce such a beautiful sound."

Though success is fluid, ever-changing and constantly being redefined over the course of a lifetime to reflect not only who we are, but who we are becoming, there are ideals that remain constant. "Success always is when thought, word and action are in integrity. Success is when you have financial freedom, when you are healthy, when you live in a state of love, on many levels," affirms Barth. And, though the journey is solely our own, by being open, we often cross paths with those along the way who serve to enhance our lives in ways beyond what we could imagine. "Give the angels the space so that they can come into our lives. . . we create the resonance to enable this."

Underneath the cover of daily life, the extraordinary happens: in our darkest hours and in our finest hours and in between, we are being made new. Merely by listening, the power of music invites us to participate in the shaping of our lives.
"A pilot or cab driver is working in the transportation business. As creating musician, I see myself in the transformation business," enthuses Thomas Barth. "To play "beautifully," "slick" or "in a virtuoso manner," are means of self-expression. But to induce transformation in the listener, to trigger something on a higher or deeper level by simply doing what you do, this is Alchemy. This is where magic happens."

Thomas Barth Trio at Satalla, New York City, May 11, 2004. Review by Dr. Roberta E. Zlokower

"In a sparkling combination of New Age, World Music, and Jazz, Thomas Barth and his Trio opened the set at Satalla tonight with momentum, as Sunset was imbued with a driving rhythm that fused ethnic elements and jazz. Biolcati's bass led Where Dreams may go, as Barth's piano played repetitive chords, followed again by a buoyant bass solo. Crescendos of Froman's driven percussion closed the piece. Sleeping Beauty began with a melancholy piano solo, very original and very evocative. Barth switched keys, and romantic piano melodies evolved, with soothing bass backup and flirtatious percussion.

Borea/Sirius Papers was a fascinating piece that included Barth's playing of the internal piano strings along with the keys. This was a more atonal and edgy work, mixed with Turkish or Egyptian sounds. I thought of Belly Dance rhythms and tonalities, as it expanded with slow, undulating themes. The trio then drove into a combo of sound that filled Satalla with a percussive hurricane.

Father to Son, dedicated to Barth's son, Chris, was lyrical, upbeat, and innocent in composition, obviously imbued with adoration. Amalthea was reminiscent of Debussy, as piano strings and keys combined in the rapturous lead. Soon, a Salsa beat ensued with contrasting rhythms that led into an extended bass solo, unique, but characteristic of the earlier theme. Reverie d'elf was dreamlike, as the title suggests, with piano and percussion carrying this lovely melody over a rich bass background. Thomas Barth is a creative and eclectic composer and performer, as he plays barefoot piano with a warmth and casualness that match the ambience of the brilliant reds, patterned walls and ceiling, and tapestry stools of Satalla."

JAZZ ZEIT, December 02: Review "Barthland", by Wolfgang Rauscher

In den letzten Tagen veröffentlichte der eigenwillige Pianist Thomas Barth gleich zwei CDs: "Klangworte" eine Symphonie aus Klavier und Worten, gemeinsam eingespielt mit Gabriele Haring, und "Beyond Black & White", eine Galerie von Klangbildern ganz eigenwilliger Natur. Trifft man Thomas Barth von Zeit zu Zeit, fällt es schwer, ihn in der heimischen Szene einzuordnen. Zu wenig ist er in der gängigen Community präsent, oft für Monate in den Staaten auf Motivsuche und Bewußtseinserweiterung, und wenn er dann wieder da ist, überrascht er mit Projekten, die wiederum so gar nichts mit dem täglichen Jazzzirkus in Clubs und Cliquen zu tun haben.

In der Tat hat der mittlerweile 37jährige seinen Weg schon ziemlich früh gesucht und, wie es scheint, auch gefunden. "Barthland" bezeichnet er seine Welt selbst, und in dieser Welt fand er recht bald seine eigene Sprache, Inspirationen musikalisch umzusetzen: "Heutzutage spielen viele junge Musikerihre Vorbilder mehr oder weniger perfekt nach, für mich ist das aber nicht der Sinn der Sache". Er empfindet die Jazzszene als zu reglementiert, was seine Sache nicht ist.

