Kathryn Kaye

There can be little question as to the source of Kathryn Kaye’s creative inspiration. The beauty and mystery of nature have always played prominently in her artistry. Even the title of her latest release Patterns of Sun and Shade reveals her fascination with the natural world. Of this she shares: “I’ve always been fascinated by sunlight filtered through leaves or bare branches, the play of light and shade in clouds and high mountains, and shadows on a rock wall or on a narrow path winding through the woods.” There is no doubt that her home in the Rocky Mountains of Colorado provides an endless bounty of natural splendor, where she captures its essence in music and photography. However, another source that feeds into her musical wellspring are the hymns and folksongs of the Appalachian Mountains of southeast Kentucky, where she grew up.

Listening to the music of Kathryn Kaye, for me, evokes the same feeling of comfort and warmth as a reunion with an old and treasured friend. This is the fourth album of hers that I’ve had the pleasure of writing about. Previous recordings include: What The Winter Said, Heavy As A Feather, and her debut release Dreaming Still. GRAMMY winning producer and Windham Hill Records founder Will Ackerman, who has produced all of Kathryn’s albums has said of Kathryn’s music: “Some of her pieces feel so hauntingly familiar that they seem like part of your DNA.”

In an interview with Kathryn, I gained some interesting insight into her music. In her words: “Most of the listeners of my music describe it as soothing, but a few have commented that it conveys a sense of longing. Immediately after listening to one of the songs, one listener turned to me and asked, ‘What are you longing for?’ I believe the music conveys both comfort and longing, at least in part because it was inspired by the very old folk ballads and hymns that I heard, sang, and played while growing up in the mountains of Eastern Kentucky. Those beautiful old songs often carry a message that includes a mixture of hope, loss, sadness, peace, and longing.” This blend of contrasting emotions make Patterns of Sun and Shade the perfect title for her music.

The album was recorded at Will Ackerman’s Imaginary Road Studios in Vermont, where he, along with Tom Eaton and Kathryn co-produced the recording. There is certainly no shortage of breath-taking natural vistas there either in the beautiful rolling hills of Windham County, Vermont. There is also an abundance of world-class studio musicians in Will’s roster to add accompaniment to the compositions of artists who record at Imaginary Road. On Kathryn’s album, the list includes Paul Winter Consort cellist Eugene Friesen, percussionist Jeff Haynes of the Pat Metheny Group, violinist Charlie Bisharat who plays with Yanni and John Tesh, Peter Gabriel touring musician Tony Levin on an exotic electric stringed instrument called the Chapman Stick, and frequent Will Ackerman collaborators Jill Haley on English horn and Gus Sebring on French horn. Engineer/ producer Tom Eaton who is a fantastic musician in his own right also provides additional instrumental support, as does Will himself.
While mountains and memories provide a good deal of inspiration for Kathryn, the opening track, “Julia’s Eyes,” is drawn from even closer to home. As Kathryn tells it: “I wrote this song for my daughter, who was born with the largest and most beautiful pale blue eyes I had ever seen. She’s grown up now, and her eyes are still a striking shade of blue!” Starting out on solo piano and evolving into a duet with cello, the piece is written in ¾ time as a waltz, and as such, has an elegant and graceful ambience.

With five musicians in addition to Kathryn, the next composition, “Elk Creek in the Fall” is one of the largest ensemble pieces on the album. It also has a lovely story that Kathryn shared: “By an old dirt road near my childhood home in southeastern Kentucky, a little creek trickles down from higher in the hills. It winds gently through groves of deciduous trees (glorious in autumn), past an old family cemetery and the remains of an abandoned cabin where I once sat by the fireplace with friends, playing and singing folk songs during an autumn thunderstorm. I remember the dinner bell on a tall post in front of the cabin, and sometimes when I play or hear this song, I imagine the resonant gong of the bell at dusk. The musicians who joined me on this recording didn’t know the stories behind it, but nevertheless, were able to capture the images and memories perfectly.”

In contrast, “Something Like a Dream” is a solo piano piece, and according to Kathryn: “This song feels like a dream to me as I play it. It’s one of the few compositions on the CD that isn’t directly connected with nature, and it wanders in and out like the patterned images of sleep.” In addition to Kathryn’s wonderful playing, the song also highlights the incredible highly modified Steinway piano that is the crown jewel of Imaginary Road Studios. The lower registers of the keyboard are remarkably rich and resonant, providing a strong foundation for the lighter midrange and higher melodies to dance upon. It is quite stunning to hear someone of Kathryn’s sensitivity take full advantage of its stellar tone.

One of my favorite tunes on the album is “Adrift in Fading Light,” not only for the music, but for the title as well. I love the evocative mental picture it creates. According to Kathryn: “A visual image and the experience of drifting on a still lake at dusk were with me when I wrote this song.” This piece features some of Kathryn’s most impressionistic piano work, along with subtle accompaniment on percussion, bass, guitar, and violin.

I also liked the image of a song entitled “Tiny Sliver of a Moon.” The piece has a romantic air tinged by a trace of longing, as mentioned earlier. An interesting touch was the addition of accordion played by Tom Eaton. As Kathryn shares: “I think the moon in all its phases holds some magic for us all. The melody in this composition is drawn from a folk song that I don’t remember, and the entrances of the accordion and violin near the end of the song seem to bring together the spirits of people in different parts of the world.”

Patterns of Sun and Shade is another stunning recording from a gifted musician who has consistently revealed the depth her artistry and vision with each successive release. In Will Ackerman’s opinion: “Kathryn Kaye is as talented a composer and pianist as any with whom I’ve ever had the pleasure to work.” That is high praise coming from a producer who has worked with some of the best. Although classically trained as a pianist, Kathryn’s style is her own, and above all else, articulates the language of her heart. Sometime the softest, simplest melody speaks volumes emotionally and resonates with the listener in the most profound and personal of ways. The sensitivity heard in Kathryn’s playing is not something that can be taught, but comes from deep within. Like the album’s title, the music expresses both light and shadow in subtle shadings and more saturated colors. I’ll leave last words to Kathryn who in reaching out to Patterns of Sun and Shade listeners shares: “May you discover your own patterns, even if very different from my own, when you listen to this music!” - Michael Diamond - Music and Media Focus

Kathryn Kaye is a composer, organist and pianist. She has been classically trained but draws from her experiences in jazz, folk music from the Appalachian Mountains where she grew up and crafts music both simple and evocative. Each piece is created with feeling and always leaves me longing for more. The album was recorded at Imaginary Road Studios and was recorded and mastered by Tom Eaton. Contributing artists include Gus Sebring (French horn), Jeff Haynes (percussion), Tony Levin (Chapman stick), Tom Eaton (percussion, accordion, bass), Eugene Friesen (cello), Jill Haley (English horn), Will Ackerman (percussion), Charlie Bisharat (violin) and of course the talented fingers of Kathryn Kaye (piano).

