David Lanz Albums (22)
What The Critics Say
The master new age piano pioneer took a cool and rhythmic detour in the early 2000s, working with some top smooth jazz stars to create a spirited, radio-friendly hybrid he playfully referred to as "smooth age." After returning to his roots (and his original label, Narada) with the atmospheric Spirit Romance, his 2005 dual project with flutist Gary Stroutsos, Lanz, on his beautiful and impressionistic Shanachie debut Painting the Sun, comes full-circle back to the elegant and contemplative (but still engagingly melodic) solo piano vibe that launched his career 25 years earlier. His original idea for the album title was "A Time for Peace," but taking a walk around his Seattle area home on a sunny spring day found him looking up and thinking about the artistic spirit of one's soul and energy--which is what has always emerged in his deepest musings throughout his career. Beyond the eloquently stated originals (highlighted by the hypnotic title track, the highly improvisational "Spanish Blue," a thoughtful "Hymn," and the dark toned, moody "Evening Song"), Lanz mines the familiar ground of his musical influences as he covers the Pete Seeger-composed Byrds classic "Turn Turn Turn." This lush reading continues in the whimsical spirit of his 1998 British Invasion tribute Songs from an English Garden. Lanz did well crossing over with smooth audiences, but this long-awaited project makes it clear that he expresses his truest heart when he's sitting at the piano channeling heavenly inspiration. ~ Jonathan Widran, All Music Guide
'A Cup of Moonlight'
Release Date 1/15/2007
Tracks 9
Label Sound Traveler
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What The Critics Say
This album from piano master David Lanz is something like the new age equivalent of a jam session. Lanz took to his piano and Gary Stroutsos to his flute and, in combination with a small handful of other new age musicians and engineers, spent a few weekends putting together a series of instrumental works. The music is composed to have a "Zen-like quality," which is to say that there is no real motif in use and no thematic sense to speak of, but more of a generalized feeling that can be given mood or content proactively by the listener. In the realm of new age music, this one's relatively nice. More emphasis is given to the general likableness of the sound than to the occasional spiritual or academic backings that can twist music to a more intellectual level without aesthetic purpose (à la interpretive dance). This one is a plausible addition to the collections of non-new age listeners, as a basic piece of background music on a quiet day. ~ Adam Greenberg, All Music Guide
What The Critics Say
The sweeping, piano-driven sounds of David Lanz approach the 20-year mark on Finding Paradise, his 2002 release. With his usual sentimental arrangements and crew of session musicians, this is exactly what one would expect from a David Lanz album. This could have been made in 1987 or in 1995 -- it has the timeless sound of smooth jazz and new age that has become a favorite of waiting rooms and grocery stores around the country. Lanz is an acquired taste, but fans of the Kenny G/Najee school of music should find this to be a fine addition to their collections. ~ Bradley Torreano, All Music Guide
What The Critics Say
Setting the standard for instrumental piano music since the mid-'80s, when the term "new age" was the fashionable way to label it, David Lanz has worked ambitiously with orchestra before, most notably on 1990's Skyline Firedance. On his Phillips debut East of the Moon, however, he creates a majestic, dual-themed recording unlike any in his bestselling Narada Records catalog. First, he delves into a spirited intertwining of Greek mythology and rock & roll, then formulates a classically-influenced, six-movement suite declaring his hope for a "World at Peace." Initially, Hugh Padgham seems to be an odd production choice on Lanz's part, but the producer -- best known for his pop classics with Sting, Melissa Etheridge, and Phil Collins -- builds a lively, rocking environment around the first tunes: the Irish-scented "The Green Man" (which begins with a Collins-esque drum fill and finds Lanz dancing over uilleann pipes and pennywhistle) and the symphonic, hard-blues, organ-based "Dancing With Dionysus." While Lanz enjoys jamming more than ever before, his feathery ivory intertwining with Dave Heath's flute on "Chasing Aphrodite" reminds us of his command with graceful piano ballads. Though the "World at Peace" has its booming orchestral swells, this same sort of gentle sway and sparse, acoustic piano melody approach (with touches of flute and violin) are the dominant sounds driving Lanz's soaring millennial vision from "Declaration" and "Prayer of Peace" through "Renaissance" and "Transformation." ~ Jonathan Widran, All Music Guide
'An Evening With David Lanz'
Release Date 2/9/1999
Tracks 12
Label Narada
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What The Critics Say
Pianist David Lanz performs a program of his compositions with a couple of ringers thrown in for good measure (Pachelbel's "Canon in D," Procol Harum's "A Whiter Shade of Pale"). Lanz is one of the more expressive pianists in the new age genre, and this set is engaging and at times bracing. ~ Ross Boissoneau, All Music Guide
'Songs from an English Garden'
Release Date 7/14/1998
Tracks 12
Label Narada
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What The Critics Say
As David Lanz demonstrates Songs From an English Garden, his first ambition in life was to be a rock & roll pianist based on the music he grew up with in the '60s. Having done brilliant orchestral, rock, and solo piano versions of Moody Blues, Procol Harum, and Beatles classics throughout his discography, this colorful new tribute to the British Invasion can be seen as simply an extension, a case of the more, the merrier. No doubt his main obstacle laid in not creating muzak versions of these well worn hits, and his arrangements -- and use of unusual instrumentation and vibrant guest shots by Dave Koz and Herb Alpert -- reflect careful respect on his part. Lanz plays Peralta bells, for instance, on a percussive take of the Hollies' "Bus Stop," and creates a staccato, stop and start effect combining piano and orchestra. He asks original Procol Harum organist Matthew Fisher to add a touch of blues to the castanet clapping Latin vibe of that band's hit "Conquistador" and swings through a brassy rendition of "Tuesday Afternoon," alternating ivory registers (as the original did) and adding the '70s touch of the Wurlitzer electric piano. Dealing with simple melodies like "I'll Follow the Sun" and "Ferry Cross the Mersey," he also creates original passages that introduce the main tune, while stripping down to basics on a poignant rendition of "Strawberry Fields Forever." That same tender grace characterizes the original title track as well as the other original piece, the rainy day portrait "London Blue," which provides an appropriate setting for some of British rock's most beloved treasures. ~ Jonathan Widran, All Music Guide
What The Critics Say
These compositions from the team of David Arkenstone and David Lanz were previously spread out over eight separate albums, and are collected together here for the first time. ~ Jason Ankeny, All Music Guide
