Review of View from the Parkway
High Country Composer Robert Thomas Releases New Album
By Jeff Eason
High Country composer Robert Thomas knows a thing or two about creating visual music. And although his music bears no real relation to the bluegrass or gospel native to the Blue Ridge Mountains, his is a music that is deeply rooted to our area. His latest instrumental album, View from the Parkway, takes inspiration from the scenic vistas of the Appalachians in much the same way that pianist and composer George Winston has found inspiration from different times of the year.
Thomas’ new album is perfect for those wintry days when you’re forced to find indoor entertainment but the last thing you want to do is watch television. Whether your company is a cherished friend or a good book, View from the Parkway makes a perfect third companion—gentle enough not to intrude upon the gathering yet interesting enough to listen to intently during those quiet moments between words.
It’s also a great date album as its serene moments will put your guest at ease but the compositions are so elegant and interesting that you won’t have to worry about them going to sleep.
“I feel that the new album picks up where my last album, Full Circle, left off,” said Thomas. “I describe it as ‘new age with a jazz feel or jazz with a new age feel.’ I think it has a Keith Jarrett feel and should appeal to both markets.”
View from the Parkway has some nice bits of vocalese that vary from Lucianne Evans’ soft scatting on “Ridge Runner” to Thomas’ hypnotic chants that remind one of the vocal parts on Pat Metheny’s late 80s albums Still Life (Talking) and Letter From Home.
It is precisely the addition of a few added instruments that gives the individual tracks on View from the Parkway depth and character beyond mere piano compositions. August Hoerr sad accordion lines provide a somber European quality to “Waltz for Heidi” while the title track to the album features some interesting, forward-moving percussion interludes from River Guerguerian. Thomas stated that for the piece “View from the Parkway,” he and the other musicians recorded 48 tracks of instrumental tracks before the mixing down process.
But at the core of the album is Thomas’ precise yet casual keyboard sound. He has an innate sense for when to use electronic keyboards and when to go for a more intimate approach with a traditional acoustic piano. “Blue Ridge Waltz” would lose its stately air of wandering solitude with the addition of too many instruments so Thomas keeps it perfectly simple with piano and accordion.
View from the Parkway was recorded last summer at Hollow Reed Studios in Asheville.
Thomas moved to Asheville from the High Country last March and has quickly become a regular performer at the several downtown jazz venues and at the Lake Eden Arts Festival.
Thomas will be performing at Beanstreets, on the corner of College and Broadway in Asheville, this Friday, November 19th from 9 to 11 p.m. He will be playing a mix of originals from View from the Parkway plus a selection of cover tunes.
A portion of the proceeds from the sale of View from the Parkway will go to Friends of the Blue Ridge Parkway, Western North Carolina Alliance, Heifer International, The Foundation for International Community Assistance, and Fellowship of Reconciliation.
Right now View from the Parkway can be purchased through Thomas’ website at www.robertthomasmusic.com. It will be available at some area retail outlets by the holidays. For more information, visit www.robertthomasmusic.com.