In her newest album, Patterns of Sun and Shade, Kathryn again pulls her imagery from nature and paints an audible picture of landscapes adrift in light and shadow. This album has a lighter feel than her first three, and has a lot of imagery of leaves, forests and trees. Just the kind of place I love to be…

“Elk Creek in the Fall” is the second track on the album and features Gus Sebring (French horn), Jeff Haynes (percussion), Tony Levin (Chapman stick), Tom Eaton (percussion), Kathryn Kaye (piano) and Eugene Friesen (cello). Effervescent, this piece is a tapestry wound together to seamlessly create a vision of backwoods Kentucky and the glorious forests that grace the land. Sweeping piano sequences are paired with the cello, horn, percussive elements and the Chapman evoking a lush composition of harmony and light.

“Willow Waltz” is a tender piece that urges me to close my eyes and walk through the lit path into the forest, surrounded by the majesty of color and the changing seasons. No matter the day, the crisp scent of autumn burns down the back of your throat and the smoky ghost of burning leaves fills the air. It is a time of change. The willow trees are a bountiful and grace filled oasis inside the woods. They bend and sweep, whilst other trees reach for the sky, determined to shed their seasonal colors in a riot of burnt orange and flame yellow. The willows dance under the sky and your fingers intertwine with the long and sinewy branches. Pieces and artists heard on this track include Kathryn Kaye (piano), Jill Haley (English horn), Tony Levin (Chapman stick) and the legendary Will Ackerman on percussion.

“Patterns of Sun and Shade” is the title track to the album. When you look into the trees and squint your eyes, what do you see? Little patterns of light and dark-the shady places and the kiss of sunshine beaming through the leaves. That is the essence of this piece. Light peeks through finely veined leaves illustrated by the skillful playing of Gus Sebring (French horn), Jill Haley (English horn), Tom Eaton (bass) and Kathryn Kaye (piano).

Since the first time I heard Kathryn Kaye’s work, I fell in love with her vision of nature via sound and substance. Well placed fingers on the keyboard, combined with a love of the natural world and her home in the woods of Kentucky show just like the dappled light through a bevy of leaves. The fellow artists she chooses are her branches and the tree is firmly planted in the ground. This album was soothing and hasn’t stopped playing since I received it and won’t be any time soon.

5/5 Stars - Dana Wright - New Age Music Reviews

Pianist/composer Kathryn Kaye returns with her fourth album, Patterns of Sun and Shade, co-produced by Will Ackerman, Tom Eaton and Kaye. Sometimes solo piano and sometimes a collaboration with one or more of the extraordinary musicians from Imaginary Road, Kaye has imbued her new music with such warmth, grace and beauty that it will soothe and uplift even the heaviest of hearts. Kaye’s music has always been a cut above, but I think this album is her best and predict that it will hit the top of the charts once again. Kaye’s previous albums have all been “Picks” and Favorites for the year on MainlyPiano, and although this is my first review of 2015, I can guarantee it will also earn the annual Favorites status. Even more than on her earlier albums, I am amazed at Kaye’s velvet touch on the piano keys. Debussy thought the piano should be played as if it did not have hammers striking the strings and Kaye has mastered that very difficult touch - pearls on velvet.

Strongly-influenced by nature, living in the Colorado Rocky Mountains must provide constant inspiration for Kaye, as is reflected in the titles for many of her pieces as well as the grace and beauty of the music. Three of the eleven tracks are solo piano and the others are backed by artists such as Gus Sebring, Jill Haley, Eugene Friesen, Tony Levin, Charlie Bisharat, Jeff Haynes, Eaton and Ackerman. This peaceful music would enhance any setting, but will provide almost an hour of piano heaven to those who really listen.

All eleven tracks are exceptional, but I have some favorites. The album opens with “Julia’s Eyes,” a graceful and poignant duet for piano and cello that warms my soul every time I hear it. “The Hills That Lead Me Home” has more of a folk/Americana feeling with its simple melody and sense of longing. Jill Haley (English horn), Gus Sebring (French horn), and Tony Levin (Chapman stick) add their magical tonal colors to this lovely piece. “Something Like a Dream” is dreamy solo piano magic. “Festival of Leaves” has a light, swirling quality that evokes images of colorful leaves dancing in the wind. I LOVE “Willow Waltz,” a gorgeous melancholy waltz that expresses deep emotion as well as the beauty of willows in a breeze. Haley, Levin, and Ackerman (percussion) add their artistic touches to make this piece perfection. Another favorite is the haunting “Adrift in Fading Light,” which features Charlie Bisharat (violin), Ackerman (guitar), Levin and Haynes - very emotional and compelling. “Mom and Pop’s Waltz” is a much lighter piano solo. “Distances” closes the album with a peaceful, lyrical piano solo that again expresses longing and deep emotion.

Patterns of Sun and Shade is truly a great album! It is available from Amazon, iTunes and CD Baby. Very highly recommended. - Kathy Parsons - MainlyPiano.com

Interplay of Light and Dark -

If anything, the newest release by contemporary pianist Kathryn Kaye called Patterns of Sun and Shade is nostalgic. It is as if she is sitting on a well-worn rocker on the back porch, a tall glass of sweet tea in hand and transforming her thoughts and daydreams into music. The memories are as sweet as the tea and they make me want dreams and memories of my own. This is Kaye’s fourth album and one of her best. She grew up in the hills of Kentucky, but her muse called her to travel and play piano. She has done this countrywide as well as internationally. Her music has classical roots, but her style is Appalachian all the way, earthy and warm. On this recording, Kaye uses the light of the sun and the dark of shadow to represent the emotional changes in her life and she does this very well. Cue the accompanying music.