Somit ist Barthland sein Lebensversuch, seine eigene Gesellschaft aufzubauen, für zumindest eine etwas andere Art der künstlerischen Rezeption. Thomas Barths Performance ist daher auch der Versuch, in diesem Rahmen echte zwischenmenschliche Kommunikation aufzubauen. Er erweckt intuitive Flüsse zum Leben und vermittelt seiner Gemeinschaft in diesem Rahmen auch Lebensqualität, Nahrung für die Seele.

Und so bezieht er sich etwa in "Beyond Black& White" auf die Geschichte um die antike Göttin Isis, die es durch ihre Liebe und ihr umfassendes Sein zuwege gebracht hatte, ihren in 14 Teile zerstückelten Osiris wieder zusammenzusetzen. So wie sich hinter scharz und weiß nicht bloß grau, sondern ein unendliches Farbenspektrum verbirgt, so versteht auch Thomas Barth sein Instrument als Klangkörper mit beinahe unendlichen Entfaltungsmöglichkeiten, die er versucht, in diesem Oevre auch zur Geltung zu bringen. Es fällt schwer, die Doppel-CD zu katalogisieren, aber unendlich leicht, den Fluß zwischen Inspiration und Ausdruck nachzuvollziehen.

Man sollte sich ein wenig Zeit nehmen, und die Freude gönnen, um an diesem stillen Feuerwerk an Emotionen teilzuhaben. In diesen Tagen, wenn dann der oktroyierte Streß sich anschickt, für einige Zeit doch einer gewissen Besinnlichkeit zu weichen, wäre doch einen Versuch wert, oder?

DIE PRESSE, July 4th/02: Reviews of the Concert with Deodato at the Jazz Festival Vienna

Vienna Jazz Festival, July 4th 02 Ein filigranes Schlagzeug wäre beim zweiten Konzert des Abends wohl fehl am Platz gewesen, denn beim Brasilianer Eumir Deodato und seiner Band regierte die Groove. Erfolgsproduzent Creed Taylor hätte mit dem Auftritt seine Freude gehabt, wurde doch genau jener Sound geboten, für den dessen Label "CTI" während der 70er Jahre berühmt war. Satter Jazzfunk mit kantig arrangierten Bläsersätzen, ein Konzert, dass einfach nicht anders konnte als zu einer Tanzparty auszuarten. Wobei der Deodato-Erfolgshit seine Version des "Zarathustra", davon nur die Einleitung, war. So richtig ausgelassen wurde es dann bei der Zugabe, dem von Donald Fagen ("Steely Dan") komponierten "Do It Again". Und um ein bisschen lokalpatriotisch zu werden: die beiden heimischen Beiträge zu diesem Konzert, Manfred Holzhacker - Trompete und Thomas Barth - Synthesizer (beide waren kurzfristig eingesprungen) machten gute Figur, konnten sowohl dem Publikum als auch dem Rest der Band gefallen. (www.viennajazz.org)

REVIEWS OF SEVEN WORLDS

NEWS Nr.12, March 01, 2001

JAZZ ZEIT 19, 2001

Thomas Barth: Seven Worlds Mike Stern liefert seine gesalbten Salven ab, Craig Handy bläst eruptiv, funky, Gerald Veasley groovt volle Wäsche, Mike Baker zeuglt, was das Zeug hält, und mittendrin, in dem Superstarkollektiv, ein Österreicher am Keyboard: Thomas Barth. "Friends", eine Ballde, eröffnet die sieben Welten, aus deren Wolken Joe Zawinul hin und wieder hervorlugt und lacht, und sich über eine Produktion freut, für die er Pate hätte stehen können. Acht Tracks hat Thomas Barth den werkenden Musikern auf den Leib geschrieben und Soul-Jazz-Fusion erklingt, bei Barth sein Spiel richtig in Szene setzen kann, wie z.B. auch in der 12-minütigen Manhattan Suite, bei der viel Platz für ausgelassene Soli der Stars vorhanden ist, die in die Beine fährt und das heftige Treiben im New Yorker Stadtteil widerspiegelt. (bak)

SEVEN WORLDS: REVIEWS...

Val Vaccaro, Jazz Now Magazine:

Keyboardist Thomas Barth produced and composed all of the music (except for one tune) on this tasty, worthwhile recording.

