"Authentic yet accessible....simply too beautiful to be adequatly described!"
      It's interesting that, for whatever reason, Japanese music has never come into the "new age limelight" as have the Celtic, Nuevo flamenco, and world beat genres. That's puzzling since I'd think the plaintive and reflective qualities of traditional Japanese music, as represented on a disc such as Moonviewing from Duo En (John and Elizabeth Falconer), would be an ideal "fit" for the aesthetics of the new age movement. The haunting quality of the shakuhachi flute (John Falconer) and the mystical sounds of the stringed instrument known as the koto (Elizabeth Falconer), when played with artistry and restraint (as the pair do throughout this recording) are among the most evocative instruments in the world. I've been a fan of Japanese music since I first heard it (which was probably as part of the soundtrack to some film I watched back in the '60s or '70s) and I consider myself fortunate whenever a disc like this arrives in my mailbox for review.

      There is a patience inherent in traditional Japanese music, even when a particular piece's tempo is not slow (such as during certain passages of the thirteen-plus minute original composition, "Moonlit Garden" or the Falconers' "Floating Leaves". a composition which features energizing duets as well as quieter sections), so that the listener does not feel overwhelmed by the music but more absorbed into it on an unconscious level. I am reminded of the line from the movie Serenity when Wash, the pilot of the titular starship, utters in the midst of a chaotic moment "I am a leaf on the wind. Watch how I soar." This quality of Japanese music is on display throughout Moonviewing; the music carries you with it, not by force per se, but by you becoming one with it, if one surrenders to it, the way a leaf surrenders to the wind.

      Besides the two tracks mentioned earlier, the other original is "Ancient Pine" (inspired by the evocative artwork adorning the CD's cover, painted by Molly Hashimoto), a somber yet beautiful meditation. Of the traditional pieces on the album, the one which all but the most closeted ethnocentrists will doubtless recognize is "Sakura, Sakura" which gets a subtly distinct arrangement by the two performers without losing any of its familiarity. "Call of the Cranes" is usually meant for two shakuhachi flutes but John Falconer's solo arrangement finds a way to convey the plaintive calling of the birds to one another across the snow with just his single instrument. The closing track, "Meditations on Rokudan" showcases each of the two artists on solos embedded within the nearly nine minute long track which begins and ends with them playing together. For me, the most haunting cut on the album is "Kojo no Tsuki (Moon over Castle Ruins)." Simply too beautiful to be adequately described!

      With its mixture of a few uptempo numbers as well as tracks that are more sedate and soothing, Moonviewing would likely be a good introduction to Japanese music for someone who has never been exposed to it before. It is true to its source, i.e. it's "authentic" but yet is accessible enough for those who enjoy the Western "counterparts" of these particular Japanese instruments (which I suppose would be silver flute and harp). Personally, I think Japanese music (such as this) is superb background accompaniment to both moments of reflection as well as mild to moderate levels of activity (and it goes without saying you couldn't ask for a better soundtrack if you're fortunate enough to cook and then partake of a Japanese meal or, better yet, have one cooked for you). While the more spirited pieces may prove somewhat too busy for "true" meditation, everyone resonates to a different tempo and mood in that regard so I leave it up to you to decide if you can use it thusly. However, even if you only listen in order to enjoy the rich musical culture of Japan and take an aural voyage of sorts across the Pacific, the CD still comes solidly recommended.
Rating: Very Good + - Bill Binkelman, New Age Reporter

"Mystic transport to a moonlit pond"
   Duo En is Elizabeth Falconer and her husband John. They met and fell in love over the beauties of Japanese music. Elizabeth plays the koto, a stringed instrument that is plucked rather like a zither, and John the bamboo flute (shakuhachi.) Neither instrument is simple to play and each takes years to master. The combination is as elemental as moonlight on shimmering water, and this CD captures that effect perfectly.
   Two great favorites of mine are on this album. "Moon over Castle Ruins" is one I really love. I used to play it myself on the transverse (Western) flute and it's been recorded by luminaries such as Jean-Pierre Rampal. I was thrilled to find it, along with Sakura (the Japanese anthem of cherry blossoms, those transitory flowers that represent the fleeting joys of life.)
   If you buy one album of Japanese music to start your journey into this wonderful medium, I'd recommend this one. Koto and Shakuhachi are beautiful together, these are classic and wonderful songs, and En Duo will transport you to a mystic place in your mind's eye. - Joanna Daneman, Amazon Top 10 Reviewer