The first cut is called Julia’s Eyes and, from the sound of the music, they must be deep and beautiful. Kathryn has allowed me a glimpse into the soul as she plays her melody sounding sometimes like an old music box. Eugene Friesen’s cello acts as a friend to the piano, helping it along at a gentle pace.

The Hills That Lead Me Home is a ballad that sounds familiar, like something from the old country that your parents used to listen to, but Kathryn’s tune is perceptibly contemporary. Of all the tunes on the album, this is the epitome of nostalgia as the feel is that of yearning. The English horn by Jill Haley and the French horn by Gus Sebring as well as the accompanying Chapman Stick by Tony Levin are voices beckoning us to make the journey. How can we resist?

I really like the tune Willow Waltz. The melody sways like a river willow in a summer breeze. The music is carefree and airy. I could imagine the sunny skies, the rock-strewn path that goes through the forest and the secret place where we meet. Remember, it is only for lovers.

Although Kathryn has used accompanists before on previous albums, Patterns of Sun and Shade seems to be better orchestrated, with a fuller, richer sound. One of the more pensive numbers is called Adrift in Fading Light. It lacks the cheery feeling of the other themes, but it has its own deep sense of emotion. A period of confusion and futility are captured in the somber tune. The way these feelings are depicted are what makes the tune memorable. The tune highlights Charlie Bisharat on violin adding to the melancholy.

Kathryn has included Mom and Pop’s Waltz, from her previous album Dreaming Still. It is a song of loving gratitude that has a slow, measured rhythm. It represents Kathryn’s life in small steps rather than giant leaps. The melody is blessedly constant, like the devoted love of her parents.

The title tune, Patterns of Sun and Shade reveals the light and darkness of every life. It is the music of friends and loved ones lost, newfound friends, and progress and regress. There is a tradeoff of positive and negative feelings in the music. Nothing dark, really, but changes like a person sitting in the sun one moment and then clouds come over and they are in shadow for a while. I could hear the subtle influences of Kathryn’s classical training in the mix.

The final tune is a solo piano piece called Distances. It measures Kathryn’s life from the starting point of her journey to where she is today. Sometimes the distances are long and unexpected and sometimes they are unsurmountable. Luckily, music is the bridge here that connects the past and the preset and offers a course to the future.

Kathryn Kaye has come a long way, personally and musically. There is a new and certain maturity in her music that was waiting to be created and it is here, in this album, deep in this music. - R.J. Lannan - Zone Music Reporter - The Sounding Board

It has been 5 years since we first heard Kathryn Kaye on her impressive debut, Dreaming Still, that was probably her most stripped-down album. Since then, Kaye has released two impressive follow ups that have continued to feature the production qualities of Will Ackerman and his A Team session players, with Patterns Of Suns and Shade being Kaye’s fourth release in 5 years. It was only a matter of time before her gravy train was going to be derailed, but not here, as Kaye releases yet another uncomplicated beauty.

Essentially Kathryn’s delicate touch is ever present, whether it be on her few solo pieces or her collaborative efforts with the Ackerman A Team. Those of you craving her solo piano pieces may be somewhat disappointed, as there are only a total of three, in the form of “Something Like A Dream,” “Mom & Pop’s Waltz” (the most optimistic of the three), and the rich, reflective closer, “Distances.” However, the opening track “Julia’s Eyes” comes somewhat close, also featuring the very light embellishments of Eugene Friesen on cello.

On the flip side there is the more jovial “Festival Of Leaves,” that features Kaye’s delightful piano work, weaving with the gorgeous English horn of Jill Haley, that brings to mind a Nancy Rumbel quality performance. Add the steady percussive work of Jeff Haynes and Tony Levin on the Chapman stick, and this is probably the liveliest song on the album, without distracting from the peaceful theme of the album. Though a little more melancholy, the soft sway of “Willow Waltz,” featuring Haley on the horn, Levin on the Chapman stick, and Ackerman on percussion, is also a mellow splendor.

Kathryn Kaye has not strayed far from the formula over the last three albums, mixing a few solo pieces with her collaborative work with the Ackerman A Team. While some may view this as safe, when you have such a winning formula there is no reason not to. Thus, from her impressive debut to her most recent gem, Kaye has released four albums in five years, and despite the incredible pace Kay has yet to create a dud. - Michael Debbage - MainlyPiano.com

Kathryn Kaye lived in the mountains of the east for some time and she is privy to their message and their magic, and there is a much magic to behold when the trees are bare and the cold winds blow. Things only appear to be sleeping. Kathryn’s piano is a welcomed friend on these chilly winter nights as she warms us with the tune “Sky Full of Stars”. The night might be clear and freezing outside, but as you gaze up at the black velvetiness, your heart generates its own heat. “Carol of the Birds” reminds me that no matter how bleak the winter days become, I can always depend on the birds for color in my stark winter world. The title song “What the Winter Said” has that sparkle of snowflakes and crispness in the air, while the tune “The Holly Bears A Berry’ has an old world theme. The gift on the album is Kathryn’s marvelous version of Will Ackerman’s The Bricklayer’s Beautiful Daughter. Pick this one up soon. - RJ Lannan - Zone Music Reporter, The Sounding Board

As I mentioned at the end of my review of Kathryn Kaye’s excellent debut album Dreaming Still, plans were already on the drawing board for her next recording and that it would certainly be something to look forward to. Now, here it is, just about one year later, and it didn’t take a crystal ball to know that this sequel would be a fulfillment of that prophecy. Kathryn has done it again in grand style.

There’s an old saying: “If its’ not broke, don’t fix it.” Referring in this case to the repeating of a formula that worked so well on the previous CD and applying it again with the same stellar results, perhaps even better. The elements of that alchemy include Kathryn’s evocative compositions and grand piano expressions, produced by Grammy-winning Windham Hill founder Will Ackerman at his Imaginary Roads studio in Vermont, with mastering by Corin Nelsen, and a new addition to the team, recording engineer Tom Eaton. And last but not least, the accompaniment of a number of world-class studio musicians, some of whom graced her first album.

