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Review: Pools of Light Solo Piano Songbook / Brian Kelly
Publication: MainlyPiano.com
Reviewed by Kathy Parsons
Date: Dec. 2011
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Brian Kelly’s Pools of Light solo piano songbook is a completely revised and expanded edition of the e-book that was published in 2006. Twelve of the thirteen tracks from the album are included (“Sacred Waters” is a percussion interlude that isn’t adaptable to the piano), transcribed by Kelly himself and arranged for solo piano; I helped with the editing. The Pools of Light recording is ensemble, so some of the parts for other instruments have been incorporated into the piano part to make the sheet music sound as close to the original recording as possible. Kelly also wrote four pages of performance notes to help the pianist understand his intentions and to note differences from the recording. Coming from the composer himself, these notes are invaluable!
Brian Kelly is an incredible pianist who is very fluent in jazz stylings, so his music is far from simple and would be beyond beginning and intermediate pianists’ capabilities. Some of the pieces include cadenzas that are complicated and require very nimble fingers. The jazz rhythms are complex (and a lot of fun!) and some of the pieces have difficult key signatures (noted below). Kelly has suggested fingering for some of the thornier passages and expression has been carefully indicated according to the CD. The book is printed on bright white paper with clear, crisp type, and is spiral bound. The spacing within the scores is roomy and easy to read, and the cover is a beautiful print of the album cover artwork on glossy stock, making this a very attractive book! If you are a pianist at an early advanced to advanced playing level, this book is great fun and very satisfying to play! It is available from www.skylightmusic.com and www.briankelly.com, and I highly recommend it!
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Review: Tomorrow's Daydream Solo Piano Songbook / Brian Kelly
Publication: MainlyPiano.com
Reviewed by Kathy Parsons
Date: Feb 2011
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Tomorrow’s Daydream Solo Piano Songbook is a sparkling collection of Brian Kelly’s own transcriptions of the eleven original piano solos from his forthcoming CD release, Tomorrow’s Daydream. This folio is a little bit unusual in that the sheet music book is being released before the actual CD has been recorded. Brian’s transcriptions and the subsequent editing (by yours truly) were done from a demo recording Brian made with his electronic piano. Since much of Brian’s music is jazz-oriented, the final version of the recording will undoubtedly be different from the songbook, but the book represents how Brian felt the songs were best notated and played at the time, and the songs’ essence will remain the same. It is important to note that Brian is offering free access to the Members Area on his site to those who buy the book from his site (the book is also available from Amazon, but since Brian has no way of knowing who buys the book from Amazon, he cannot make this offer available to those who purchase it there.) While in the Members Area, people can listen to the whole album as well as other music Brian is working on. This little perk can be a huge help in hearing the tempi of the music and the general style of the pieces.
The book itself is really beautiful, with full-color glossy covers (front and back), spiral binding, 80-pound paper, and clear and clean notation. The spacing is roomy and easy to read, and some of the pieces include Brian’s suggested fingerings. The music is fun to play, but it is definitely not for beginners. For example, if you find David Nevue’s sheet music challenging, you might want to wait on this one until you get a bit more advanced. Timing is moderately complicated, some of the harmonies are complex, and several pieces are in difficult key signatures. The title song and parts of “Life Stream” are in the key of F# (six sharps), but “All of Thee Above” is in A minor and “Journey Home” is in C (no sharps or flats). A few spots have reaches of more than an octave, but not many. The music is challenging, but late intermediate and advanced players will find plenty to love while getting lost in this music and making it theirs. Recommended!
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CD Review: Afterplay / Brian Kelly
Publication: Creations Magazine
Reviewed by Mark Maxwell Abushady
Date: Feb/Mar 2009
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Afterplay is an exciting contemporary jazz album which engages the listener from the very first note. I was blown away by the immediacy, the insistence of the opening cut “River Rush;” a driving, smooth and satisfying offering which I only wished lasted three times longer! It is followed by another worthy cut “Smiling South.” Brian Kelly (piano, keyboards, percussion) is joined by Eric Crystal (alto sax), David Rokeach (drums), Ross Wilson (trumpet & trombone), Carol Alban (flute), Viviana Guzman (flute), James Robinson (guitar), and Tim Bolling (percussion). As the album played to the end, textures varied and moods shifted, but the quality never faltered from the high bar set in its first cut. Congratulations to Brian Kelly!
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CD Review: Afterplay / Brian Kelly
Publication: SmoothJazz.com
Reviewed by Scott O'Brien
Date: February 2009
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San Francisco Bay Area composer/keyboardist Brian Kelly follows his brilliant debut release POOLS OF LIGHT with yet another outstanding, compelling collection of originals, this time leaning a bit more Smooth Jazz, but with plenty of new age elements in the mix too. If you loved the highly recommended and highly regarded POOLS OF LIGHT, which I reviewed in 2006, then AFTERPLAY is unquestionably destined for your player. The musical integrity and lyrical sensitivity that Mr. Kelly brings to the table for his projects is clearly evident on this release. He’s created more of a combo sound here, adding flutes, sax, horns and guitar to his musical toolbox, and uses them strategically for depth and richness of texture featuring Eric Crystal on sax (Boz Scaggs) and David Rokeach on drums (Aretha Franklin, Ray Charles). At a time when commercial Smooth Jazz too often heads in the direction of cliché, Brian Kelly’s AFTERPLAY is a refreshing example of how we can keep this music genre exciting and vibrant!
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CD Review: Afterplay / Brian Kelly
Publication: musicweb-international.com
Reviewed by Tony Augarde
Date: February 2009
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This is American keyboardist Brian Kelly's second album and it has already got into the top three of New Age Reporter's list of the Top 100. Of course, "New Age" is a dirty word for some jazz fans, as is "smooth jazz" (both suggesting insubstantiability) - and Brian Kelly's music seems to have a foot in both camps, as well as qualifying as jazz. Kelly creates a buoyant sound which in some ways resembles the music of Pat Metheny's popular groups, both in its floating atmosphere and its insistence on the importance of melody. These qualities make the album very accessible.
