Entertainment Review

A Warp Review

Nicolo Paganini was, like all geniuses, deeply misunderstood and often believed to possess unique qualities which were superhuman. As a violinist and composer, he dared to stretch the limits and try new ways of creating music.

Once, another story goes, while he was yet a child his father took him to see a great violinist Alessandro Rollo. Rollo had at that time just completed a new composition. Unfortunately, Paganini and his father were put off at the door. They were informed that the master was ill and was receiving no visitors.

The young man, however, was intrigued by what he had heard and seen and wanted to know more. He stepped inside, pushing past the servant. Immediately he discovered the composition laying upon a table, picked up a violin and began playing it with perfection.

Alessandro Rollo could not believe what he was hearing, and he jumped out of bed to see what was going on. Upon seeing Paganini, a change came over him and suddenly, he felt quite well. His illness was gone.

A strange tale, to be sure. But it is one that in some respects carries a power of its own that energizes a young woman who has in some way inherited his gift, his power, and his genius. She has been marked by him in more ways than one. Both came into this world on October 27 but are separated by a difference in history of 196 years. Their shared birthdate alone must possess some intrigue for someone like this young woman the world knows as Vanessa-Mae whose sense of mysticism seems particularly acute, if one takes her music at all seriously. She had also, in her own right, become a acknowledged protege by the age of 10, a young violinist who had already had an album produced. However, Vanessa-Mae at age 19 today has earned a reputation in the world of music that clearly rivals that of Paganini. Her lastest release, Storm, is a bold step in a new direction that defies categorization. For those who simply like great music and are least concerned about what to call it, this album will be appreciated. Those, however, who are looking for a classical artist to carry forward an old tradition may be quite disappointed.

Storm is indeed a storm in the world of classical tradition. There is very little in this album that can be truly characterized as classical in the traditional sense. While she has brought to this music the power, versatility and movements of classical artistry, she has inevitably brought the true genius that has stood behind such work all along. Inherent in the soul of that genius is an ability to find the life in a work of art that stands outside the artist and to be able to flow with it, to live it, to bring it forth.

Vanessa-Mae has collaborated heavily with Andy Hill, a producer who has also worked with Celine Dion. He has been given joint credit on most of the pieces with Vanessa for arrangements, and has contributed instrumentally with guitar, bass, keyboards, and Hammond.

The music brings many different styles together in a form that Vanessa chooses to call techno-accoustic fusion. Unfortunately, an album that falls into unique classifications never gets the exposure it deserves. My feeling is that those who love rock would enjoy this album immensely. New-age lovers would also appreciate it. It is meant, clearly, for those who like diversity and eclecticism.

The album has had an independent European release and a Japanese release, each with different jacket covers.

Much might be called new age, but so much of what has been called "new age" is just synthesized elevator music. You won't, however, find any tracks from this album in an elevator. They are all individually unique.

One that I happen to like, Retro, is blow-the-doors-down rock with a pounding bass line, textured by the voice of an electric violin. Leyenda brings a latin sound with flamenco guitar and the cry of a haunting male voice that etches the background.

A really fabulous rendition of Donna Summers' hit I Feel Love is very electronic, heavily synthesized, very mystical, with vocals by Vanessa brought smoothly into a harmonic balance with the instrumental parts as though her voice were just another instrument in the background. Bach Street Prelude is actually the opening movement for J.S. Bach's Partita in E. Here, she says in the liner notes, "Andy and I have completely restructured the Prelude so that it tracks along in a fantastical journey with voices and rhythms supplied on electronic instruments and dustbins even!"

I'm A Doun is an old Scottish folk melody taken from a Robert Burns poem. "Researching and discovering the poem," she says, "gave me more imagination when performing [Max] Bruch's version. Singing it made me imagine even more and hence this new version, which I hope conveys the purity of love and affection which the singer feels, as well as the adventurous spirit that has overtaken her loved one traveling to exotic and far away lands."

A track also included on the album departs again in a different direction. Happy Valley, written with Andy Hill, was created and performed for the ceremonies for the historical occasion of the acquisition of Hong Kong by the Republic of China. It is a vocal with the characteristic but low-key sing-song Chinese female choir providing words that express joy and happiness for the reuniting of these two countries.

In summary, I can only state quite simply: this is a great album. Buy it.