7 Worlds is a creative mixture of not-so-smooth contemporary Jazz mixed with some traditional Jazz toppings infused with new age graces, worldbeat sophistication and urban grooves.

These diverse influences gel for a listening treat that is pleasurable and suspense-filled. The title track - by far the most elaborate production must be a dynamic crowd-pleaser. The 7 Worlds composition embodies a refreshing yet accessible complexity with wild synthesizer riffs and Native American tribal flute sounds for the introduction and unravels on a fluid, melodic Middle-Eastern journey on soprano sax backed by pulsating bass and swinging drums that culminates with upbeat acoustic piano.

In addition to the title track, a number of songs have thoughtful, interesting introductions and an underlying balance of clear pulsating bass and emphatic cymbals. You'll find the sweetly seductive slow dance of "Friends," the contemporary upbeat "Times Square," the free-spirited synthesizered "Stepping Out" and the eclectic mix of off-center contemporary and traditional Jazz tenor sax lines bound by funky dance rhythms and a seering guitar solo on "Manhattan Suite." Action TV style urban grooves are prominent on "Manhattan Suite" and Barth's jazzy piano licks dance club-style interpretation of Stevie Wonder's "I Wish."

Two poetic vocal tunes bring additional depth to this exciting recording. "After the Prayer" is a pretty, poetic ballad (lyrics by Sandra Kreisler) with sweet, Stevie Wonder-like vocals tinged with sensitive vibrato by drummer Mike Baker, followed by lovely synthesizer and soprano sax solos. "Gentle Souls" carries the cries of whales and crashing ocean waves with lyrics written and sung with an Oleta Adams-like compassion by Nadeen Holloway which sounds a call to protect the endangered species of whales.

With 7 Worlds, Barth and adept company bring a synergistic, confident vision to fruition.

Anil Prasad, Innerviews Magazine

Keyboardist Thomas Barth was intent on making a big splash with his self-released debut CD of contemporary instrumental compositions. And indeed, he's succeeded. Barth, a classically-trained pianist who has studied with Joe Zawinul and Herbie Hancock, focuses on uplifting pieces steeped in effervescent jazz-rock. 7 Worlds features a group of seasoned fusion luminaries including guitarist Mike Stern, bassist Gerald Veasley, drummer Mike Baker, and saxmen Craig Handy and Evan Tate -- all of whom stamp their sonic imprint firmly on the disc's 10 tracks. The album is a breezy and absorbing excursion into a world Barth refers to as "EnerJazz" -- a sound and philosophy that transcends cultural barriers in favor of global synergy and solidarity. 7 Worlds revolves around urban groovological expeditions and lovely balladry, all peppered with Afro-Cuban influences and pleasant pop leanings. A fun and endearing effort.

Bobbi Booker, Audio Gliphix Magazine:

Ethereal, mystical and passionate- those three words sum up the essence of "Seven Worlds", the debut collection by keyboardist Thomas Barth. Seven Worlds is also precedent setting in its single handed delivery of a musical philosophy that composer Barth calls "EnerJazz". EnerJazz is a multi- ethnic, multi- cultural celebration, musical fireworks and definitely the sounds of today. Barth’s upbeat assessment of life stems from major life changes which occurred in the making of his musical missive. "Seven Worlds" evolved from a whirlwind NYC studio session after numerous calls via Barth’s former home city of Vienna. Featured for this collection are guitarist Mike Stern, bassist Gerald Veasley and saxophonists Craig Handy and Evan Tate. Mike Baker lends a hand on the drums and vocals, along with Nadeen Holloway. Barth brings it all together on the keyboards.This musical dream team really goes all out on the expansive Manhattan Suite which highlights the funky playful bass bottom of Veasley distinctively coupled with the jumping guitar licks of Stern. Nadeen Holloway’s fervent delivery evokes geospheric consciousness on Gentle Souls. Vocalist Mike Baker brings a stunning rapture to the gentle, reflective piece After the Prayer. And Friends, the initial cut of this 10 song set, is elegant and airy, a perfect song to drive to. This is an intriguing collection of heart- stirring renderings.

Seven Worlds: Hear it. Feel it. Share it.