CD Review - A Winter Gathering by Shauna Burns

“Shauna surrounds herself in the studio with the familiar scents and sights of home, where she composes most of her music. In front of the Yamaha C7 grand piano at Spiral she places photos of loved ones, pets and places. Shauna believes that every song has its own unique frequency... a frequency that is partially formed through her own creative process and partially transmitted through her, as a property that belongs to the song itself.”
–Spiral Studios Interview



Release Date: 25 October 2011

Genre: Celtic / Songscape / Seasonal

Publisher: (C) 2011 Red Rock Music, LLC

Label: Red Rock Music

Time: 41m 42s

Review Date: 19-October-2011

Format: CD

JivePK: http://jivepk.jivewired.com/shaunaburns



Find it at:

Shauna's Website | iTunes | Amazon | CD Baby


Track Listing:

01. Winter Star 2:35
02. Carol Of The Bells 3:49
03. White Christmas 3:47
04. O Come, O Come, Emmanuel 4:44
05. Luma 2:07
06. The First Noel 2:25
07. Silent Night 3:01
08. God Rest Ye Merry, Gentlemen 4:58
09. The Gathering 3:09
10. What A Wonderful World 3:17
11. Carol Of The Bells (Instrumental) 3:42
12. God Rest Ye Merry, Gentlemen (Instrumental) 4:08

Review:

Imagine a wintry day during Christmas season. Inside a pub, locally or abroad, a Celtic pianist and vocalist regales locals and travelers alike with traditional soundscapes. In wander onlookers, seeking smiles, shelter from the snow and a warm drink. The music is so peaceful that listeners, stiffened from shivering in the outdoor elements, instantly relax and unwind. Soon, the warmth and smiles generated by the heartfelt performance literally chase away the damp and cold. This scene is created to perfection in Shauna Burns' latest offering, "A Winter Gathering", an album that works just as well on a wintertime romantic evening for two or a family Christmas gathering. Shauna eclectically melds the worlds of traditional holiday standards, a few originals and a Celtic theme into a perfectly organic and lovely crafted amalgamation of both art and folk music.

Burns' latest journey offers some completely original arrangements as well as a few twists on traditional standards and holiday classics reworked in Celtic themes. The album includes some original works as well, or songscapes, used to enhance this holiday sojourn. The original pieces include "Winter Star", "Luma" and "The Gathering" and are used as breathpoints that tie the entire album together. Burns included both vocal and instrumental versions of "Carol Of The Bells" and "God Rest Ye Merry, Gentlemen" with the instrumental versions showcasing Shauna's resplendent piano playing. She evokes marvelously both musically and vocally throughout "A Winter Gathering", particularly on "Carol Of The Bells". The arrangements on "Silent Night" and "What A Wonderful World" are absolutely sublime. The vocal version of "God Rest Ye Merry, Gentlemen" is undeniably enchanting. In fact, the entire soliloquy of "A Winter Gathering" can be summed up in three words -- soft, beautiful, haunting.

The production includes some slightly noticeable, yet wonderful nuances. You'll hear the sound of a fire crackling as you segue from "Carol Of The Bells" to "White Christmas" and onto "O Come, O Come, Emmanuel", as well as a beautifully lush cello/piano interplay that enhances the descriptive narration of "White Christmas". Backing vocals are minimally effective. In keeping with the Celtic theme, you'll hear Uillean Pipes, Celtic Harp and Pennywhistle. The percussion is eloquent yet understated magnificently. The entire package is perfectly arranged as not to distract from Burns' hushed and breathy vocals and her beautiful piano solos.

It was probably inevitable, and certainly a good idea, that after having produced "Anamnesis", an album of reflection and recollection, that Shauna Burns would deliver a recording that, while similar in mood, is more grounded in nature. This CD is a most welcome addition to your collection of holiday music. However, to label it exclusively Christmas music would circumscribe what should be a more universal appeal. "A Winter Gathering" is a beloved respite that will warm any winter evening and perpetuate the glad tidings of the holiday season all winter long.

