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Binkelman's Corner by Bill Binkelman |
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Bill Binkelman is a long-time icon in the industry. |
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| Flying Machines |
| By John Otott |
| Label: Self Released |
| Released 5/1/2011 |
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| Flying Machines tracks |
1. Falling Softly
2. Emerald Bay
3. Reflection
4. One Minute Fairy Tale
5. September's Promise
6. Let It Rain
7. Remembrance
8. Serendipity
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Flying Machines |
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Pianist John Otott's maxi-EP (8 tracks, 25 minutes) Flying Machines is a likable collection of piano instrumentals with some occasional light brushing of ambient keyboard textures. This is the artist's third release, but my first exposure to his easygoing compositions, and I'm impressed with the variety of styles and moods he presents on the eight selections. I'd prefer a softer sound to surface now and then, although Otott doesn't succumb to overdoing it like some of his contemporaries do. All in all, Flying Machines would be a nice addition to the collection of piano instrumental lovers who enjoy a more dramatic, emphatic approach to performance and composition - this is not a quite album per se, but it still maintains solid accessibility. The one thing I would correct if I was the producer or engineer is I would push the accompanying synth strings and ambient textures forward in the mix. Otott has talent for finding the right keyboard embellishment and it's a pity these effects are diminished in the final mix as they would add a lot to the finished product.
Falling Softly opens the album with a sprightly melodic refrain, counterpointing upper and lower registers nicely. The subtle choral textures color the fluid nature of the melody with a bit of cinematic influence, as do the strings which enter the track later. In some ways, if Otott played at a slower tempo or softened things up a bit, his music would compare favorably to Wayne Gratz on this track (and several others times on the CD as well). Emerald Bay begins in a somber vein, with a sad-sounding refrain throughout the track's nearly 3 minute run time. Once again, melody-wise, I am reminded of Gratz, except that Otott seems to favor a faster tempo and a greater emphasis on drama and passion (definitely evidenced later in this song). It's too bad because when the artist dials back on the intensity, his sensitivity and nuance speak louder than any "loud" notes could ever do. The light-hearted tone and tempo of Reflection appears to mirror the opposite intent of the titular reference, but that may be only my interpretation. The racing momentum of the song at the 1:00 mark signals a shift to a higher energy, which while I am not fond of, is well executed by Otott (the dude can play, that's for sure).
One Minute Fairy Tale (yes, the song clocks in at 1:11) is a brief exercise in quasi neo-classicism that, once again, overreaches for drama when restraint might better serve the intent. September's Promise opens nicely with a somber and pensive melody, and here Otott understand that a small number of notes played simply can covey deep emotion as well as a flurry of power-punched chords. Unfortunately, he once again succumbs to a faster tempo and more dramatic flourishes as the track proceeds, only slowing back down near its conclusion. Let It Rain features a light accentuating layer of synths that color the subdued piano melody with a shade of grey, until, yet again, Otott feels the need to bring the hammer down. Pounding the keys with passion is like typing bold face on the internet - a little goes a long way towards proving your point.
It's obvious that John Otott has plenty of piano playing ability and that he also can compose memorable melodies. He also as an uncommon ear for knowing how to integrate synthesizer textures and accompaniment with his piano, although his music would greatly benefit from letting the mix accentuate these accoutrements more - trust in your listeners' ability to hear the piano, because they will! My comparisons to Wayne Gratz on some cuts is spot on (trust me–I'm too big a fan of Gratz's music and have been for well over a decade to lead you astray) so Otott is on the right track. Flying Machines is a "good start" but the artist's sound could do with some mid-course corrections. Not a lot, perhaps, because the raw stuff is there. Like a lump of coal (meant solely in a metaphorical sense) can be turned into diamond under high pressure, so too can Otott's music be fine-tuned into something really special!
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Rating: Good  |
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- reviewed by Bill Binkelman on 7/27/2012 |
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