Suzanne Ciani was one of the first and finest woman artists to make a name for herself in the world of electronic music. Ciani earned a Masters degree in composition from the University of California at Berkeley, where she studied with electronic pioneers Max Matthews, John Chowning, and Don Buchla. In 1975 she moved to New York, where she got... [+] Read More

Suzanne Ciani was one of the first and finest woman artists to make a name for herself in the world of electronic music. Ciani earned a Masters degree in composition from the University of California at Berkeley, where she studied with electronic pioneers Max Matthews, John Chowning, and Don Buchla. In 1975 she moved to New York, where she got involved in the Soho art scene, and also worked with minimalist Philip Glass. She began to hit the big time with the establishment of Ciani Musica, Inc., one of the foremost commercial production companies in the country. Ciani later expanded into film scoring and gained recognition for her work on Lily Tomlin's The Incredible Shrinking Woman as well as the award-winning feature documentary Mother Teresa. Ciani's career as a recording artist, however, took a more indirect route. Her 1982 Japanese release Seven Waves became an underground hit, prompting its American release by Private Music in 1984. Then Velocity of Love came along, which, with its intriguing synthesizer work balanced by strong melodies and pop sensibilities, helped define contemporary instrumental music and the burgeoning genre of new age. Ciani recorded steadily for Private through the 1980s and into the next decade, issuing the Grammy-winning Hotel Luna ('86), Neverland ('88), History of My Heart ('89), and the 1990 solo piano Pianissimo. In 1994 Ciani established the Seventh Wave imprint, and issued the orchestral album Dream Suite. Two years later Pianissimo II apppeared, followed by a live album in 1997. The title track of the 1999 album Turning featured vocals from Chyi-yu. Ciani took a break after third installment in her Pianissimo solo piano series, released in 2001. But she returned four years later with the ambitious studio effort Silver Ship. ~ Linda Kohanov, All Music Guide [-] Hide

Georgia Kelly is a classically trained harpist and composer who began her music studies at the age of three. Years before American audiences had even heard of pop harpist Andreas Vollenweider, this West Coast musician was gaining considerable attention for her albums of spiritual harp performances, which she initially released and distributed... [+] Read More

Georgia Kelly is a classically trained harpist and composer who began her music studies at the age of three. Years before American audiences had even heard of pop harpist Andreas Vollenweider, this West Coast musician was gaining considerable attention for her albums of spiritual harp performances, which she initially released and distributed through her own company, Heru Records. In the late 1970s, Kelly helped define both the New Age music style and its recording industry. Musical contemporaries in those spiritually charged early days were Steven Halpern, Iasos, Constance Demby, and fellow harpist Joel Andrews. Her 1978 Seapeace, recorded with Tony Selvage on electric violin, was an instant underground hit in New Age bookstores, and the album remains a classic with sales of over 250,000 copies. That same year, Kelly and Steven Halpern recorded Ancient Echoes, sensually mysterious improvisations on the spiritual essence of the ancient civilizations. The relaxing and inspirational qualities of her music, well grounded in impeccable technique, attracted the attention of hospitals, cancer clinics, drug-abuse programs, and massage therapists who regularly use her recordings for therapeutic purposes. In the late 1980s, Kelly renewed her links with her Yugoslavian heritage by recording A Journey Home with guitarist Dusan Bodganovic. ~ Carol Wright, All Music Guide [-] Hide

One of the most innovative and acclaimed solo guitarists of his era, self-described "violent acoustic" artist Michael Hedges rose to success on the strength of a unique performing style that utilized harmonics and picking to create the impression of multiple guitars playing simultaneously. Born in Sacramento, CA, in 1953, Hedges studied... [+] Read More

One of the most innovative and acclaimed solo guitarists of his era, self-described "violent acoustic" artist Michael Hedges rose to success on the strength of a unique performing style that utilized harmonics and picking to create the impression of multiple guitars playing simultaneously. Born in Sacramento, CA, in 1953, Hedges studied classical guitar while in college, subsequently earning a degree in composition from the Peabody Conservatory in Baltimore. In 1980, he enrolled in Stanford University's renowned electronic music department, and while performing in nearby Palo Alto was spotted by Windham Hill label founder Will Ackerman, who immediately signed him to a contract; Hedges' debut LP, Breakfast in the Field, appeared in 1981.