Kelly's swirling keyboards provide a rich sound, with touches of diversity from such things as the slightly West Indian ambience of Smiling South and the folky atmosphere of Celtic Fire. River Rush effectively conjures up the image of a fast-running stream, while Snowflakes Rising employs the keyboards to picture snowflakes blowing in the wind. Brian Kelly is assisted by Eric Crystal, who plays some neat sax solos on a couple of tracks.
All this is very happy - often beautiful - music but, after a while, it begins to sound samey: with its airy, resonant keyboards and a style that only varies a little from track to track. It makes for a cheerfully smooth listening experience, but the word "smooth" suggests that it is a bit too close to smooth jazz for the comfort of jazz purists.
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CD Review: Afterplay / Brian Kelly
Publication: ToledoBlade.com
Reviewed by Tom Henry
Date: Feb. 8, 2009
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Contemporary jazz instrumental pianist Brian Kelly breezes through a collection of 11 original songs that are complex and intriguing without being overly aggressive. They’re soothing but not too soft. The musicianship is finely executed by a seven-person ensemble that includes horns, sax and flute — people who have played with the likes of Boz Scaggs, Aretha Franklin, Ray Charles, Tito Puente and Kanye West.
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CD Review: Afterplay / Brian Kelly
Publication: Musik Nuz
Reviewed by John Chandler,
Date: January 2009
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Recording Artist Brian Kelly Influenced by Smooth Jazz and New Age
Something I have noticed in the world of music in the last couple of years is that many musicians do not stay within easy categories. Some artists do pop and rock, some folk and pop, some trad jazz and contemporary jazz, some country and Americana, some new age and world, not to mention acoustic and electric, real instruments and synthesized ones. The list goes on and on. That same strategy applies to this album by keyboardist Brian Kelly, AFTERPLAY, his second CD. His sound is absolutely smooth jazz on many of the tunes with other musicians joining him in a jazz group setting including saxophone. But on many of the other pieces, he comes across much more as a new age performer (or what they sometimes pop-new age when there are strong melodies like he writes). This second batch of tunes is much softer and gentler. There is even a little world-fusion sound on a few compositions such as “Celtic Fire.” For the most part Kelly’s acoustic grand piano is in the forefront, but he also mixes in electronic keyboards (synth, samplers, whatever) in the background or for specific sounds or instruments (besides the real players he brought in). So the production is far-ranging. But let’s cut to the bottomline. It works. Mostly because Kelly writes good instrumental music melodies and he has a gift for arranging them with a variety of instrumentation that suits each piece. His piano playing is strong and his solos are captivating. If you are the kind of listener that wants a smooth jazz album to be upbeat and bouyant all the way through with lots of hot soloing, then this album is probably not going to do it for you. If you want very meditative, spacey or ambient new age music, go elsewhere as well. But if you like some smooth jazz and some new age that is catchy, well-played and nicely arranged, then check out this guy. There is never a boring moment and the whole thing goes down easy like a good bottle of aged wine on a Sunday afternoon. I personally can’t wait to hear where he goes next.
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CD Review: Afterplay / Brian Kelly
Publication: smoothjazztherapy.com
Reviewed by SmoothJazzTherapy.com
Date: Dec. 23, 2008
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With his brand new release ‘Afterplay’, composer, pianist, and producer Brian Kelly has delivered a body of work that oozes sophistication. Although originally from the ‘New Age’ side of the tracks this collection places him firmly into upbeat contemporary jazz territory and demonstrates that he is more than comfortable to be there. In addition, with supporting musicians that include Eric Crystal on sax, David Rokeach on drums, Viviana Guzman on flute and James Robinson on guitar, the quality is never in doubt. Crystal has played with Boz Scaggs while Rokeach has anchored both Aretha Franklin and Ray Charles. In this exalted company Kelly remains the master of everything he touches and the classy arrangements he provides to the eleven self penned tunes are a joy to behold.
Born in New York City, Brian grew up in Palo Alto, California. He began playing piano at age 8 and recalls listening endlessly to side two of the Beatles ‘Abbey Road’ and a recording of Beethoven’s First Piano Concerto. Experience as a stage actor and performer in dozens of plays and musical theatre productions at TheatreWorks and the Palo Alto Children's Theatre, as well as his four years of singing madrigals in an ‘a cappella’ group, helped to inform his creative work and in 2005 he released his debut album of piano instrumentals, ‘Pools of Light’, on his own Skylight Music label. The CD stayed at #1 on modern instrumental radio in North America for two months and was included in the top 10 New Age albums of 2004.
‘Afterplay’ opens with the onomatopoeic ‘River Rush’ that shimmers like cascading water while ‘Celtic Fire’ has more of Kelly’s dazzling keys and a jazzy energy all of its own. Kelly marks the spot where new age meets contemporary jazz with the pleasing ‘Stone Shine’ and his virtuoso playing is once more on display for ‘Flavor Seven’. Feisty in the extreme it’s a number indicative of the surprises that ‘Afterplay’ often has in store and this is particularly so with the smoky title cut that features nice interplay between Kelly and Eric Crystal.
‘Smiling South’ is driven by Kelly’s intricate keys which here bestow a distinctly Grusin-esqe quality. It is blessed by superb trumpet from Ross Wilson and in similar vein is ‘New Vision’ which evokes something of Bob James circa the late eighties. Personal favorites include ‘Sunchaser’ that could easily double as the theme tune to a ‘road movie’. James Robinson on featured guitar helps to engender what is a totally uplifting vibe yet truth to tell Kelly is often at his best when turning the tempo down. The delightfully chilled out ‘Reach For The Stars’ is an absolute gem and ‘Heaven On Earth’ finds Carol Alban magnificent on flute. This sumptuously tender piece is beauty personified yet even better is the wonderful ‘Snowflakes Rising’. With a magical cinematic aura this tender track is an absolute treat.
