FAME - Folk And Music Exchange

Loralyn Coles has a very feminine enfolding voice (yeah, I know, now I'm gonna get a spate of letters from aggro feminists accusing me of sexism) in gently delicate sonic fields drawn from folk traditions, New Age, and film musics (Northern Lights is a Civil War ballad that would go well in an anti-war flick). There's also a generous slice of Celtica, especially in Robert Spates' lyrical violin, Coles accompanying in a high sweet register; her drawn-out notes in, for instance, Golden Songs / The Water is Wide give the listener goosebumps.

Blue Moonlight is indeed a gentle record, a set of lullabyes lovingly rendered, the kind of music that heals as it brings a tear to the eye...and perfect to fall asleep to, laved in slowly undulating waves of lush semi-orchestral miniatures. Her take on 9/11 is interestingly neutral, not political to the least degree, only desirous of curing the trauma. Every once in a while, Coles is about a quarter tone off her intended pitch but otherwise has a Judy Collins-esque voice, a bit more melismatic than Suite Judy, a flow of soothing reassurance.

There are plenty of country fragrances floating through the songbook here (again, Spates is a hugely irreplaceable element in the atmospherics) but this is definitely lullabye-centered and Impressionistic (think Ravel and Debussy, maybe Faure, with spices of Gershwin blended in) via the crib, manger, and romantic tenderness. Goes a goodly ways to drag New Agery back into a proper art. 

Sing Out!

Blue Moonlight Calls

 

 

“Folk tales say that when there is a blue moon, the moon has a face and talks to the items in its moonlight.” Wikipedia

Thanks for supporting Live Music

I work with touring artists through the IMT concert series, Songwriters' Assoc. of Washington, and the Washington Area Music Assoc., and touring is not always an easy job. Please support your favorite musicians by attending their concerts and buying their music.