"As ethereal and delicate as moonlight itself."
When I listened to the resonance of Duo En's original, bluesy "Moonlit Garden" followed by "Moon Over Castle Ruins", the scales fell from my eyes. Their arrangements of the traditional "Cherry Blossom Song" and "Rokudan no Shirabe" are deeply inspired, and the flow of the whole album is as ethereal and delicate as moonlight itself. The work of these two artists who have such a reverent love of Japanese culture conveys the splendor of the koto and shakuhachi beyond Japan and to the world at large. - Hogaku Journal (Tokyo)

"Enchanting"
This atmospheric CD is both haunting and enchanting, like the full moon in a velvet black sky. Of special note are the compositions by Falconer/Falconer; the sound of shakuhachi and koto weave together to make magic. - J. Shontz, CD Baby

"Wonderful" This CD is wonderful. Whether you are a fan of tradtional Japanese music or experimental American music, I promise you will be impressed. John and Elizabeth never disappoint." - Roger Shimomura, Artist

"...a fresh and unusual holiday album rich with quiet beauty"
      Koto-shakuhachi duets aren't often on our playlist. But as the meditative yin to the yang of energetic global dance tunes, Duo En hits the spot. The Seattle-based husband and wife duo (Elizabeth and John Falconer) are serious long-term students of Japanese music, and they have found a solid middle ground between their Western roots and their Eastern musical passion. In their hands, these classical Japanese instruments sing out Western Christmas standards "Greensleeves," "White Christmas," and "Silent Night." Also included is "Somewhere over the Rainbow Is a Winter Wonderland...)," on which the koto sounds more like a Western harp. The title track evokes a more traditional feel, as does "Snow Dream." Winter Cranes is a fresh and unusual holiday album rich with quiet beauty. - Spin the Globe

"...calming and serene...."
If you need to turn off the noise of the outside world, turn on Affinity. Purposefully simple, the use of just the koto and flute makes the CD a thinly textured and airy work. At exactly one hour, it’s great for massage, spa, or sleep sessions. Affinity is perfect for any fan of the timbres and style of Japanese music and is one of the most calming and serene in-store plays imaginable. - New Age Retailer

"...pine tress and twinkling stars and the breeze stirring the floating leaves."
      If you love the sound of plucked koto and whispering shakuhachi bamboo flute, you are going to love "Affinity." Elizabeth Falconer and her husband John Falconer form the duo "En" --"affinity" in Japanese. There certainly is an affinity for koto and shakuhachi. The dry but fluid sound of the flute blends with the harp-like dripping of the plucked koto. Mrs. Falconer is one of the few American koto players who are actually licensed as a true Japanese master of the instrument. She and her husband met while studying Japanese, and their affinity for each other has created a wonderful musical partnership.
      What's marvelous about this cd is that it includes koto-shakuhachi arrangements of popular tunes like "Scarborough Fair" and "Je Crois Encore Entendre" and "Amazing Grace." There are also traditional Japanese tunes mixed in and original works. I was amazed at how Japanese Simon & Garfunkel could sound!
      I like relaxation music. I find that I can turn off all the "noise" in my brain by listening to quiet music right before bed. This cd is going right into the bedside CD and I have a feeling it's going to be staying there for quite a while. This is gorgeous music. If you have kids that need settling down before bed, I'd recommend you try this music for them. You could read a beautiful bedtime story, a psalm or bible verse, or look at a soothing picture book and make a wonderful bedtime ritual. Or just sit and cuddle and teach them to calm themselves after a busy day. For adults, this is also something very romantic. Dinner by candlelight? Sofa and fireplace? Sitting on the porch or deck on a lovely evening? The music evokes dark silhouettes of pine trees and twinkling stars and the breeze stirring the floating leaves.
      If you have a friend who is a fan of Japanese music, or who likes world sound or who might need something relaxing, this would make a wonderful gift. I think this is a great addition to any cd library and so far, tied with "Deep Pool" this is my favorite of all the Falconer koto albums so far. Absolutely excellent and highly recommended. -Joanna Daneman, Amazon Top 10 Reviewer