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CD Review: Afterplay / Brian Kelly
Publication: ImproviJazzation.com
Reviewed by Doctor Jazz
Date: Dec. 2008
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Brian Kelly - AFTERPLAY: This is our first outing with Brian's wonderful and highly talented keyboard work. Though it's a very contemporary style that he composes in, his musical spirit keeps his tunes far away from the (dreaded) "smooth jazz" pit. I'm very highly impressed. There is a sense of raw and unadulterated joy in the playing that escapes many artists. It doesn't hurt that he has some really strong players with him, far too many to itemize in a review, but you can get all that information (and more) on the CD page. It was actually the opening track "River Rush" that turned out to be my favorite. You can just feel the rapids he's rushing you through. There is real movement implied, and you won't be able to sit still for this one! A close second (for me, anyway), was "Snowflakes Rising." It's not strictly a jazz track, but has real majesty as its vision (and the segue into the next track is seamless). You'll definitely want to keep your ears on this gent. He'll be at the top of the charts before you know it (don't forget, you heard it here first). Grand energy and style that gets a HIGHLY RECOMMENDED from me - very impressive!
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CD Review: Afterplay / Brian Kelly
Publication: eJazzNews.com
Reviewed by Edward Blanco
Date: Dec. 22, 2008
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Pianist and composer Brian Kelly features eleven new charts blending statements of mainstream with a primarily smooth jazz repertoire to craft a unique album of varied styles that works quite well. This is not your typical smooth jazz recording as Kelly, who is known to stretch the boundaries with his compositions, expands the music using elements of fusion and world genres to structure an interesting sound. For example,the up beat and lively “Celtic Fire” featuring Kelly's superb play on the piano, comes across almost minstrel-like in the beginning with the sound of the pennywhistle or flute.
Kelly opens the music with a mainstream burner on “River Rush,” titled to express the sounds of fast flowing water over rocks in which Kelly throws in the sounds of gurgling water to start the music. This one is by far the best piece on the album featuring Kelly's nimble finger play on the keys, saxophonist Eric Crystal gorgeous solos and I swear I heard the vibes but it's not listed in the liner notes.
The percussive “Smiling South” showcases drummer David Rokeach and Tim Bolling on percussions and enlists the help of Ross Wilson on trumpet in support of Kelly's firm piano lines on this lively cut. The pianist mans the keyboards and offers a sensitive light smooth jazz number on “Snowflakes Rising” and changes gears with the funky beat “Flavor Seven.” The title piece offers strong melodic lines with Crystal helping out on the alto once again.
The softer music includes the heavenly sounds of flautist Carol Alban on the light “Heaven On Earth and “Reach For The Stars” which has that airy and spacious feel to it clearly falling within the smooth jazz context and is without a doubt one of the most beautiful tunes on this disc. Other notable tracks include “Stone Shine” and the bristling finale “Sunchaser” with guitarist James Robinson making a presence.
Pianist Brian Kelly continues his exploration of modern and smooth jazz music with a brilliant performance on Afterplay, a session of soft flowing grooves and a New Age sound culminating in one of the more unique jazz albums around.
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CD Review: Afterplay / Brian Kelly
Publication: ShotgunReviews.com
Reviewed by ShotgunReviews.com
Date: Dec. 26, 2008
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Instrumental pianist Brian Kelly burst upon the new age music scene two years ago with the release of his debut album, POOLS OF LIGHT, which spent two months at the #1 position on the prestigious international NEW AGE REPORTER chart. Now Kelly is back with his second CD, AFTERPLAY, that features more of his trademark which is strong melodic content.
This guy has the whole package. He is a very good composer, an inventive and wide-raning piano player, an innovative arranger, and a producer who does everything from directing the guest musicians to adding appropriate synthesized parts in the background for texture.
His first recording was a little softer and quieter than AFTERPLAY. On this one he brought in some special guest musicians to add occasional sax, flute, trumpet, trombone, acoustic guitar, drums and percussion, so the arrangements are a little more robust and full-bodied.
To help put his music in perspective, you should know that Brian has been inspired and influenced by acts such as Secret Garden, Suzanne Ciani, Keiko Matsui and Michael Hedges as well as by Broadway musicals, classical and jazz.
About half the second album features his jazzier new direction (but never too loud or weird for new age music lovers), while the other half of the material is softer and offers what Kelly calls “quiet eloquence.” The more new age-oriented tunes include “Snowflakes Rising” (a very “uplifting” tune), the spiritual “Heaven on Earth” and the mellow intergalactic “Reach For The Stars” with a beautiful organ-synth combined sound. There are a few other pieces that seem to fall somewhere right between an upbeat new age sound and a smooth jazz awareness – “New Vision” (mixing piano and flute), “Afterplay” (piano alternating with sax), and “Sunchaser” (acoustic guitar blending with piano).
The best thing about AFTERPLAY is that he writes great melodies that sound instantly familiar and will get your body swaying and foot tapping, guaranteed. Perfect for your next dinner party, energetic workout, house-cleaning or river-rafting trip.
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CD Review: Afterplay / Brian Kelly
Publication: Midwest Book Review
Reviewed by Midwest Book Review
Date: Dec. 2008
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Award-winning contemporary instrumental pianist Brian Kelly presents Afterplay, a jazz album featuring his piano and percussion stylings enhanced with additional musician's contributions on the alto sax, drums, trumpet, trombone, flute, and guitar. All pieces are the original compositions of Brian Kelly, and they reveal his love of music that sings with pure, eloquent energy and joie de vivre. An audio delight for jazz enthusiasts everywhere.
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CD Review: Afterplay / Brian Kelly
Publication: dailyvault.com
Reviewed by DailyVault.com
Date: Dec. 19, 2008
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Brian Kelly is coming on strong. Afterplay is only his second album, and he already sounds like a longtime pro. He plays piano and a little bit of synth, and he works in the contemporary instrumental arena with most of the material sounding like smooth jazz (although two or three tunes are almost soft enough to fit in the new age arena). But there is nothing avant garde or ambient here. These melodies are little pop masterpieces and should find a home on smooth jazz radio.
