Search - Tom Duncan :: Standing In The Shadows

Contemporary music with a strong neo-Celtic sentinence

J. Ross | Roseburg, OR USA | 02/02/2004

(5 out of 5 stars)

""Harp Dude" Tom Duncan is a consummate player of his self-built folk harps. After the success of his debut album that was firmly grounded in Celtic traditions, Indianapolis-based Duncan now treats us to 14 original tunes that span from about 3 to 7 minutes apiece. This nearly hour-long project has a different twist because it incorporates influences from many musical genres. While always keeping his harp in the forefront, Duncan tastefully plays guitar, piano, synthesizer and accordion on various numbers, and he is occasionally joined by guest artists Cheryl Riggle (violin, flute), Peter Hansen (bass), Alfred Abel (violin) and Travis Ellison (tabla).Varying the instrumental accompaniment helps Duncan convey many musical moods, while always remaining sublime, majestic and stately. The overall effect is comforting, and Duncan's entire work could actually be viewed akin to an epic journey or spiritual quest. Although I enjoyed most of his compositions, "Elsewhere" and "Cerulean Skiies" were personal favorites. The latter has a bounce not unlike many of blind Irish harper Turlough O'Carolan's compositions. I also derived considerable enjoyment from the waltzes, "Annette's Waltz" and "Waltzing Back Home." I found myself perking up when the tunes also incorporated violin, flute or accordion leads, although I would have shortened the arrangement of "M'Ladies Reverie" by a couple minutes. Some liner notes providing some insight into Duncan's inspirations and thoughts about each piece would have been nice.While a primary nod to Celtic influences continues, the opener "Dancing in the Shadows" has Spanish overtones. The closer, "In the Garden," has an Indian feel. The bulk of the project has a meditative and relaxed Celtic consciousness. Perhaps some Andean plucking techniques, African rhythms or Oriental scales could have taken us even further abroad. I was happy to see some minimal glissandos find their way into the album's closing number. My guess is that "Harp Dude" Tom Duncan lives, eats and breathes harp. The musician, composer, and luthier began as a classically trained pianist, but a love for early music led him to research the instruments, build folk harps, tour Scotland, and appear at the Fringe Festival there. The harper speaks eloquently with his strings, and his compositions are poetically enlightening. He doesn't stray so far that I would call this new age music. Rather, it seems more appropriately called contemporary music with a strong neo-Celtic sentinence. Duncan's pleasant work is one of not only charm, but also infinite beauty. (Joe Ross, Roseburg, Oregon)"