The term “world-class” is sometimes over-used or over-hyped, but in this case it is definitely warranted. Returning is violinist extraordinaire, Charlie Bisharat, who has played with Yanni and John Tesh. Also reprising their appearances are Eugene Friesen on cello and Jill Haley on English horn – both veterans of numerous sessions with Will Ackerman – who, incidentally, adds acoustic guitar on two tracks. On fretless bass, another frequent Ackerman collaborator is the ever-innovative Michael Manring, as well as bassist Tony Levin, known for touring with Peter Gabriel, as well as being a session musician on literally hundreds of albums. With percussion by Ramesh Kannan, and additional instrumentation by recording engineer Tom Eaton on accordion and rainstick, the cast is complete. However, as on her previous album, the accompaniment, like fine caviar, is used in moderation, and not on every track. In fact, four of the eleven pieces are solo piano.

Some of Kathryn’s compositions, for me, are like musical portraits that evoke the earthy ambience and subtle shadings of an Andrew Wyeth painting. In the words of Wyeth himself, “To be a great artist, requires emotional depth, an openness, to look beyond self to the subject, and passion. A great painting then is one that enriches and broadens one’s perspective.” And so it is with the music of Kathryn Kaye, which resonates on an emotional level with the listener and inspires vision in the mind’s eye. The opening track, a sweet piano solo, entitled “Mountain Laurel” is a perfect example. Within its serenely sylvan melody is revealed a depth for those with ears to hear. The nature theme continues on the second track, “Meadow Morning,” which is peaceful and pensive, but with a touch of wistfulness in the air. This is one of the larger ensemble pieces, yet its understated interplay maintains the delicate demeanor that characterizes the album.

As pastoral as Kathryn’s music can be, she also ventures into other landscapes, such as the decidedly more urban vista of “An Empty Street In Prague.” The music so perfectly captures the essence of the title that it is hard not to feel like you are there, your lone footsteps echoing down the cobblestone corridor of the city. But it is not long before we are back in the welcoming arms of Mother Nature on track four with “Wind In The Tall Autumn Grass,” a lovely piano and cello duet. On “Earth,” another of the larger ensemble pieces, the accompaniment, again, is painted with a light touch that adds contrast and context while keeping the piano in the foreground. Interestingly, “Summer Afternoon” inhabits similar affective space as the aforementioned “Meadow Morning” with its peaceful presence tinged by a wisp of longing. The title of “How Deep, How Simple” mirrors some of the qualities of Kathryn’s music, with its reflective melodies that are unpretentious on the surface while illuminating deep waters below. Speaking of titles, the music on the title track “Heavy As A Feather” does a wonderful job of depicting a portrait in sound that has a lightness of being yet is counterbalanced by a subtle sense of gravity. Beginning with the single tolling of a bell, a brief solo piano interlude appropriately entitled “One Last Quiet Breath” draws the album to a mellifluous conclusion.

Although there has been no mention (yet) with regard to the next CD, it is unlikely that Kathryn’s fans will cease calling for an encore until she obliges and paints yet another haunting musical masterpiece in colors of earth and sky. - Michael Diamond - MichaelDiamondMusic

This is the second album by pianist Kathryn Kaye to be reviewed here on The Borderland. Like its predecessor Dreaming Still, Heavy As A Feather is a collection of acoustic piano pieces with extra accompaniment. The eleven tracks are all slow, dreamy soundscapes, very pastoral and lushly romantic. Ms Kaye is a subtle composer, her music calling in influences of various classical composers such as Chopin and Liszt. There is a strong chamber quartet/quintet feel to the tracks featuring the larger groups of musicians. The track titles are: Mountain Laurel, Meadow Morning, An Empty Street In Prague, Wind In The Tall Autumn Grass, So Much Sky, Earth, Summer Afternoon, How Deep How Simple, Dusk At Rockhouse Creek, Heavy As A Feather, One Last Quiet Breath. As you can see, the titles are mostly descriptive of being outdoors, indeed Ms Kaye lives in the Rocky Mountains region of Colorado, and I wouldn't be surprised if that was the inspiration for much of this music. The musicians playing on this album are: Will Akkerman - guitar/production, Eugene Friesen - cello, Jill Haley - English Horn, Ramesh Kannan - Percussion, Tony Levin - bass, Charlie Bisharat - violin, Tom Eaton - accordion/rainstick, Michael Manring - fretless bass. Heavy As A Feather is marketed as being either New Age or Acoustic Instrumental, which is fair enough, but I think Light Classical is equally descriptive of what is on the CD. This is a quietly stunning album, musically rich and ideal for reflection or finding a little peace in one's life. Highly Recommended. - John M. Peters - The Borderland

Heavy As a Feather is the second release by pianist/composer Kathryn Kaye, quickly following her very impressive debut, Dreaming Still. Produced by Will Ackerman at Imaginary Road Studios, recorded by Tom Eaton, and mastered by Corin Nelsen, the eleven original tracks include four piano solos and seven ensemble pieces from duets to larger groups. The music reflects a variety of influences that includes folksongs and hymns from childhood, ten years of classical music training, an international performing career, and the beauty of the Rocky Mountains in Colorado where Kaye makes her home. Supporting musicians include Ackerman (guitar), Charlie Bisharat (violin), Eugene Friesen (cello), Jill Haley (English horn), Tony Levin (bass), Michael Manring (fretless bass), and Ramesh (percussion). The piano is always front and center, but Kaye graciously gives the other musicians plenty of room to shine. The uncluttered melodies are played with such heartfelt expression that each becomes a distinctive gem as well as part of a flowing, cohesive whole.

Heavy As a Feather begins with the lovely “Mountain Laurel,” a piano solo bathed in spring breezes and dappled sunshine. “Meadow Morning” is a quintet for cello, English horn, piano, percussion,and bass. Peaceful contentment flows from each note, painting a picture in beautiful greens and pastel tones. “An Empty Street in Prague” is worth the price of the CD all by itself. It begins as a mournful piano solo - simple yet deeply emotional. When Charlie Bisharat enters with his violin a little past the halfway point, the music becomes tragic and heart-breaking. I really love this track! “So Much Sky” is a gorgeous piano solo - spare, graceful, and evocative. “Summer Afternoon” begins as a languid piano solo, but when Haley adds the voice of the English horn, it really becomes relaxed and downright lazy - delicious! “How Deep, How Simple” brings back Ackerman, Bisharat, Eaton, and Friesen for an easy-going tribute to the profound beauty of simplicity. “Dusk at Rockhouse Creek” is a quiet piano solo that tells of the stillness of the coming night as the day recedes from the sky. Very open and spacious, you can almost see stars starting to twinkle as the sky darkens. The title track is a duet for cello and piano with gentle strains that seem to float on the air - hence the title, I’m sure. It’s amazing how much an artist can convey with so few notes. “One Last Quiet Breath,” a solemn but very relaxed piano solo, ends the album with a peaceful kind of grace that will have you coming back for more!