According to his biography, Brian grew up performing musical theater, studied jazz at college and with some traditional-jazz teachers, and then got into prog-rock followed by smooth jazz and new age. His music sounds like he learned lessons from his early days, but started producing music that takes the best and catchiest elements from today’s jazz radio. But he also puts his twist on the music by dropping in percussion elements or a Celtic pennywhistle just to keep us on our toes.
He says some of his influences are keyboardists such as David Benoit, Bob James, Suzanne Ciani and Keiko Matsui. That should give you an idea of the arena he is working in. But you really need to hear Kelly’s music so you can appreciate what a good melodist he is. This guy can really craft toe-tapping tunes. Similar to a pop song, his “verses” and “choruses” (although done instrumentally) practically make you want to sing along. There also is substantial dramatic development in his pieces. My favorites come over halfway through the CD (“Celtic Fire” which starts slow but then gets lively, “Stone Shine” which is like a beach pebble you can’t help picking up, and “Sunchaser” which makes me want to jump on a plane and head west, maybe all the way to Hawaii).
I am not that familiar with his bandmembers, but they are all very good players. Similar to David Benoit, Brian Kelly knows how to lay back and let the other players shine for several passages within each composition. The music has an acoustic warmth with very little noticeable electronic sounds intruding. This CD is well worth checking out.
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CD Review: Afterplay / Brian Kelly
Publication: starpulse.com
Reviewed by StarPulse.com
Date: Dec. 2008
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CONTEMPORARY INSTRUMENTAL PIANIST BRIAN KELLY
VERY MELODIC ON SECOND CD
Smooth jazz, unlike traditional jazz, is not necessarily known for its improvisational aspects. But listening to Brian Kelly’s second album, Afterplay, I got the impression that Brian (on piano) and the other musicians (on sax, trumpet, flute, guitar) improvised some of their solos in the middle of the tunes. Your ear does not immediately pay attention to the improvisatory parts at first because what strikes you right away are the terrific melodies that Kelly writes. But after the band (usually Kelly’s piano) states the main framework of the piece, the piano tends to get into an interplay with one of the aforementioned instruments and sort of jam for a minute or two before the piece reconciles and ends. And that’s cool. That’s something we should hear more of in contemporary instrumental music, whether it’s smooth jazz or pop-structured new age (and this album walks a line sort of halfway between those genres).
There are seven musicians joining Kelly on this CD, but not everyone plays on every tune. To flesh out the tracks Kelly adds real percussion or tasty bits of sampled and synthesized instrumentation in the background. The first piece, “River Rush,” does sort of capture the feeling and sound of a high-water river cascading downhill and is right in the modern smooth jazz pocket. But there is a lot of variety on the recording. “Flavor Seven” melds an electric piano with the acoustic piano for a Chick Corea-Herbie Hancock retro sound. “Heaven on Earth” and “Snowflakes Rising,” as you may be able to tell by the titles, are softer and more new agey. “Celtic Fire” includes the sound of Irish pennywhistles (tiny wood flutes) so comes across as slightly modern-global-world-fusion. Sometimes Kelly plays forcefully and other times he is very fluid and graceful. He also did a good job producing and arranging the music.
But I have to say that what impressed me the most on the CD are the melodies that make for strong compositions and then the improvised sections in the center. Like a bon-bon with rich chocolate on the outside and a creamy caramel filling, it’s hard to say which part is best.
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CD Review: Afterplay / Brian Kelly
Publication: the-borderland.co.uk
Reviewed by the-borderland.co.uk
Date: Dec. 2008
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I have to admit that my ears perked up considerably while listening to this new album by multi-instrumentalist Brian Kelly. Afterplay is one of those lyrical and extremely melodic smooth jazz albums that if you listened to it blindfolded you would think it was by Bob James or any of the smooth jazz-rockers back in the 70s. In fact this album is bang up to date, using sampled acoustic sounds and wrapped around by a band of very talented musicians who have produced a very fine album of uptempo, 'feel fine', instrumentals. They are: Eric Crystal - alto sax (excellent solo on the title track), David Rokeach - drums, Ross Wilson - trumpet and trombone, Carol Alban and Viviana Guzman - flutes, James Robinson - guitar, and Tim Rolling - percussion. Brian Kelly plays all keyboards and some of the percussion. Just the music we need to lift the spirits in these economically fragile times. From track one, River Rush, the mood is upbeat and optimistic, and the eleven tracks are mostly in this vein, so you are guaranteed to have your spirits lifted by this album. At the same time this music is not facile, it has depths of melodic ingenuity and emotion - check out Snowflakes Rising for an example of this. Afterplay is most definitely a cut above most of the smooth jazz albums I receive for review, and as it arrived as I was recovering from an illness it certainly helped in my recovery - music this good is a tonic to be cherished! Highly recommended.
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CD Review: Afterplay / Brian Kelly
Publication: Amazon.com
Reviewed by Amazon.com
Date: Dec. 2008
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PIANIST BRIAN KELLY A RAPIDLY RISING STAR IN
CONTEMPORARY INSTRUMENTAL MUSIC
BRIAN KELLY / AFTERPLAY
This is pianist and composer Brian Kelly's second CD. He is known for penning strong melodies, and that talent is definitely visible here. Most of the album has an upbeat smooth jazz ensemble sound, but a few of the tunes ("Snowflakes Rising," "Heaven on Earth," "Reach for the Stars") are more mellow (more in that pop-new age category).