"...a balance between precision and relaxation"
      Seattle-based John Falconer and Elizabeth Falconer not only husband and wife, but are married musically as well. Their closeness is on display in this subtle, gorgeous album of duets between Elizabeth's kotos, and John's shakuhachi. Great music for background or meditation, it also bears up to active listening. The couple aren't dabblers; they have studied the music from master teachers, and have lived in Japan. And they've managed to achieve a balance between precision and relaxation in this fresh recording with ancient roots. - Scott Stevens, Sound Roots

"Dramatic Japanese Masterpieces"
      This album is a remarkable listening experience. Elizabeth Falconer has been performing and recording compelling music for the koto, a Japanese zither, for many years, but this series of recordings of compositions by her teacher Sawai Tadao stands out to me. Two volumes of (what I assume will be) a 4-volume series are available, and both contain dramatic, charismatic contemporary Japanese music. If you have heard traditional Japanese music for strings, be prepared for a shock. The compositions here are full of suspense, shifting moods, and a dramatic intensity that exceeded my expectations. Just the sounds alone create evocative combinations: Elizabeth is joined at times by her husband John Falconer (and other half of Duo En) on the shakuhachi bamboo flute, and the complicated musical dialogue between the crisp, rhythmic koto and fluid shakuhachi is realized expertly. Likewise for a collaboration between Elizabeth and violinist Tari Nelson-Zagar, which again takes advantage of the contrast between two very distinct sounding instruments. Nothing on this album is more enjoyable than the cinematic experience it offers.
The fact that such abstract music is capable of providing such a vivid emotional impact should be credited to Tadao's dynamic compositional imagination, and to his student Elizabeth's ability to bring that imagination to life in her performance of his music. Tori No Yo-Li (Like a Bird) serves as a prime example of the cinematic qualities of Tadao's contemporary vision. Elizabeth's playing is affecting and impossibly evocative in this piece, which depicts a bird in flight. The turmoil, excitement, and soaring elegance of this piece of music immediately captures the imagination and puts you in the center of the experience of flight. Elizabeth's playing seems to extend the possibilities of the koto. Her collaborators on this project, including John Falconer, Tari Nelson-Zagar, vocalist Jessica Kenney, and Brian Falconer (John and Elizabeth's son) create such an expanded and subtle musical pallet that it seems altogether otherwordly at times. The result is a remarkable tribute to the innovations of Tadao, and a remarkable vision for contemporary Japanese music. - Gabe Strand, CD Baby Review