--Michael Canter, Jivewired.com

Band Members:

Shauna Burns: Piano & Vocals
James Clark: Drums & Percussion
Caroline Kemper: Celtic Harp
Rick Kemper: Uilleann Pipes & Penny Whistle
Lindsey Springer: Cello
Ryan Whyte Maloney: Guitar & Backing Vocals

Backing Choir: David Pecjak, Stephanie Pecjak, Kimberly Pecjak, Aleeza Gonzalez, Audrey Gonzalez

About Shauna Burns:



Shauna Burns describes her latest musical venture, the Celtic flavored A Winter Gathering, as a new journey for her —- a collection of newfangled holiday carols and original songs performed by her with her husband, drummer James Clark (who also co-produces) and guest performers Caroline Kemper (Celtic harp), Rick Kemper (Uilleann pipes & pennywhistle), Lindsey Springer (cello), Ryan Whyte Maloney (guitar, backing vocals) and a five piece vocal choir.

Bringing unique new elements and sounds to her trademark style, Burns offers new twists to classic songs like “Carol of the Bells,” “God Rest Ye Merry, Gentlemen” and “Silent Night” and includes three short original “breath point” pieces she calls “Songscapes.” She includes “White Christmas” as a tribute to her mother Joyce (who always played and sang it at holiday times when Burns was growing up) and also a compelling rendition of Clark’s favorite song “What A Wonderful World.”

The singer describes the concept this way: “Winter Star,” the first “songscape,” is the star in the East that the shepherds see in “The First Noel”; Burns sings Gaelic words that speak about this bright new presence. The star travels through the other songs starting with “Carol of the Bells,” descends to earth in “White Christmas” through fire and “O Come, O Come Emmanuel” through desert. “Luma,” the second songscape, is loosely based on “Ave Maria” and represents the “light” breath. Silent Night” holds the grounding axis of the album with its everlasting melody and frequency. “God Rest Ye Merry, Gentlemen” holds the place of the strong anchor.

“The Gathering,” the third songscape, “gathers” the songs, family and friends near and leads the listener into “What a Wonderful World,” the resolution. Speaking whimsically, Burns considers the instrumental versions of “Carol of the Bells” and “God Rest Ye Merry, Gentlemen” at the end as “little cherries on top.”

Over the past few years, Burns has enchanted audiences at clubs and Borders Stores across the U.S. and in the U.K. (where she toured early in 2007) with songs from her debut and its follow-up five song EP Desert Tune, which featured songs that overflowed from the first album’s sessions. Her first tour in support of her debut was 40 dates and she embarked on a subsequent jaunt of 20 dates from coast to coast during the summer and fall of 2007. The success of The Moon and the Fire Circle—and its vibe of folk rock with Celtic influences--opened up exciting new opportunities on the festival circuit. She has performed at Renaissance Fairs in Utah and Texas; the Phoenix Faerie Festival; Green Girl Music and Arts Festival in Las Vegas; Celtic Festival in Texas; and Medieval Mayhem in Show Low, Arizona.

“I view these performances as if I’m holding a conversation with the audience,” Burns says. “I’m communicating with whoever chooses to listen in that moment, and like to visualize my music embracing whoever wants to embrace it. Just as it’s a friend to them, music is my friend as well. There’s also a time travel element to the experience as well. A lot of people say my songs remind them of things they haven’t thought about in years. They help them recall the innocence of childhood that they had forgotten about. That’s what music does for me, too. I have a huge respect for the power of music and just how spiritual it can be. That’s why I take it so seriously.”

Burns developed her transcendent vocal style and playing style while growing up in Miami, where she was inspired by her mother’s love for the piano and groundbreaking pop/rock artists like Sarah McLachlan, Tori Amos, Depeche Mode, Bjork and U2--whose landmark The Joshua Tree proved pivotal as Burns cultivated her affinity for thematic recordings. After receiving a Bachelor's degree in anthropology at the University of Utah, she spent a year in Europe preparing her debut album. One of the reviews of Every Thought proved prescient: “Beautiful cascading piano [and] ethereal vocals… a new fangled fusion that will ignite a spark that will be hard to replicate.”

Burns’ music has long been inspired by many cultures and ideas that surround the world as well as the landscape of the deserts and mountains of the Western U.S. Drawing metaphorically upon her passion for anthropology, she sees every phase of her career as a new opportunity to dig into herself to uncover the next musical adventure.

“It’s heartwarming to receive messages from people who discover and connect with my music, she says, “and it’s gratifying to know that what I created in solitude has the ability to touch people emotionally. I use anthropology as a songwriting tool all the time. It’s the study of human development and cultural identity and relationships between people. I feel the need to cultivate and nurture these little seeds of inspiration because they can grow into big ideas if we take care. It makes me question: What’s next for all of us in the world? What is the universe trying to tell us? I’m listening.”

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