His career began as a youngster singing in musical theatre productions. He also has served as a modern dance accompanist. He majored in jazz studies and music composition in college (BA degree). He has studied under old-school mainstream jazz pianists such as Art Lande and Andy LaVerne, the jazz/new age group Oregon, and theater and film composer Michael Silversher (who has penned many tunes for Disney). Kelly also won the Keyboard Magazine Soundpage Award for an original composition before recording his first CD, POOLS OF LIGHT, which spent two months at the #1 position on the New Age Reporter chart (that album was softer and less jazzy than the new one).
Check out the catchy melodies and tightknit arrangements on AFTERPLAY. The recording kicks off with "River Rush," which as the name implies. is a jazzy and joyous bumping and bouncing river raft trip down the rapids. The next tune, "Smiling South," not only features various percussion instruments, but also Kelly playing the piano in a percussive style. He gets a bit funky on "Flavor Seven" with its forceful piano chords that eventually meld with a Chick Corea/Herbie Hancock electric piano sound.
As you can tell from the descriptions, the new album has a nice variety of sounds and styles. There is good interplay between the various instruments. This is one very tasty recording for those who like contemporary instrumental music that is strong on melodic content.
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CD Review: Afterplay / Brian Kelly
Publication: East Bay Express
Reviewed by East Bay Express
Date: Nov. 27, 2008
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Brian Kelly's piano-based instrumental music has a whiff of new age, but don't hold that against it. Throughout Afterplay, the swing and complexity of melodic jazz and the studio precision of Steely Dan counteract any inherent wishy-washiness. Sax, flute, trumpet, trombone, and more help Kelly's quiet compositions make a confident statement.
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CD Review: Afterplay / Brian Kelly
Publication: NewAgeReporter.com
Reviewed by Bill Binkelman
Date: Nov. 25, 2008
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This is piano/ keyboard player Brian Kelly's second effort, the first being his critically acclaimed debut Pools of Light. On his sophomore effort, he moves in a splashy, vibrant and energizing direction, blending smooth jazz with a dash of contemporary instrumental/new age at times. However, it's the former genre that takes center stage ninety percent of the time. For me, smooth jazz seems to be the forgotten genre of the new millennium. I remember when it was all the rage, but whether it's that here in the Twin Cities (Minneapolis/St. Paul) FM radio has abandoned it, or that the genre really has kind of evaporated, I miss it... at least when it is done with this level of spirit, talent, and chops as well as this album's lack of overly commercialistic sloppiness. Kelly assembled a crackerjack (does anyone use that term any more? I'm getting’ old, aren't I?) crew of accompanists (too many to recount here, sorry, but kudos to them all) and they sound like they're having a helluva good time throughout afterplay. And you know what? I did too whenever I played the CD! Just goes to show that the genre is far from played out when it’s in the right hands.
The lively River Rush kicks off the CD in high gear, with piano, vibes, and assorted wind instruments playing a breezy melody against a backdrop of trap kit drum rhythms. The urgency of the song is complemented nicely by the playfulness of the main melody. Smiling South showcases Kelly's chops on the ivories from the outset with a snazzy intro and lots of nifty jazz runs up and down the keys. Tim Bolling's percussion really adds some oomph, as does Ross Wilson's trumpet and trombone at the song’s joyful conclusion.
As I hinted in the opening paragraph, not everything on afterplay is straight-up jazzy, as some tracks carry a more adult contemporary (AC) or even new age (of the Yanni/Arkenstone/Cianni variety) influence. The more overt use of synths on Snowflakes Rising and the more subdued romantic ballad Heaven on Earth (featuring Viviana Guzman's flute playing) are more comparable to artists like Lorraine Rousseau and Robert Carlton (the latter track) and Colorado artist Mark Sloniker (the former song and this comparison is based on his earlier recordings). New Vision may remind you, as it did me, of David Arkenstone’s superb Sketches from an American Journey with its cinematic sound and propulsive energy.
A song's title can sometimes throw the listener for a loop, as it does on Celtic Fire. One might expect an Irish-tinted tune, but except for the presence of pennywhistle (played by Kelly himself) what the listener hears is a lively upbeat piano-led number, arguably the most dexterous workout Kelly gets on the whole CD. Hell, for a while, I riffed on Vince Guaraldi during this number - and that is high HIGH praise indeed, coming from me.
Closing with the ebullient Sunchaser (another track which reminded me of Arkenstone’s Journey... .CD), Brian Kelly (and company) tear it up on afterplay, track after track. In all honesty, while I liked Pools of Light, this album came at me like a bolt of lightning. It's chock full of great tunes, superb musicianship, and I only wish it wasn't coming on winter here in Minnesota so I could hit the open road with this album blasting from my car's CD player. I've taken my last road trip for the year and, damn, afterplay would've made for a tasty soundtrack for those midmorning drives when I needed something to stir the blood but also music that goes down nice and easy. Fans of early Spyrogyra (circa Freetime) - this one is a must have. For others, it’s a solidly recommended album, especially for lovers of the smooth jazz/smooth pop genre, as well as those AC/new age aficionados who enjoy the artists I've mentioned above. Don't hesitate because of the word "jazz" because sax (an instrument many new age lovers seem to disdain) only appears on two of the eleven songs.
