Published on Jul 11, 2002
“Oh, great,” I thought to myself, opening yet another
promotional mailer. “More pseudo-newage crap. More ear candy.”
Teach me to prejudge CDs, won’t it? Because Australian violinist
Martin Lass is damned good, and his latest offering,
Sonnet, is a joy to listen to. It’s infectuous. I found
myself over the last two days playing it over and over again,
especially while I was working or writing. This is good stuff.
Despite Lass’ own biography referring to himself as a pop
violinist, this is nowhere near Jean-Luc Ponty or Vanessa Mae.
Lass’ licks are straight out of the nineteenth century, along with
his flowing hair. (He bears more than a passing resemblance to
Lawrence Llewellyn-Bowen from BBC’s
Changing Rooms, a fact which frightens me somewhat.) He
lists Yehudi Mehunin as a major influence, and indeed he’s more
classical in his playing style; only the piano and flute
arrangements push this into the area of New Age. (He plays the
piano, too. This guy is enough to make one ill.)
Production on the CD is good, though not great; I picked up some
hiss high in the treble, but I couldn’t tell you if that’s the
recording or my cheap stereo. (Upgrade pending. I swear.) The mix
is good, and the sound of the violin is impeccable, and let’s face
it, that’s really what matters.
All the tracks on this CD are good; they’re not faceless,
either, but it’s hard to pick one out for special kudos. I think,
however, “The Sea Of Tranquility” is worth special notice. It’s
lovely.
If you’re a fan of classical/new age music and of well-played
violin, check out the romantic stylings of Martin Lass. You won’t
be sorry.