After a fifteen-year hiatus, guitarist David Lindsay actively returns to the music scene with his new instrumental album, "Nightbound." Produced by Will Ackerman and Tom Eaton and recorded at Ackerman’s Imaginary Road Studio in Vermont, the album features three acoustic guitar solos and ten ensemble pieces with several of the exceptional artists from Ackerman’s studio. All thirteen pieces are very quiet and soothing, providing a little under an hour of respite from the hectic pace of life - all is calm and peaceful there. As is true of all of Ackerman’s and Eaton’s productions, the sound quality of this album is impeccable - warm, clear, clean, and very smooth. Most of the music on the album was created spontaneously during the recording process. It’s a very beautiful project and should bring Lindsay an enthusiastic new audience! It is interesting to note that from 1985-2000, David Lindsay recorded and performed in concert, live radio, and television in Canada. For the past fifteen years, he practiced law and studied lute before journeying back to the guitar.
"Nightbound" opens with “Bright Stars,” a gentle guitar solo that expresses peaceful contentment - a lovely beginning! “Dreamwalk” is a trio for guitar, English horn (Jill Haley), and fretless bass (Michael Manring) - again, very soothing and calming. As quiet and tranquil as a summer daydream, “A Boy And a River” makes very effective use of the spaces between the notes as well as the sounds of the notes themselves. The title track is much more orchestrated with Charlie Bisharat (violin), Eugene Friesen (cello), Noah Wilding (voice), Jeff Haynes (percussion), and Tom Eaton (piano and bass) joining Lindsay after an extended solo guitar prelude. Somewhat more energetic than the previous tracks, this piece is still understated and peaceful. “Ila’s Lullaby” is a tender trio for two guitars (Ackerman and Lindsay) and piano (Eaton). Lucky is the child (of any age) who is gently lulled into Dreamland with this music! “Unspoken” is a favorite. The first section is very introspective solo guitar; Jill Haley returns in the second section with her English horn, making the melody even more haunting. In the third section, the tempo changes and the piece becomes more rhythmic and soulful as percussion, violin, cello, bass (Paul Kochanski), and Wilding’s voice are added - love it! “Nocturne” is another favorite. Guitar, cello, percussion, voice, bass, and keyboards (Eaton) give this dark beauty a poignant sense of mystery - haunting! The album closes with an ensemble version of the opening “Bright Stars,” adding English horn, cello, voice, and bass (Eaton) and ending just as beautifully as it began!
A very warm “welcome back” to David Lindsay! I hope this is just the (new) beginning! Recommended!
Review excerpt from Music and Media Focus
On his new release, “Nightbound,” David Lindsay went all-out to work with one of the ultimate producers of acoustic guitar music in the world, Windham Hill Records founder and GRAMMY winning producer Will Ackerman at his iconic Imaginary Road Studios. The first thing I noticed on the opening track, “Bright Stars,” is that David uses a nylon string classical guitar, which produces a warmer, mellower sound than a steel string acoustic. The tone is indeed quite lovely, as is the gentle fingerstyle melody David plays on this solo guitar piece. On the next track entitled “Dreamwalk,” David is joined by fretless bass wizard Michael Manring and Jill Haley on English horn. As on many Imaginary Road productions, the accompaniment is understated, allowing the spotlight to shine on the primary artist.
The album’s title track features an even larger ensemble that consists of Eugene Friesen of The Paul Winter Consort on cello, violinist Charlie Bisharat, who has played with Yanni and John Tesh, Pat Metheny percussionist Jeff Haynes, Tom Eaton on piano and bass, and Noah Wilding on wordless vocals. Now I will have to backtrack from what I just said about the accompaniment often being understated. On this piece, it is definitely not. After the solo guitar that opens the song, the other musicians swoop in and give the song wings as it takes off and soars majestically.
“Vermont” is a lovely solo guitar track that I would imagine was inspired by the bucolic splendor that surrounds Imaginary Road Studio in Windham County, Vermont. From there, the remaining seven songs are all duets or larger ensemble pieces featuring the previously named artists. On the final track, the album is bookended with a reprise of “Bright Stars,” which was the opening song. While the original version was solo guitar, here it is an ensemble rendition. It was interesting to hear both takes on this song, and made for a luminous conclusion to this heartfelt recording. I was very impressed with David’s compositions and guitar skills, as was Will Ackerman, who called it: “some of the best writing and playing I’ve heard in years.”
To read a full length feature article on this album, as well as others, please visit: MichaelDiamondMusic.com