Rating: Very Good +
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CD Review: Afterplay / Brian Kelly
Publication: MainlyPiano.com
Reviewed by Kathy Parsons
Date: Nov. 2, 2008
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“Afterplay” is pianist/composer Brian Kelly’s follow-up to his exceptional 2004 debut, “Pools of Light.” Bright and upbeat, “Afterplay” provides a bit of sonic optimism in these days of uncertainty and change. Don’t get me wrong - this is far from ear candy or sugary fluff. More jazz than new age, Kelly has created a collection of eleven rhythmically and melodically complex pieces that are easily accessible for casual listening yet provide a substantial and sensual auditory experience for many repeated plays. Brian Kelly appears on piano, keyboards, percussion, penny whistle, and voice, and is joined by Eric Crystal on sax, David Rokeach on drums, Ross Wilson on brass, Carol Alban and Viviana Guzman on flute, James Robinson on guitar, and Tim Bolling on additional percussion. “Afterplay” begins with “River Rush,” a piece that is both energetic and leisurely. Piano and percussion give the silky sax a slight edge, providing an enticing opening to the musical pleasures that follow. “Smiling South” is one of my favorites. Beginning with an infectious rhythm and a playful piano intro, this piece dances and swirls with a joyful energy. Ross Wilson adds additional color and pizzaz with trumpet and trombone - love it! “New Vision” slows down the pace a bit, but maintains an upbeat, easy-going mood. “Snowflakes” Rising” is a gentle, sparkling musical confection - another favorite. I also really like “Flavor Seven,” again playful and full of fun with just a touch of mystery. The title track brings back the sax along with piano and some catchy rhythms - smooth jazz with a gentle bite. “Heaven On Earth” is a gorgeous trio for piano and two flutes. As the title implies, it conveys a blissful, floating feeling that is pure musical peace. “Stone Shine” features Kelly on a variety of keyboards along with guitar and percussion. Rhythmic and a little on the dark side, its playful energy is infectious. “Sunchaser” closes the CD as it began, easy and joyful with a toe-tapping rhythm and a warm sense of contentment. Brian Kelly has outdone himself with his second release. If you haven’t yet heard “Pools of Light,” be sure to pick up a copy of that one, too - the two CDs complement each other exceptionally well. “Afterplay” is a real treat for the ears and is good for the soul as well. It’s available from www.briankelly.com, amazon.com, cdbaby.com, and iTunes. Very highly recommended!
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CD Review: Pools of Light / Brian Kelly
Publication: SmoothJazz.com
Reviewed by Scott O'Brien
Date: December 1, 2006
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I've always enjoyed the New Age elements that the Smooth Jazz format has integrated into its core sound over the years, feeling that it helps keep the genre diversified and rich. With that thought in mind, I'm delighted to recommend the debut CD from San Francisco Bay Area keyboardist Brian Kelly. POOLS OF LIGHT is a lush, sparkling journey into a beautiful world of elegant melodies and brilliant artistry. The music rises and falls in powerful, yet gentle, waves of emotion as you experience Mr. Kelly's work, which is infused with elements from the genres of Classical, World, and Jazz. Billed as "contemporary piano instrumentals featuring flute and percussion," POOLS OF LIGHT is a totally captivating collection of original compositions that range from delicate, heartfelt solo piano ("Home At Last" and "Speak Your Heart") to ensemble performances that are full of dynamic tonal color and intricacies. My favorites include the breezy "Open Sky," the engaging, jazzy "Cool Blue," and the equally jazzy and tasty "When the Stars Align." Brian Kelly's background, which includes extensive composing and playing, as well as singing and acting, serves him well on this debut project, as he translates complex emotions into engaging musical experiences that both captivate and inspire. I highly recommend Brian Kelly's POOLS OF LIGHT as a collection of music that I am confident will find a permanent place in the "most-played" section of your music library!
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CD Review: Pools of Light / Brian Kelly
Publication: mainlypiano.com
Reviewed by Kathy Parsons
Date: August 31, 2004
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"Pools of Light" by pianist/composer Brian Kelly is sure to be on my Top 10 favorite CDs list for 2004. An amazing debut, the album is comprised of music composed and played in a variety of styles that include jazz, classical, and world. Two of the pieces are solo piano, and the other eleven tracks include keyboards, flute, and/or percussion. Kelly’s playing style has an easy elegance that comes from a phenomenal technique and chops to burn. His music is rhythmic and lyrical, and the moods range from pensive to joyous to ethereal. Despite the changing moods, the CD as a whole has a wonderful flow and cohesiveness, creating a uplifting and relaxing musical experience. "Open Sky" opens the album with a buoyant, carefree piece that is full of rhythm and excitement. The title track is much more meditative and soothing, and was inspired by a trip to Maui. "Cool Blue" is a great jazz piece for flute, piano, percussion, and bass - this one sounds like fun to play! "Sacred Waters" is a surprising little percussion interlude inspired by a waterfall in a jungle on Maui. My favorite track is "Troubadour," an ensemble piece where Kelly played all of the instruments himself (piano, sampled guitar, bass, and drums). A little mysterious, it was influenced by Kelly’s years of singing a capella Renaissance music. Parts of the piece swirl and dance, and others are a bit quieter. I really like the energy in this one! "Angels Breathing" is very new agey with floating sounds, gentle bells, and a beautiful piano part. "With Eyes Closed" is another favorite. Rhythmic and kind of dark, it, too, has a compelling energy and spirit that are addictive. "Home At Last" is a gorgeous piano solo with a beautiful flow. "Calling For Rain" is more of a smooth jazz piece, a little dark, a bit mysterious, and there’s that catchy, compelling rhythm again! Good stuff! The second piano solo, "Speak Your Heart," is much showier and full of passion - it really shows what Kelly can do at the piano. "When Stars Align" closes the album with an upbeat and breezy little jazz piece. "Pools of Light" is an outstanding debut, and Brian Kelly is a very versatile musician who is comfortable playing many styles. Samples and purchases are available at briankelly.com, and the CD is also available at cdbaby.com and amazon.com. Very highly recommended!
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CD Review: Pools of Light / Brian Kelly
Publication: newagereporter.com
Reviewed by R.J. Lannan
Date: June 25, 2005
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Smooth Light Travel
If you have some preconceived notion of what very good contemporary music ought to sound like, think again. Then go look up Brian Kelly. On his new album, Pools of Light, Brian takes the high road to a place just this side of light jazz and contemporary instrumental music. His lively mix of tunes and themes takes you on a light hearted journey through many doors and at the end of each one is a new and different pool of light. Each one more thought provoking then the next, Kelly’s piano and keyboards orchestrations provide a venue of positive thoughts and inspirational compositions.