"Essential listening for anyone interested in the koto or extraordinary string music of any kind."
      Arguably the most accomplished koto player outside of Japan, Elizabeth Falconer and a select cast of well-attuned collaborators here pay loving homage to her former teacher, the late Sawai Tadao, who along with his predecessor Michio Miyagi was the artist most responsible for revitalizing the instrument and carrying its repertoire forward into the modern era. The two volumes available in this series, "Spell of Spring" and "Stirring Autumn," collect Sawai compositions performed as part of a four-concert tribute that took place in Seattle in 2007-08. As an alumnus of the venerable Sawai Koto School in Japan, Falconer enjoyed the privilege of working directly with the master and continues to collaborate regularly with his wife, the virtuoso koto performer and improviser Sawai Kazue; in keeping with this family tradition, Elizabeth's musical partners on these sessions include her husband John, whose probing shakuhachi beautifully complements the more percussive textures of the koto, and her teenaged son Brian, an impressive koto player in his own right. Selected tracks effectively incorporate other traditional Japanese instruments such as the three-stringed shamisen (expertly played by Marcia Takamura), in addition to voice (a haunting performance in Japanese by Jessika Kenney) and the Western violin (Tari Nelson-Zagar in a performance bordering on the telepathic).
      A prolific, forward-looking composer as well as an instrumental innovator, Sawai produced a large body of work ranging from weightless, tonally ambiguous ruminations to showcases of rapid-fire dexterity; these two CDs present a well-balanced and passionately performed survey of his varied compositional oeuvre. Sawai's pieces often display a more vigorous rhythmic dynamism than is typical of the traditional koto repertoire, as demonstrated on the propulsive track "Hotaru" (Fireflies) for solo bass koto, an instrument that gained much greater prominence thanks to Sawai's advocacy. His more adventurous works incorporate extended techniques of his own devising - striking the strings percussively with drumsticks, inserting objects between the strings to alter the timbre in fascinating ways, luminous harmonics - many of which are on striking display in these two collections. A truly inspired and deeply felt labor of love, this CD series stands as a major addition to the koto canon and is essential listening for anyone interested in the koto or in extraordinary string music of any kind. - Dennis Rea, Author of Live at the Forbidden City: Musical Encounters in China and Taiwan

"Stunning and nurturing..."
"Stunning...Here is a CD for the new era filled to the brim with a nurturing spirit that points the way to a more harmonious world." Excerpt from Patty-Lynne Herlevi, Cranky Crow Music. See full review at: http://www.geocities.com/pherlevi/summer04.html

"Unusual and Delightful."
      "Serendipity" and "simpatico" are apt descriptions of the musical collaboration on Island Dreams. American-born musician Elizabeth Falconer's instrument is the koto (an intergral part of Japanese classical music and traditional culture), while Japanese singer/composer Aiko Shimada specializes in Western musical forms with a slight East Asian spin. The third member of the trio -- Mako -- is from Okinawa. Her main axe is the sanshin, a 3-stringed Okinawan lute. A series of happy accidents led to the group's members finding one another, and the decidedly eclectic nature of the cuts on this disc reflect the meeting of four cultures -- and three unique takes on music.       While many recordings fall into the "world fusion" category, very few live up to the name -- Island Dreams is a glorious exception to the rule. The cuts are a whirlwind tour of various Pacific islands (including Hawaii, where Mako grew up - also where she fell in love with one of the great local traditions, slack key guitar). There's a depth and intensity to the music that emerges after a few listens -- a true sense of cultures uniting, rather than colliding. You'll also hear instruments used in unusual ways -- Falconer's slack-key koto licks, for example.       It's impossible to pick favorite cuts (too many choices here!), but I'm especially fond of "Kojo no Tsuki / Moonlit Castle Reflections" (pensive and very Japanese), "Migumi /One" (Mako's tribute to her parents), and "Ku'u Pua I Paoakalani / My Flowers at Paoakalani, " written by one of Hawaii's most beloved composers, Queen Liliuokalani. In sum, this is one of the most unusual -- and delightful -- discs to hit my CD player in a long, long time. - escn, Amazon Reviewer

"These three players have built a bridge - both figuratively and musically."
       Musicians are always looking to collaborate with others who share their same vision, and the partnership of Aiko Shimada (guitar, vocals), Mako (sanshin, ukelele, vocals), and Elizabeth Falconer (koto) yields bountiful rewards with their arrangements of slower, melodic songs from Okinawa, Japan, Hawaii and Tahiti. Some original material is also included, as well as some English lyrics written for a couple of the other offerings. The contemplative and reflective nature of their chosen Asian and Pacific Island fare is largely a function of tempo, and a couple more songs like the moderate-tempo'ed Tahitian welcoming song, "Mahalo," would have been helpful to demonstrate that the wind can range from mere breezes and zephyrs to also flurries and gusts. Also, some additional liner notes with translation of their foreign lyrics would have helped build a stronger sense of audience understanding and community. All in all, the members of Dragonfly have mastered the art of listening to each other, knowing when to lead and when to follow for the trio's collective greater good. Their generous sharing achieves a harmony that results in strong group cohesion and chemistry. Despite their individual differences in backgrounds, preferences and styles, these three players have built a bridge - both figuratively and musically. With these songs and lullabies, they manage to transcend their separate relationships and fuse their musical spirits and Island dreams into a much larger whole. -Joe Ross, Roseburg, OR.