Heavy As a Feather proves beyond a doubt that Kathryn Kaye will not be joining the long list of one-hit wonders! This is a great album, and it is available from www.kathrynkaye-music.com, Amazon, iTunes, and CD Baby. Recommended! - Kathy Parsons - MainlyPiano.com

My first encounter with Kathryn’s beautiful piano work was in issue # 113, where she got a good rating from me… on this new CD, it’s up a notch, to be sure… just listen to the beautiful opener, “Mountain Laurel” to hear why I love her laid-back approach to the keyboards so much… unhurried, unrushed, no “points to prove” – just “her to you” and that’s about all you can ask from a performance! I didn’t know it until this CD, but Kathryn’s from southeastern Kentucky (wonder how close to Breathitt County she was… I spent two interesting years in the hills there)… I imagine that has something to do with why she comes across as unconcerned about rushing things. My favorite piece on this 11-track CD was “Earth,“ where her vibrant keyboards are joined by a whole host of players you may well recognize. This is, quite simply, the best piano/orchestral work I’ve heard this year, & totally merits the MOST HIGHLY RECOMMENDED it gets for lovers of well-performed piano music; “EQ” (energy quotient) rating is 4.97. - Rotcod Zzaj (Dick Metcalf) - Improvijazzation Nation

Kathryn Kaye is the majestic New Age instrumentalist that has been entertaining audiences from Germany to the United States since she was very young. Her first foray into the mysteries of the piano began when she was a mere four years old. An avid folk singer and soprano soloist, Kaye’s musical career has blossomed as she began to combine the elements of folk singing, her Appalachian background and her love of composition to the forefront of her music. Heavy As A Feather is her second album recently released this month. Artists included are Will Ackerman (guitar), Charlie Bisharat (violin), Tom Eaton (accordion), Eugene Friesen (cello), Jill Haley (English horn), Ramesh Kannan (percussion), Tony Levin (bass), and Michael Manring (bass).

When I first began to listen to this album, it was after a hectic day in retail land. From the first strains of piano lilting through the speakers of my iPad, I felt my blood pressure ratchet down a few notches. The beautiful piano playing in “Mountain Laurel” made me smile as I settled in for a listen.

“An Empty Street In Prague” is the third track on the album. The bittersweet element to this piece is haunting as the piano music drifts across memories in the back of your mind. The steady playing is combined with a thought provoking melody that reminds me of sitting in front of a hope chest in a dusty attic that you haven’t opened in a very long time. As the dust motes dance in the air, the creak of the hinges sounds to the haunting strains of a violin as you open the chest and sift through memories of what was and what could have been. Bittersweet tears collect in your eyes as you think back to opportunities lost and found and wonder at the mysteries of life and living. This piece is beautiful and heartbreaking all at once.

“Earth” is fresh as a spring morning. The lighthearted piano music floats up on the breeze like a butterfly on the wing. Spirals of color dance as violin and piano serenade each other. Under the warmth of the sun, the earth celebrates the bounty of life as the seasons give and take, the flow of life unceasing. The violin, so smooth in its majesty, is pure in its delightful resonance. The notes from the piano swirl around like dragonflies are jetting through the warm spring air or fireflies buzzing in the night winds. The composition of this piece is full of emotion and gives you pause to meditate on the wonder that is earth.

“Heavy As A Feather” is pensive and has a firmer feel than some of the other pieces on this album. The playing is contemplative and wraps you up in warmth and light. “Heavy As A Feather” is a truly apt name for this piece. It is both light but deep in its composition and the feelings it invokes in the listener. Peaceful and inspiring at the same time, the multi-instrumental feel to this piece is elegant and transcendental. A touch light as a feather, but with the power to keep you rooted to your seat so you don’t miss a single note.

Kathryn Kaye uses all of her musical knowledge of folk and classical to create a masterpiece with Heavy As A Feather. The wistful tones and haunting melodies will bring you out of your hectic world and into a place of contemplation. This album is a must-hear, especially when you need a bit of a disconnect from the business of the everyday grind. - Dana Wright - MuzikReviews.com

Kathryn Kaye’s second album lives up to its title, offering a collection of gentle piano-based compositions that soothe the soul.

The CD offers a nice balance between solo piano performances, moving duets, and full but not overbearing band accompaniment.

Kaye is joined on this outing by such studio stalwarts as Tony Levin on bass, Eugene Friesen on cello, Charlie Bisharat on violin, Jill Haley on English horn, Michael Manring on fretless bass, Tom Eaton on accordion and percussion, Ramesh on percussion, and producer Will Ackerman on guitar.

Kaye is as masterful in her restraint as she is in the vernacular of the keyboard, knowing when to give in and when to hold back, yielding a satisfying listening experience. And her musical collaborators provide solid support without ever upstaging the proceedings.

The result is a delightfully rich and engaging concoction that is a sight for sore ears. - Raj Manoharan - RajManReviews

This music is weightless and full of inner freedom. It is like the flight of a small multicolored butterfly which flies from one beautiful flower to another on the lush Summer meadow. This music is overflowing with tenderness, compassion and forgiveness. When you listen to this project you realize what a joy to be here on this Earth and you want to stay here as long as possible in harmony and creativity.

It is not necessary to think how the artist achieves such a perfect sounding and deepest emotional impact of her performance. You just want to listen to the music of Kathryn Kaye and to recover your heart because the compositions of this project possess a strong healing effect.

I would like only to mention in short that Heavy as a Feather is the second CD of Kathryn Kaye. Like the first album this project was produced by Will Ackerman at his famous Imaginary Road Studios in Windham County, Vermont. And, as it was on the first CD the team of outstanding artists helps Kathryn to record the second one.