Contributing to the fresh, energetic album is flute player Peter Cornell, Ben Mawhorter on tablas, and John Waller of percussion. In the summery opening number, Open Sky, Kelly and his friends take to the azure road with a strong duo of piano and flute. Great flow and great energy combine to drag you across the heavens in an open gondola as you swing beneath that big balloon. And what a view!
With the title track Pools of Light playing, the sound you hear is the awakening of a planet. You know that golden blush you see coming over the horizon at daybreak. That’s Pools of Light too. Everything takes on a new radiance and a new sense of life as the day is reborn. Kelly’s pensive piano paints the gold and rose that adds depth and color to your day. It is a very good track.
From gold we segue into Cool Blue. That’s the name of the next track. It is my favorite color and my favorite track. It has that Bill Douglas feel to it that has power and pulchritude. It has that tack into the wind sailboat kind of feel. Then again it has that even though it is dark blue dusk, life is just beginning feel. Another noteworthy cut.
Kelly finesses the keyboards and the piano and brings out the ephemeral on the track Angels Breathing. It is echoing beauty and soft sweet melancholy all rolled into one. This very enchanting tune is dreaming music.
Calling For Rain is a straightforward contemporary instrumental piece that has stormy weather written all over it. You can almost smell the ozone as the fat drops that fell out of a swollen gray sky hit the pavement and bounce back into the air. Great piano riffs on this one.
When The Stars Align brings the album to a close, but it will keep in your memory forever. Kelly does an exhilarating job with his piano as the song takes on twists and turns of timing and theme. There is a time when everything in your life is just right. It all comes together and the gods smile down upon you. You will be hearing this music at that moment.
Brian Kelly, a prolific singer and songwriter, has been involved in music in one way or another since early childhood. He cut his chops mainly on children’s theater and college choirs. His group, The Arts and Leisure Section played jazz throughout the 80’s (Got to love the name!). Kelly won Keyboard Magazine’s Annual Soundpage Reader’s Contest. He continues to produce music for film and media presentations. Pools of Light is his debut album.
Kelly’s music has that dream-like quality that comes out of the mist and pulls you towards the light. There are many elements that make up a Brian Kelly tune. Some are vastly complicated, some are childlike and simple. You can hear the classical and jazz overtones with a just a touch of Vince Guaraldi thrown in for good measure. All of it makes for very good listening.
Rating: Very Good
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CD Review: Afterplay / Brian Kelly
Publication: Top 21
Reviewed by John Shelton Ivany
Date: June 2009
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I was expecting really boring jazz. Instead, this is really, really interesting jazz. No real noodling, all composition, Afterplay has a classical feel to it, progressing as an album with a vibe which borders on minimalism.
The instrumental performance is not necessarily impressive, but it doesn't have to be: the real impressiveness of this album comes from the culmination of all the voices together, not just a guitarist noodling for 60 minutes. Soothing and beautiful.
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CD Review: Afterplay / Brian Kelly
Publication: Heathen Harvest
Reviewed by Jack The Ripper
Date: May 2009
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The old style jazz music differs from its modern version in many aspects, principally on their vision. Today’s Jazz conception implies many modern addendums and removals at the same time. Orthodox formulas don’t apply these days anymore, partially because it results stylistically anachronic in some way and out of line with the mood of the modern man. What modern Jazz has kept is the extraordinary versatility to fuse with other musical genres, a door that is always open for never ending demonstrations of instrumental expertise and the addition from foreign influences whether they come from singular instruments or folkloric influx. Brian Kelly is a composer that plays in the modern league of Jazz music but his music goes further heading into world music while its horizons are chilled out by smooth cadences that share generic sensibilities with New age music, as most modern music his Jazz conception is the byproduct from other styles, an hybrid separated from the strict tradition of Jazz, now smooth and happily moving. “Afterplay” is the second album by Kelly and reunites world famous music instrumentalists that enhance the sympathy for melody they all share and that is ultimately demonstrated in the album construction.
Brian Kelly compositional base on “Afterplay” follows the basics from piano arrangements; almost a full orchestra seconds the instrument in this effort. Trumpets and trombones, two flutes an alto sax, a guitar, percussive set and drum set conforms the accompaniments, needless to say that the music is entirely instrumental. The melodic constructions from piano are stylized and playful, quite happy, smoothly paced and gentle with the listener. When the rest of the instruments come in the result is quite playful most of the times although there is an incidence of spiritual reflection on some songs that reminds something of David Sylvian’s music while still preserving the jazzy details that marks the distinctive appeal from Kelly’s music.
A clear example on the influence from World music is manifested in the song: “Smiling south” that introduces a trumpet and exalted tribal like percussions leaving a trace of Tex-Mex music associated immediately which gives this song a special distinction from the rest of the album, another great example of variety will be present on “Stone shine” with the introduction of Spanish guitar play, classic music arrangements sprinkled with some soft rock ideas. This song also shows the best instrumental couple from all the work and this complies as an excellent creation. A new age influence is perceived principally on songs like: “New vision”, “Heaven on earth”, “Sunchaser” and “Reach for the Stars”, the style is noticed by the atmospheric presence, the cadence employed, much more slowed down and way relaxed, the reduction of rhythmic passages as well as the impulse given to wind instruments, typical from the new age stylistics.
Most of the tracks show an incidental influence from this genre although the Jazz component demarks its contour as classy Jazzy chomps, agile melodic lines, instrumental diversions and moving piano arrangements that are mixed together with resonant keyboard atmospherics, the result is a melodically happy jazz with quietly ambient undercurrents, an entirely unorthodox hybrid. Songs that represent this mix are generally the more rhythmically moved as for example: “River rush” with its memorable melodic sequence, “Flavor seven” with its after party feeling, “Afterplay” with the piano & sax duet and drum stomps, the ultra melodic joy coming from “Snowflakes falling” and the power from “Celtic fire”.