"This one is for day-dreaming."
This one is for day-dreaming. Maybe while watching drifting clouds, a dancing fire in the fireplace or trees rustling in the wind. Koto maestra Elizabeth Falconer, accompanied by fellow koto artist Brian Falconer -- her remarkable pre-teen son - perform instrumental pieces on the 13-string, "chocolate-colored" koto, playing together and solo. The beautiful, varied pieces are Elizabeth Falconer's original works, except for "Festival Drums," a lively solo work by Miyagi Michio given a spirited performance by Brian. -Parents' Choice

"Like a box of fine, dark chocolates, waiting to be tasted."
       This album just won the iParenting Media Award, and it's recommended for both kids and parents. But there's nothing childish about this interesting assortment of compositions. This is not traditional Japanese koto, but Ms. Falconer and son Brian's duo interpretation. Brian's fondness for chocolate, and Elizabeth's love for the koto combine to form delicious assortment of music that is relaxing and stimulating all at the same time, just like a box of fine, dark chocolates, waiting to be tasted. A very pretty album which would make a great gift along with a box of sweets. -Joanne Daneman, Amazon Top 10 Reviewer

      "My kids started dancing!"
I told my kids that I've got a tune called "Chocolate Suite" in a CD and they got very curious. I played the CD for them and they started dancing! I liked the CD very much, too. It is so original and beautiful. Since many of the pieces in the CD do not use the traditional Japanese scale, it does not make me tune out, which I guess I, like most young people from Japan, typically do when I hear a traditional Japanese music. Instead, the pieces made me focus on the sound of koto. Actually I didn't know that koto had such a beautiful sound! It reminded me of a phrase "kinsen ni fureru" in Japanese, which literally means to touch the koto strings or a string in someone's heart. The music in this CD really did that! - Amazon Reviewer

"A fusion of Pacific Northwest culture and Japan."
As a Japanese person living in the United States, I was deeply moved by this music. It has the tone of the traditional Koto, but the melodies are like a fusion of Pacific Northwest culture and Japan. It reminded me of the moss-grown forest of the Olympic National Park and the beautiful Pacific Northwest where I visited several years ago. I like it very much. -Hikaru Suzuku, CD Baby

"Sensuous and sinuous."
However worn the phrase, Chocolate Suite really is "lushly romantic." Beginning with the CD cover, which drove me to make a trip to Boehm's, to the rich, harp-like undulations of the koto, the CD is sensuous and sinuous. My favorite tracks are the opening piece, "Midnight Rain," and the incredibly tender interpretation of "Sakura, Sakura." This rendition feels like springtime raindrops on lakes and leaves or a fern-clad spring where you can float like a water lily. The following (final) track, "Cloudscape," lets you stay blissed-out and quietly awaken, the way you would do at the end of a yoga session. The music has a nice balance of energy, soothing yet stimulating, with a slow crescendo of energy at the center in the three movements of "Chocolate Suite." Brian and Elizabeth are a flawless duo, and their music is magical. - Pat Duke, CD Baby

