Cheryl Gunn
(Copyright © 2003 Piero Scaruffi | Terms of use )

Vanity Of Venus (Anagram, 1997) **
The Sun At Midnight (Earthtone, 1999) **
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California multi-instrumentalist (but mainly pianist) Cheryl Gunn, wife of world-music flutist Nicholas Gunn, debuted with Vanity of Venus (Anagram, 1997), an album filled with references to nature and highlighted by her pseudo-jazz piano.

The album perfects an art in which piano, electronic and flute themes intersect without colliding but also without merely repeating each other. It is mostly an art of melodic fragments that float away, return, change, grow and blossom. A cosmic breeze fuels Spellbound, while Tides Turned soars propelled by drum-machines and Vanity Of Venus sleeps in the arms of a gentle piano melody. But the melodic peaks are probably to be found in the gentle melancholy of Dark Of The Moon and in the majestic elegance of Elysian Fields.

The Sun at Midnight (Earthtone, 1999) relies on a more sophisticated (and upbeat) framework of keyboards, drum-machines and chamber instruments. Gunn even hums the main theme, The Sun At Midnight, a carefree pop number that sets the tone for other tracks as well (Echo of Time, Gossomer Wings). An archaic and an exotic elements prevail, best represented by the pounding tom-toms of Au Par Au Bellum, but also visible in Venus Over Skies and Seeker's Quest. The waltzing Mirror of Mercy and The Forever Garden are more introspective and romantic.

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(Copyright © 2003 Piero Scaruffi | Terms of use )
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