Heavy as a Feather shows the obvious progress of Kathryn Kaye as an acoustic instrumental and new age music performer. The album discovers new facets of her talent. This music appeals to the highest aspirations of your soul. It awakens the yearning for love and beauty.

What will you feel when the music of Heavy as a Feather ends? You just want to live and to create and maybe to listen to this project once again. - Serge Kozlovsky - Ascentor

Kathryn Kaye is still a dreamer. That was my conclusion when I reviewed her last album, Dreaming Still. Her warm piano melodies continue to please in her latest work, Heavy as a Feather. Once again she not only offers some wonderful solo piano pieces, but she also has back-up from producer Will Ackerman and his Imaginary Road Studio musicians. Engineered by Corin Nelson, she has surpassed her last effort. On this work Kathryn is like a tourist of the world, taking snapshots and putting them into an album. Her music makes up the photos of warmth and passion.

On the slopes of the Smoky Mountains there is a small, hardy tree that survives against freezing temperatures and blustery winds year after year and still gives a brilliant showing every spring. Kathryn offers a tribute to it in the song "Mountain Laurel." The song suggest a mountain vista with a few evergreens. The sturdy mountain laurel provides a spectacular display of white and pink blossoms that pleases the eye as well as the spirit. The same could be said of Kathryn's music. If fact, I am saying it here.

"An Empty Street in Prague" is a truly an evocative song. After listening to it I could imagine the rain-soaked, glistening streets, the quiet shops and in front of the bistro, the two empty chair on the sidewalk. I pulled my trench coat a bit tighter and remembered that night of flashing smiles, warm glances and a promise that was never kept. If there is ever a tomorrow, then perhaps I will dream again.

"Earth," the song, not the planet, had a classical feel to it. As the music opens the dawn rose with a golden smile and the air cleared. The mountain came into view as the sky turned azure blue. As far as the eye could see were trees of every kind, fields of verdant growth and lakes that shone like silver jewels in the sun light. I felt the energy of my planet stir with life.

In Letcher County, Kentucky you can find yourself at "Dusk at Rockhouse Creek." The mountains of Eastern Kentucky offer a special kind of peace and infrequent sanctuary from the rest of the world. Kathryn found that peace and it is her inspiration. The music of the water and the gentle call of the wind along with the purple and gold of a perfect sunset offers a solitude available nowhere else. This piano solo tune is an outstanding cut on the album.

The title cut, "Heavy as a Feather," lives up to its promise as the melody drifts about in your senses. With just a touch of dulcet violin, the song gives diaphanous dreams to the mind. The little eddies of wind push and pull you until a new kind of freedom envelops you. The is the best tune on the recording.

With the peal of a Tibetan bell, the last song "One Last Quiet Breath" closes the album. Before the day's end I was invited by the music to ponder what has transpired during my day and to contemplate what I might for tomorrow. Kathryn's song, bolstered by Jill Haley's English horn, is thought-provoking in a way that suggests some modicum of finality to it. It really was just sad.

Kathryn Kaye has certainly upped her game when it comes to composition structure and orchestration when compared to her previous release. There are complexities in these that did not exist before and they are welcome now. Where there were hints and nuances, there a solid stories. I am thankful that Kathryn is still...a dreamer. - RJ Lannan - Zone Music Reporter - The Sounding Board

This is Kathryn’s second album, consisting of 11 original piano compositions. A beautiful, relax-with-your-feet-up CD, its emotionally evocative melodies played in a simple but compelling style are a delight to listen to. - Gabriole Springford - EAGLEyeONE Magazine

As you would imagine with a title like Dreaming Still, pianist Kathryn Kaye's new album is a reflective one, containing fourteen slow and dreamy instrumentals. The settings are stark - solo piano with occasional washes of string trio and English horn on assorted tracks. The tempi are slow and the music has a pastoral, wide open landscape feel to it. Definitely music to relax to, to draw inspiration from and perhaps to utilise while weighing up difficult decisions. Produced by Will Ackerman of Windham Studios fame and recorded there, the sound is crystal clear, the piano ringing with a pure clarity. Some of the track titles are: Time Moving Slowly, Waiting For The Rain [a national pastime here in Britain!], Leaf Dance, A Calm Awakening, August Light, and The Wind Is A Lady. As you would imagine from these titles and my opening description, the music has a timeless aspect to it, it passes effortlessly and facilitates a strong sense of peace within the listener. Though January has a pulse of bluster running through, rather like a British winter January gale. With New Age albums being rather passive and restful by nature it is difficult to differentiate between them, but I think that Dreaming Still has a melodic edge that pushes it above the average.

--John M. Peters - John M. Peters - The Borderland

Beautiful Piano & Instrumental Music -

Kathryn Kaye is a talented pianist releasing her first piano and instrumental album. After learning every detail like her lifetime of music experience, the collaborating artists and production credits, I had a feeling her new release was going to be great. In fact Kathryn Kaye's new release greatly exceeded my expectations since this album really goes the distance.

Dreaming Still is an Acoustic, Contemporary Instrumental, New Age release having many integral advantages, one being the importance of music in Kathryn Kaye's life, which began with playing the piano at age four. She attended college and began working toward a major in music, earning a performance degree with a double major in voice and keyboard. In addition to her strong educational background she pursued classical training while living in Germany, appearing on television in both the U.S. and Germany as a vocalist during concerts, recitals and operas.

Kathryn Kaye is a musician and songwriter presently residing in Colorado. The beautiful Rocky Mountains region and Appalachian mountain territories in Kentucky recalled from childhood are in part a focal point for this contemporary nature inspired release. Dreaming Still contains 14 songs she composed, half of which are Solo Piano, with the balance in piano and instrumental harmony support by violin, cello, bass and English horn.

The world-class musicians providing instrumentals with piano are commendable, and are as follows: Charlie Bisharat (violin) Eugene Friesen (cello) Dan Greenspan (bass) Jill Haley (English horn) Derrik Jordan (percussion) and Noah Wilding (vocal). Dreaming Still is a Will Ackerman production, with recording, mixing, and mastering by Corin Nelsen at Imaginary Road Studios. The assistance from these two Grammy Winning talents is a fine enhancement to her proficiency as a composing pianist.