"It's all very reassuring and definitely uplifting because, well, it's chocolate!"
When Elizabeth Falconer met her "friend koto" it must have been true love. The ancient, 13-stringed instrument has all the elegance of the harp, with the versatility of the guitar - and, in the hands of this master, koto's modes of expression are seemingly limitless. Now, with this release, she shares the tradition with her son Brian. The album opens with "Midnight Rain," Falconer's own composition, inspired by the percussive sounds of the rain on the roof in her Seattle home. Mother and son delicately interweave their playing, adding small cascades of notes and employing the full range of this six-foot long instrument. True to Falconer's performance style, there is a sense of drama. Falconer's music always seems to be "going somewhere," and it has an infectious way of taking the listener along. At the conclusion, you feel that you have been on a wonderful journey.
On his solo, "Festival Drums," Brian Falconer truly owns the instrument, delivering a humorous, at times quirky, and energetic interpretation of this Miyagi Michio piece, and it is nothing short of a miracle to hear the complex tones speaking across the centuries through the hands of this 12 year-old master. On this difficult composition, it is hard to believe you are hearing only one koto. Elizabeth Falconer also has more moments of grandeur among the seven long tracks on this collection. On "Blossoms - Sakura Sakura" one of Japanese culture's loveliest melodies, she fulfills a longtime wish to interpret this familiar "Cherry Blossom" song. The arrangement often features the melody in the lower register, with ornamentation in the higher realm, punctuated by syncopation or a racing flurry of notes before finally drifting away to an emotional finish.
Falconer devotes three tracks to chocolate, and they are truly "music that melts in your mouth," as she says. The movements of "Chocolate Suite" pay tribute to "Milk Chocolate," that velvety comfort food, "White Chocolate," elegant and special, and "Dark Chocolate," a bold surprise. the pair confidently engages in humorous interplay, dramatic and sweeping waterfalls of notes, and sound effects. It's all very reassuring and definitely uplifting because, well, it's chocolate!
The final track, "Cloudscape," is more meditative, reminiscent of the way you might feel lying on your back in the grass watching the clouds drift across the sky. The use of two kotos, with high and low tunings, adds dimension and depth to this excellent performance." - Linda J. Morris, Dirty Linen, Aug/Sept. 2004

"Carries listeners to a place of quiet and enfolding peace."
This exquisite album, a collaboration between singer Aiko Shimada and koto master Elizabeth Falconer, can carry listeners of any age to a place of quiet and enfolding peace. The sweet, expressive clarity of Falconer's artistry on the 13-string, traditional Japanese koto, and Shimada's tender vocals in Japanese and in English, combine to create lullaby music that evokes images of soft, falling rain, blossoms nodding in a gentle breeze, and dragonflies on the wing. Curl up with your child, close your eyes and let the drifting music, as Longfellow put it so eloquently, "quiet the restless pulse of care." - Parents' Choice

"A soothing, beautiful collection.."
"Aiko Shimada's voice cradles your soul, floating on Elizabeth Falconer's gentle breeze of koto music" reads the back of the case for this CD, and rarely has any recording lived up to its own advertising so spectacularly. With delicate melodies and somnolent harmonies, the songs here will give everyone good dreams. Featuring a mix of English and Japanese, this album presents original songs such as the lovely "Aiko's Lullaby" and "Oyasami," as well as traditional Japanese lullabies such as "Sakura, Sakura" and "Komoriuta." Children and adults will recognize a familiar favorite in "Kirakira Boshi (Twinkle Twinkle Little Star)" and enjoy the Japanese lyrics. A soothing, beautiful collection for any quiet mood. - Kelly MacMillan, School Library Journal

"Not just for children."
Albums aimed at children can go two ways - a few are sublime, but the vast majority go for the lowest common denominator, talking down to the kids and just being generally stupid. Without a doubt, Oyasumi falls into the former category. Singer/songwriter Aiko Shimada (who's been making a name for herself as a writer and performer) offers shimmering vocals on music from her native Japan, while Elizabeth Falconer (an American who fell in love with Japan) is an inspired and accomplished counterpart on koto. The material's drawn from a number of sources, some traditional, some more contemporary (including a beautiful Japanese version of "Twinkle, Tinkle Little Star" that brings fresh life to a tired old standard), and some original, with "Aiko's Lullaby" a real standout. But, truth to tell, there's little to choose between any of the 16 tracks here, as the standard is so high throughout. The arrangements are flawless, with Falconer inspired and endlessly inventive on her instrument. Where Shimada contributes guitar, it's subtle and often unusual, but fits perfectly with the song, and her vocals, almost whispered at times, create a lushness when double-tracked, managing the interesting trick of being full and spare at the same time. For Falconer, an avowed Japanophile, it's a way of exploring her passion; for Shimada it's a way to reclaim her heritage. That the two Seattle residents come together so well is excellent. That they make lullabies which aren't just for children, but that can also please and soothe people of every age, is a sure sign of success. - Chris Nickson, AMG Expert Music