Nevertheless the wholeness from the work is calmed but quite playful as product from the harmonies, typically modern Jazz, so close for easy listening and so far from the classics, so intertwined with relaxed perspectives and even alternative spiritual quests familiar with the Age of Aquarius. The compositional part is excellent but the lack of skin and bones gives a music sort of a frigid termination at the very end. “Afterplay” tributes its name, the logic from its music serves with gratitude the necessity for calm that the modern man so eagerly needs.
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Quotes
"talent worth watching"
- Keyboard Magazine
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"This is one very tasty recording for those who like contemporary instrumental music that is strong on melodic content."
- Amazon.com
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"Brian Kelly (and company) tear it up on Afterplay, track after track... this album came at me like a bolt of lightning. It's chock full of great tunes, superb musicianship... Fans of early Spyro Gyra (circa Freetime) - this one is a must have."
- Bill Binkelman, NewAgeReporter.com
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"There is a sense of raw and unadulterated joy in the playing that escapes many artists. You'll definitely want to keep your ears on this gent. He'll be at the top of the charts before you know it ... Grand energy and style that gets a HIGHLY RECOMMENDED from me - very impressive!"
- Improvijazzation
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"Brian Kelly follows his brilliant debut release POOLS OF LIGHT with yet another outstanding, compelling collection of originals... The musical integrity and lyrical sensitivity that Mr. Kelly brings to the table for his projects is clearly evident on this release. At a time when commercial Smooth Jazz too often heads in the direction of cliché, Brian Kelly’s AFTERPLAY is a refreshing example of how we can keep this music genre exciting and vibrant!"
- SmoothJazz.com
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"Afterplay is an exciting contemporary jazz album which engages the listener from the very first note. I was blown away by the immediacy, the insistence of the opening cut “River Rush;” a driving, smooth and satisfying offering which I only wished lasted three times longer! It is followed by another worthy cut “Smiling South.” As the album played to the end, textures varied and moods shifted, but the quality never faltered from the high bar set in its first cut. Congratulations to Brian Kelly!"
- Creations Magazine
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"Kelly remains the master of everything he touches and the classy arrangements he provides to the eleven self penned tunes are a joy to behold."
- SmoothJazzTherapy.com
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"As a fan of both Jazz and Classical piano, your musical style touches both and does so in an a contemporary, beautiful and inspirational way."
- Travis W. (fan)
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"Pianist Brian Kelly continues his exploration of modern and smooth jazz music with a brilliant performance on Afterplay, a session of soft flowing grooves and a New Age sound culminating in one of the more unique jazz albums around."
- eJazzNews.com
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"Kelly's music has that dream-like quality that comes out of the mist and pulls you towards the light."
- New Age Retailer
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"Your CD is fantastic and is a favorite of mine. I particularly love the arrangements; they're compelling and always interesting to listen to. I spin just about every track on the CD and they're on most of the playlists on my iPod!"
- Jamey Osborne, Host of "Audiosyncracy", KTEP FM El Paso, TX
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"Pools of Light... is an enchanting, heart opening, timeless masterpiece. [Brian] interweaves melodic lines and rhythms, and layers sounds to achieve a musical sound that is instantly mind expanding. He's also merged New Age with Jazz which is difficult to do, similar to rare artists such as Pat Metheny. You can't go wrong with this album. "
- Steven Cravis, recording artist
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"Stellar piano work. Great fluidity of line, wonderfully elegant."
- TAXI A&R Review
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"Brian's CD release, "Pools of Light" is one full of smooth, sensual and relaxing jazz piano that is a MUST HAVE for the jazz collection! This piece of work is jammed packed with some of the most eloquent piano that a jazz fan could ask for! One of my favorites, "Cool Blue" is titled perfect for this track! This track is certainly one of relaxation, calmness, and sheer perfection! Brian is certainly an unsung hero in terms of smooth jazz piano."
- smoothjazzcd.com
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"melodic and sparkling"
- Serge Kozlovsky, Republic of Belarus
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"You're ecstatic and soul-uplifting "gifted", man. Bless your heart."
- Fan, San Francisco
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"West Coast cool jazz, Polynesian exotica, dreamy light classical...it's all here in the person of talented Bay Area pianist Brian Kelly. He artfully blends strains from the likes of Vince Guaraldi, Martin Denny and the Windham Hill family- plus a hint of Elizabethan melody- for a rhythmic yet laid-back sound that's pure California (and Hawaii). Most of the tracks have Pacific and island inspiration ("Pools of Light", "Troubadour"). Brian also has a medieval-music background, and that shows up on some delicate, flute-like melodies. A pure, bright sound here- pure Brian Kelly."
- Jonaco (review on cdbaby.com)
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"The album brings to mind the waterfront. The entire album felt like a pleasant wind. Every tune was enjoyable and it would be nice to listen to this music outside lying on the grass under the skies."
- Tomoko, Fukuoka City, Japan
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"This is a wonderful CD!"
- Scott Fugate, WBCX Radio, GA
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"Bright and upbeat, "Afterplay” provides a bit of sonic optimism in these days of uncertainty and change... More jazz than new age, Kelly has created a collection of eleven rhythmically and melodically complex pieces that are easily accessible for casual listening yet provide a substantial and sensual auditory experience for many repeated plays."
- Kathy Parsons, mainlypiano.com
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"I have found a jewel with Brian Kelly's Afterplay. This is a brilliant piece of musical arrangements with Brian on the keys and great compliment of artists sharing sheer genius! Afterplay is a wonderful blend of contemporary jazz with a taste of New Age. The music does it for me: smooth, melodic, entrancing and relaxing. Particularly titles: River Rush, Smiling South, Heaven On Earth and of course the title track. You can listen to Afterplay time after time. Brian takes you anywhere your music sensitivities want to go!"
- Dionne Maldonado,
WFSS 91.9 FM, Fayetteville, NC
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"what impressed me the most on the CD are the melodies that make for strong compositions and then the improvised sections in the center. Like a bon-bon with rich chocolate on the outside and a creamy caramel filling, it’s hard to say which part is best."
- StarPulse.com
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