Longing Hours by Nelson Foltz
Nelson Foltz studied the instrument in his native Pittsburgh and later
at New York University.
has toured extensively with Broadway shows “Oliver”,
“Cinderella”, “Fame” and “Grease”.
He has also backed Barry White, Aretha Franklin and Roberta
returning to New York, Foltz decided to record his own material and
the result is this, his debut CD, released by New York’s Syberdelix
Longing Hours Prelude
is a blend of electric piano and the haunting vocal of Carolyn
dark atmosphere is conjured up by bass clarinet and bass trombone,
together with ‘spooky loops’ on I See You Again.
Still it doesn’t prepare you for the plaintive cry of
Leonhart’s vocal on Ivan Lins’ Life in the Modern World is
heart-rending. The same
is true of the minor chords on acoustic guitar.
The trombone is a backing instrument here and wails mournfully
like a dog that’s lost its master.
This is painfully emotional.
(Serenade) is a
classical arrangement of a Jobim song and is sombre.
the Foltz-penned Karin is more conventionally Latin.
That is if you can call an acoustic guitar/trombone duet
conventional. The lazy
atmosphere created by the guitar survives despite some adventurous
12-bar blues bassline walks through Disabled. Stephen Benson’s lush semi-acoustic guitar sounds warm and
this time so does the trombone. Again
the solo is adventurous and I realise that maybe I am less so…
fall in Love Too Easily
is a solo trombone piece.
Ascher’s piano is unadorned and moving on the slow and sad Farewell.
the parting theme, So this is Goodbye features a faintly
trembling vocal and acoustic guitar backing.
The trombone whispers its support towards the end.
sounds electrical, like a buzzing, at the start and is a tone poem
more than a song. It
features more ‘spooky loops’ and is highly atmospheric.
If I were a music editor on the Discovery Channel, this would
be on my list.
of Foltz’s imaginative compositions is Amadok – a solo
flute piece with an intensely eastern feel.
Leonhart’s mournful vocal is again the principal feature of The
fair to say that this album explores boundaries. How much can a trombone sound like someone crying?
How classical can you make a Latin song sound?
How dark can you make it sound?
also fair to say that because of its inventiveness, this album is
likely to be enjoyed most by people who don’t like their music
categorised. If that
describes you, I would advise you to hear this, if only to illustrate
how inadequate the written word is to describe certain musical forms.
Records - cat no. MMNF040202
Producer – Nelson Foltz