"Something unusual...and lasting."
"Oyasumi" is a very deceptive album: deceptive in its simplicity, that is. Like most folkloric music, the songs on this CD are deeply rooted in experiences common to all people, and their emotional impact is complex, subtle and very powerful. I first heard sound clips from this recording in the wake of the horrific events of 9/11. I listened to the clips again and again, deeply moved by the beauty of Aiko Shimada's voice and Elizabeth Falconer's work on koto. The creativity and undertone of joy broke through the pain and brought new hope. (This in the midst of constant military surveillance flights in the airspace surrounding the Pentagon, and a pall of silence in an otherwise lively neighborhood...) My initial impressions haven't changed, though my appreciation for what Falconer and Shimada have achieved grows deeper each time I listen to the CD. Both women are master musicians, but the chemistry here is something unusual - and lasting. All of the tracks reach the very high standard set by their creators, making it very difficult to choose the so-called "best." However, my top picks include "Mimura nu Angwa," "Hagoromo no Komoriuta" (traditional Okinawan songs), an extremely elegant reworking of "Sakura, Sakura," and two original compositions by Falconer and Shimada respectively: "Hatsu Yuki" and "Aiko's Lullaby." I'm sure you'll find your own favorites soon enough. - ESCN, Amazon Reviewer

"One's spirit feels charmed, lightened and youthful."
A mesmerizing, vey relaxing compilation of songs sung in Japanese and English. Some interpret classic folk tunes, some are modern original ballads (a la Jewel or Tracy Chapman). All feature Ms. Shimada's spectacularly clear, pure, delicate voice, accompanied by the sonorous rainwater sounds of Ms. Falconer's koto. The harmonies are delightful and enchanting. Even without knowing the lyrics (which can be accessed on their website), you'll be able to hum along with many of them, and the language exposure is wonderful for young minds! The CD is long enough that even an energetic little one will slow down by the end. My 18-month old was completely transfixed for the first 3 or 4 songs at least, and on subsequent days would hand me the case as a hint to play it, even at bathtime. With songs about dragonflies, cherry blossoms, stars and the ocean, one's spirit feels charmed, lightened and youthful; and yet there is also a deep wisdom and connectedness to nature and culture in these traditional sounds that have probably soothed generations. - Shari, Amazon Reviewer

"Great music sinks into us and becomes a part of us. This is great music!"
Definitely not "just for kids"! I purchased this CD for my little nephew,having already been familiar with Aiko Shimada's moving music. Though he may not be able to appreciate Shimada's beautiful singing of lullaby's and Falconer's exquisite koto playing - at least not in the sense an adult "appreciates" these things - maybe he is better off - just laying there in his little bed...experiencing the sounds and the voices - not getting caught up on translating - just listening.I think the beauty and purity of this music will resonate with him just the same. Good music sinks into us. Great music sinks into us and becomes a part of us. This is great music! -Dan, CD Baby Reviewer

"Very relaxing...."
This is my first CD featuring the Koto. Not knowing what to expect, I took a chance, and, I must say, I am quite pleased with the disc. Ms. Falconer possesses a great talent for the instrument. I dare say that she makes it talk and tell stories (very well I might add). She flavors her music with Middle Eastern as well as Asian influences. I play this music at home and at work, it's very relaxing and it blends in with my day without being a distraction! I recommend it - get a copy at a good price and enjoy it! -D.S. Harden, Amazon Reviewer