Dreaming Still is a delightful album, and I was pleased to hear a wonderful cinematic touch at times. Waiting For The Rain with piano and cello, then a Solo Piano song August Light were my two favorite songs, however this album is consistent and enjoyable throughout. I believe Kathryn's commitment and expertise in music has been vital to the level of quality on her first album, and her choice of music artists was first-class. In contrast to the vast expanse of the Appalachian territory, I expect the appreciation for this beautiful album will go the distance and travel far. Note: At the time of publication, Dreaming Still by Kathryn Kaye is listed at #1 in the ZMR top 100 Radio Chart for January 2011.

--John P. Olsen - John P. Olsen - New Age Music World

On "Dreaming Still," Kaye puts together a lovely recording that will give you every reason to let go of stress and empty your mind. The simple, elegant title is the perfect backdrop for what you find on this CD. It implies to me that if you listen to the music, relax and gaze at the cover's picture of the tree, you'll find yourself dreaming still.

...this kind of music should be listened to with the intent of emptying your mind and doing some day dreaming or meditating. ...you may find yourself refreshed and renewed after an entire listen.

"Dreaming Still" accomplishes everything it sets out to and for Kaye I think this was like painting a musical picture, one that brings the photo of the tree on the cover to life in your mind’s eye. - Keith Hannaleck - MuzikReviews.com

"Dreaming Still is the debut CD by pianist/composer Kathryn Kaye, and what an auspicious beginning it is! Produced and mastered by the legendary team of Will Ackerman and Corin Nelsen and backed by Imaginary Road’s incredible musicians plus violinist Charlie Bisharat, Ms. Kaye has launched her recording career in a very big way. Some of the albums produced by Ackerman have a very distinctive sound, but Kathryn Kaye has established her own voice here, and it is lovely! Many of the fourteen tracks are solo piano, and there isn’t a weak track on the whole album - very unusual!

Kaye grew up in the Appalachian Mountains of southeastern Kentucky and began playing the piano at the age of four. She majored in voice and keyboard in college and then moved to Germany to continue her training, performing as a folk singer and soprano soloist in concerts, recitals, operas, and on television in both Germany and the US. Her music has been influenced by the simple harmonies of folk songs and hymns, classical music, and the beauty of the Rocky Mountains where she now lives.

Dreaming Still begins with "Time Moving Slowly," a warm and graceful daydream of a piano solo. This one reminds me just a bit of Robin Spielberg, and that is a very sincere compliment! "Waiting For the Rain" is much darker and one of my favorites. There are two voices in the melody, one in the treble and one crossed over in the bass. The second movement brings in the cello (Eugene Friesen) and English horn (Jill Haley), and the third is a duet with Haley and Kaye that almost cries out with loneliness or loss. Amazing! The title track has an effortless, leisurely flow that meanders as it tells its gentle story. I love the way it trails off at the end - much like dreams do. "Leaf Dance" is an incredible duet with Kaye and Charlie Bisharat. The energy is exhilarating and then becomes tender - another favorite. "Smile For Me April" is a sweet love song for someone with the blues - simple and heartfelt. Haley’s English horn enhances the beautiful simplicity of the piano. "April Did You Call Me" changes it up a bit with a song without words. Light drumming and Noah Wilding’s haunting vocals in the background give this piece a very distinctive sound. I love "August Light," a gentle solo piano waltz that expresses warm contentment. This is one of those songs that makes my fingers itch! I also really love "Taos Song," an ensemble piece that again features Haley and Friesen. Pensive and deeply emotional, this one grabs me every time I hear it. The poignant "Fred’s Farewell" has light hand percussion behind the piano that gives it a slightly Latin flavor. Gorgeous and very sad at the same time. Kaye ends this wonderful album on an up note with the sweet and happy "Mom and Pop’s Waltz."

What a great album! I’m excited to learn that Kathryn Kaye is returning to the studio to record her second album in March - I can’t wait! Dreaming Still is available from Amazon, iTunes, and CD Baby. I give it my highest recommendation! - Kathy Parsons - MainlyPiano.com

Maybe it’s the rarified air of the higher elevations, but there’s something about the magic of the mountains that seems to inspire the vision of artists and musicians alike. So it is with gifted pianist Kathryn Kaye, whose roots are in the Appalachians and her branches are in the Colorado Rockies where she currently lives and draws deep inspiration from. The folksongs and hymns that she heard growing up in southeastern Kentucky were fertile soil for her musical growth, which began at the tender age of four as she began playing piano. The seeds of those early days took root as she went on to major in college and later perform as a pianist and vocalist in a genre-spanning career that ranges from folk to opera and beyond. Additional musical training in Germany only served to nurture her blossoming skills.

All of which brings us to the present moment and the release of her first CD, “Dreaming Still.” It seems these days, with the advent of computers and recording software, that so many first albums are self-produced in home studios. Not that there is anything wrong with that of course, but Kathryn Kaye has taken a giant step further… more specifically to Vermont. There she was guided in manifesting her musical creation by none other than Will Ackerman, the Grammy winning guitarist and founder of the legendary Windham Hill record label, which was home to many of the finest musicians in acoustic new age music. In the wooded sanctuary of the famed Imaginary Roads studios, Kathryn flourished creatively, aided by the production team of Ackerman and mastering engineer Corin Nelsen. Working in an environment such as this has its perks, not the least of which is the opportunity to enlist the accompaniment of some world-class musicians. Among them was one of my favorite violinists, Charlie Bisharat, who has toured with the likes of Yanni, John Tesh, and numerous others. Also adding to the talent pool on strings were virtuoso cellist Eugene Friesen and bassist Dan Greenspan. Further instrumentation included Jill Haley on English horn, percussion by Derrik Jordan – along with Ackerman and Nelson, as well as a bit of vocals on one song by Noah Wilding.