In the years to follow, Hedges began developing his so-called "man-band" performances, which favored a two-handed tapping style of soloing achieved with the use of a custom-made, double-necked acoustic/bass guitar. His affiliation with Windham Hill prompted many to label him a new age musician, but he bristled at such categorizations and instead offered "violent acoustic," "heavy mental," "new edge," and "deep-tissue gladiator guitar." He often flirted with rock and pop, and included in his repertoire acclaimed covers of Bob Dylan's "Like a Rolling Stone" and "All Along the Watchtower." With his second album, 1984's Aerial Boundaries, Hedges earned his first Grammy nomination, and with the release of 1985's Watching My Life Go By, Windham Hill agreed to create a subsidiary imprint, Open Air, to further distance his music from the increasing confinements of the new age tag.

With 1987's concert LP Live on the Double Planet, Hedges debuted a pair of compositions performed on the rare harp guitar, and on 1990's Taproot, he delivered his first vocal performance since his 1985 release, Watching My Life Go By. The record was Hedges' last for four years, however, and when he resurfaced with The Road to Return, his music was significantly different -- vocals were now the rule, not the exception, and in addition to acoustic guitar, he played flute, drums, synthesizer, harmonica, and electric guitar. 1996's Oracle signified a return to acoustic performance, but the record was the last to be issued during Hedges' own lifetime. On December 2, 1997, his body was discovered near the wreckage of a car accident just outside of his native Mendocino, CA; he was only 43 at the time of his death. His final recording, the acoustic "Java Man," appeared on the 1998 compilation The Sounds of Wood and Steel. Torched followed a year later. The compilations Best of Michael Hedges (2000), Platinum & Gold Collection (2003), and Pure Michael Hedges (2006) were all released posthumously on Windham Hill. ~ Jason Ankeny, All Music Guide [-] Hide

California's David Arkenstone blends global, cinematic, and rock elements into his new age sonic tapestries. A music lover since the age of ten, when he moved to California from Chicago, Arkenstone has immersed himself in all kinds of music, and played keyboard and guitar in numerous bands from his youth.

It was when he discovered... [+] Read More

California's David Arkenstone blends global, cinematic, and rock elements into his new age sonic tapestries. A music lover since the age of ten, when he moved to California from Chicago, Arkenstone has immersed himself in all kinds of music, and played keyboard and guitar in numerous bands from his youth.

It was when he discovered the lush arrangements and exotic approach of Kitaro that Arkenstone ventured into new age music. The increasing synergy between computer technology and musical instruments also inspired him; most of his works were created partly or entirely on his Macintosh along with synthesizers and guitars. This blend of electro-acoustic textures is showcased on albums like 1998's Book of Days, and works from his other project, Troika. Arkenstone returned in mid-2000 with Caravan of Light. Frontier followed a year later. In 2002, Arkenstone had two Grammy nominations and several Billboard new age smash hits under his belt. The legacy continued with the releases of Sketches From An American Journey in June 2002 and Atlantis in September 2004. ~ Heather Phares, All Music Guide [-] Hide

One of the most popular artists in the solo instrumental and adult-alternative spheres, Lanz played in several rock bands during his teens, then began developing his style as a solo pianist in a small Seattle nightclub. He introduced some of his originals into the bar's required mix of standards and pop tunes, receiving such a positive response... [+] Read More

One of the most popular artists in the solo instrumental and adult-alternative spheres, Lanz played in several rock bands during his teens, then began developing his style as a solo pianist in a small Seattle nightclub. He introduced some of his originals into the bar's required mix of standards and pop tunes, receiving such a positive response from patrons that, before long, he was playing his own material almost exclusively. His early albums of solo piano works are still among the Narada label's best-sellers. His two collaborative efforts with guitarist Paul Speer also hit the Billboard Top 200 Albums chart; yet as Lanz's national popularity grew, he began to experiment with works for larger and larger ensembles, culminating in full orchestral accompaniments on Skyline Firedance (1990). With 1991's Return to the Heart, he journeyed back to his solo piano roots, and made his vocal debut on 1993's Bridge of Dreams. Lanz remained prolific throughout the decade, resurfacing in 1994 with Christmas Eve; Sacred Road followed in 1996, and two years later he returned with Songs from an English Garden. Next was An Evening with David Lanz, issued in 1999; East of the Moon appeared a year later. ~ Linda Kohanov, All Music Guide [-] Hide