"Listening closely brings joy to our own existence."
Elizabeth Falconer called it a "daunting yet exhilirating adventure" to compose music for seven paintings featured at a Seattle Asian Art Museum exhibit. The CD's jacket shows the artwork, and one can see Falconer's inspiration for each composition. Listening closely brings joy to our own existence. "Deep Pool" further allows us to formulate our own imagery and associations, and, in doing so, you become part of the koto master's creative process. -Joe Ross, CD Baby Reviewer

"...a tear ran down my face, it was just so beautiful."
I was reading a really good book and thought to put on the Deep Pool CD I had just received from Amazon. Immediately I found myself unable to read, giving undivided attention to the CD. By track 4, a tear ran down my face, it was just so beautiful. The next 5 tracks are interesting sound-art-recollections of bird songs and flights. The last two tracks are long and deeply unusual, underlining what the entire album made me feel. It's like something came out of the composer's head and came to live in my head, by way of koto, and you are not even particularly 'hearing' the music anymore. Amazingly, "Moon at Uji" strikes a comparison to Captain Beefheart's "Dali's Car". My guess is that Deep Pool must be some kind of peak of Falconer's composing skills. -Wiley Fox, Amazon Top 100 Reviewer

"...her own unique voice."
Deep Pool is a beautiful series of new compositions by Elizabeth Falconer that are written with a more traditional koto aesthetic. Elizabeth studied koto in Japan with the Sawais and others for more than ten years, and has developed her own unique voice on the instrument. The works on Deep Pool were inspired by a series of artworks from Kyoto that were displayed at the Seattle Asian Art Museum in the fall of 1999. The music at times certainly parallels the rich elegance of the paintings. These pieces fall easily on the ear and, to the average listerner, may sound like the traditional koto music to which they are accustomed. Yet these are contemporary works, reminiscent of the compositions of Michiyo Miyagi and the early works of Tadao Sawai. -Randy Raine-Reusch, Music Works Magazine

Wow! Breathtaking and Beyond Beautiful!
As someone who as always appreciated Japanese music, I couldn't resist buying this album. And it is beyond lovely. Each piece has it's own personality and distinctive and endearing qualities. The harmonies are truly mezmorizing, especially to the western ear where many of these sounds are seldom heard. These ladies are incredibly skilled musicians, and the energy force of each track simply shimmers with intensity. Truly amazing work! Highly recommended! -Kim, CD Baby Reviewer

The Japanese word "taka" means "falcon" or "hawk," and this Seattle-based group of seven koto players give us extraordinary contemporary compositions that epitomize the freedom of a raptor in flight. The group also takes its name from the opening piece, "Taka," composed by koto master Tadao Sawai who also penned "Uruma," an historic name for the island of Okinawa. The four pieces from the Taka Ensemble's director, Elizabeth Falconer, embody the spirit of meditative Japanese music -- simultaneously floating, flowing, at once with and without form. The joy of this album is to tune in and listen to the music in each fleeting moment, rather than to expect each piece to slowly intensify until it reaches some culminating sound or passage. A very pleasant aural journey! -Joe Ross, CD Baby Reviewer

A Wonderful Musical Journey
I first heard the Taka Koto Ensemble at an open-air concert where their music and orchestrations captured the essence of spring breezes. I purchased the CD that night from one of the members of the ensemble and have enjoyed it regularly since then. The sounds created in the pieces are vibrant, sensual, fresh and soothing. The ensemble propels the listener through planes of flight and fantasy with their astonishing rhythms and syncopations. Each cut on the CD has its own personality and each is moving and entrancing and collectively they take you on an extraordinary journey of spiritual magnitude. Immerse yourself with headphones and feel each of the ensemble's fingers plucking and strumming on chords sent from the heavens. The creatively of the ensemble with this traditional instrument makes this CD a must have for any music- lover's collection! This CD ranks up there with the music of Kitaro, Jean Michel Jarre, and Yanni. - Amazon review by Ivan Demetrius, Cairns, Australia