With a stable of talent such as this, it’s easy to imagine the music becoming overwhelmed by complex arrangements and over production. However, this is far from the case. In fact a number of the album’s 14 songs are solo piano or duets, with the accompanist adding subtle but tasteful touches to accentuate the evocative simplicity and melodic beauty of Kathryn’s compositional style. I think that listeners who enjoy the expressive keyboard artistry of David Lanz, George Winston, or Liz Story would find a lot to like in the music of Kathryn Kaye. “Dreaming Still” is an impressive effort, made even more so by the fact that it is Kathryn’s first. Luckily we won’t have to wait long to hear the second, as she already has plans to come down from the mountain and head back to the forests of Vermont to pursue another step in her unfolding musical journey. If this album is any indication, it will be something to look forward to. - Michael Diamond - Music and Media Focus

There are times when you know right away that you are in the presence of a true artist, and I’ve found that to often be true for solo pianists than for other players. Just listen to the opening track, “Time Moving Slowly,“ and you’ll know why I’m saying that. Kathryn’s style on the keyboards reminds me of folks like George Winston and Susanne Ciani (as well as many others), but what’s distinctive about her playing is that there is nothing “rushed”… it’s what I like to call “natural playing.” She also has Eugene Friesen on cello, Charlie Bisharat on violin and Jill Haley on English horn with her. As you listen to the beautiful “Leaf Dance,“ the whole season will come rushing into your ears… simple, yet beautiful. I’ve no doubt that piano lovers ’round the world will agree when I declare her work on this 14-track journey to be HIGHLY RECOMMENDED, and give her an “EQ” (energy quotient) rating of 4.96.

--Rotcod Zzaj (Dick Metcalf) - Dick Metcalf - Improvijazzation Nation Magazine

"Dreaming Still, the appropriately named debut album from pianist Kathryn Kaye, could very well be the soundtrack to a dream: it’s lyrical, beautiful, and, well, dreamy.

"The compositions are simple yet elegant, much like Kaye’s brilliantly understated piano playing, which is tinged with the gracefulness of the hymns she learned during her Appalachian upbringing. She makes full use of the keyboard, anchoring soaring melodies in rich, deep chords, and yet manages to keep it all reigned in and prevent it from becoming overbearing or overwhelming. The result is a pleasant listening experience that is perfect for both intellectual stimulation and emotional refuge.

"Kaye is backed on this recording by a solid lineup of musicians including Charlie Bisharat on violin, Eugene Friesen on cello, Dan Greenspan on bass, Jill Haley on English horn, Derrik Jordan on percussion, and Noah Wilding on vocals. The Grammy Award-winning team of producer Will Ackerman and recording engineer Corin Nelsen brings a polished sheen to the proceedings, resulting in a crisp, crystal-clear sound that practically puts listeners up close with the musicians in the studio.

"Dreaming Still will leave piano music aficionados, as well as casual music listeners, in a positively blissful, dreamy state of mind." - Raj Manoharan - RajMan Reviews

As rapid rain falls down
On a tranquil Summer evening
Life passes by

I began my short review of the album “Dreaming Still” with the words about Summer rain not by chance. The moving piano music of Kathryn Kaye flows like quick drops of a downpour. And they are filled with warmth and conciliation. This falling rain brings a long awaited refinement. It washes away all the grime that has accumulated for a long time. You feel yourself young and full of positive energy. Your creativity is with you again and nothing can take it away.

The piano music of Kathryn Kaye is just perfect. And this statement is not given casually. Her debut album was produced by none other than famed artist Will Ackerman. In recent years he has made a great work by helping unknown gifted musicians to be heard by wide audience. Now Will Ackerman discovers the incredible talent of Kathryn Kaye for listeners. Brilliant artists helped them to create a new exquisite project. These are acoustic musicians Charlie Bisharat (violin), Eugene Friesen (cello), Dan Greenspan (bass), Jill Haley (English horn) Derrrik Jordan (percussion), Noah Wilding (vocals) and, certainly, distinguished sound engineer Corin Nelsen with participation of some other truly skillful assistants.

The album “Dreaming Still” must be heard by not only admirers of new age music. It will be very interesting for all lovers of acoustic music and also, for a wide circle of practitioners in the field of relaxation and anti-stress therapy. - Serge Kozlovsky - Ascentor - sergekozlovsky.com

For those that love the piano, this is a wonderful offering. Kaye, who began playing piano at the age of four, graces us with her debut CD, DreamIng Still. The various movements will have the listener feeling as if they are dancing with leaves, waiting for rain and calmly awakening. This is the perfect accompaniment for contemplation. Produced by Will Ackerman... - Mich Hancock - Spirit Seeker Magazine

The debut album of musician Kathryn Kaye, Dreaming Still (Imaginary Road Studios), offers a composition of piano expertise certain to engage listeners with its enchanting melodies.

Kaye has an extensive musical background which she drew from to create this chart-topping new age piano album.

Dreaming Still is an album surely to complement anyone’s time for relaxation and meditation, as it offers calming and emotionally soothing songs.

The album was currently ranked Number One for January and February of 2011 by the Zone Music Reporter.

Musician Kathryn Kaye

Kathryn Kaye started her love affair with the piano at the age of 4. Since then, she has dedicated her life to music. Kaye studied voice and keyboard in college, and toured various places showcasing her vocal talents as a folk singer, soprano soloist, and operatic singer.

Kaye’s musical influences stem from her childhood upbringing in the Appalachian Mountains, her exposure to folksongs and hymns, her classical music background, and the majestic Rocky Mountains of Colorado where she currently resides. The result is a unique emotional musical style, blended with a hint of meditative qualities.

Dreaming Still a Chart-Topping Album

Kaye composed each track on the album, which was produced by Grammy Award winner Will Ackerman. Dreaming Still features an astounding composition of piano, violin, cello, bass, English horn, and percussion. Listeners will transcend from their busy, hectic day to a state of complete emotional stillness and dreamy relaxation.

It’s Kaye’s unparalleled ability to infuse both rich, dramatic melodies with ones a bit softer, a bit dreamy, that engages listeners’ entire being. Kaye’s debut album reached the number one spot on the Zone Music Reporter New Age/Ambient/World Music Top 100 list in January and February 2011.

Upon hearing the album’s first track, “Time Moving Slowly,” I knew I was in for a real treat. Kaye’s piano playing ability took my breath away. Each song on the album offers its own contribution to the Dreaming Still masterpiece.

The title track “Dreaming Still” conjures up that other-worldly feeling one gets when at the border between awake and asleep. One of my favorite tracks, “Leaf Dance,” showcases Kaye’s skills and passion for the piano. And the intriguing melody of “April Did You Call Me” had me hitting the repeat button a few times.

Listeners to Kathryn Kaye’s Dreaming Still will have the album playing over and over again, allowing Kaye to recapture their amazement each time.

--Erin Legg - CirclesofLight.com