Originally released in the '70s, Kelly's influential recording of solo harp music is now considered a classic in the CI and new-age realms. ~ Linda Kohanov, All Music Guide

Originally released in the '70s, Kelly's influential recording of solo harp music is now considered a classic in the CI and new-age realms. ~ Linda Kohanov, All Music Guide [-] Hide

David Lanz's Cristofori's Dream is among the most popular new age recordings ever made. This is an album of instrumental piano music (with other instruments, especially strings and string-like synthesizers, added). Its selections have a calm elegance, as Lanz spends most of his time in the upper register of the piano delivering precise,... [+] Read More

David Lanz's Cristofori's Dream is among the most popular new age recordings ever made. This is an album of instrumental piano music (with other instruments, especially strings and string-like synthesizers, added). Its selections have a calm elegance, as Lanz spends most of his time in the upper register of the piano delivering precise, articulated melodies, culminating in a re-creation of Procol Harum's "A Whiter Shade of Pale" that features original organist Matthew Fisher. ~ William Ruhlmann, All Music Guide [-] Hide

Valley in the Clouds, David Arkenstone's Narada debut, established the new age composer's effortless blend of worldly, contemporary instrumental, and conventional pop/rock textures, and laid the foundation for his successful career. The nine electronic soundscapes of Clouds seem guided by a restless desire to keep things interesting. Not... [+] Read More

Valley in the Clouds, David Arkenstone's Narada debut, established the new age composer's effortless blend of worldly, contemporary instrumental, and conventional pop/rock textures, and laid the foundation for his successful career. The nine electronic soundscapes of Clouds seem guided by a restless desire to keep things interesting. Not too interesting, mind you -- this is, after all, new age, and it's built for relaxation. But "Stepping Stars" begins as a series of synthesizer washes, with two half-formed melodies fluttering by each other, only to transform itself with another melody halfway through. The third part unites the song's drifting sections and makes it much more than a simple keyboard experiment. The same goes for the title track, where a breathy flute adds exotic depth to the track's loping rhythm. While Arkenstone's building blocks will be common to new age listeners -- swirling synths, world music references, and light, insistent percussion -- it's in the way he arranges his songs that make them his own. "Eastern Dream" incorporates harp and violin, while "Rain"'s pattering keyboard lines travel over and across one other, suggesting the hypnotizing quality of a morning thundershower. Valley in the Clouds ends with more nature-noise atmospherics, bringing in triumphant keys and percussion for the rousing "Lost Temple." The album is a solid debut that's definitely lush and relaxing, but never boring. ~ Johnny Loftus, All Music Guide [-] Hide

Suzanne Ciani's landmark 1984 release Velocity of Love established the noted electronic composer in the U.S. and became one of instrumental/new age radio's early success stories. Together with Vangelis, who contributed keyboards to "Lay Down Beside Me," "Malibuzios," and "History of My Heart," Ciani created a formless, diaphanous record that... [+] Read More

Suzanne Ciani's landmark 1984 release Velocity of Love established the noted electronic composer in the U.S. and became one of instrumental/new age radio's early success stories. Together with Vangelis, who contributed keyboards to "Lay Down Beside Me," "Malibuzios," and "History of My Heart," Ciani created a formless, diaphanous record that nevertheless seemed guided by real emotion. There were the subtle pop melodies that flitted about beneath the synthesized surface, certainly. But it was difficult not to hear the album's influential title track and miss the wave of wistful sadness that curled around its brittle melody. It was a deceptively simple piano line that suggested the theme music of some unknown 1970s character drama, the kind where autumn leaves constantly blow through open curtains for effect. At the same time, the song's pulsating bank of synthesizers united its classic qualities with the futuristic tendencies and two-dimensional rayon sheen of the 1980s. While some of its later compositions were a bit overwrought, teetering under the weight of their own keyboard wizardry, Velocity of Love is still essential for any fan of Ciani or the formative days of contemporary instrumental music. ~ Johnny Loftus, All Music Guide [-] Hide

Aaberg calls this the first Windham Hill dance record. Upbeat toe-tappers are complemented by graceful slow numbers. ~ Linda Kohanov, All Music Guide

Aaberg calls this the first Windham Hill dance record. Upbeat toe-tappers are complemented by graceful slow numbers. ~ Linda Kohanov, All Music Guide [-] Hide