"Fernwood is the brainchild of multi-instrumentalists Todd Montgomery and Gayle Ellett. The two have scored numerous film soundtracks both together and individually, and it shows. The songs are wonderfully melodic and emotionally direct, the diverse instruments are expertly layered, and dynamics are an essential aspect of the orchestrations. Acoustic stringed instruments constructed of wood predominate, and timbre and sonority suggest place and idiom as strongly as the actual compositional structures. Middle Eastern, Asian, African, and European motifs are masterfully interwoven with Americana to form a luscious yet rootsy imaginary idiom that is intriguing, uplifting, and at once familiar and exotic."
GUITAR PLAYER Magazine
"The backwoods of American music may be the last hidden realm of exotica left in the world. Brian Eno collaborator Leo Abrahams, Beck producer Tom Rothrock, ambient artist Kaya Project and jazz guitarist Bill Frisell have all tapped into a bucolic Americana, from country to rural blues, Appalachian banjo music to bluegrass fiddle cadences. But few have embraced this concept more than Fernwood, a band led by multi-instrumentalists Gayle Ellett and Todd Montgomery. They play stringed instruments from around the world whether it's a dilruba or banjo, sitar or guitar.
On their debut Almeria, they established the template for a global Americana music, mixing banjo and bouzouki, sitar and mandolin into a soundscape that's as sweet as a country fiddle tune and as beguiling as a raga. In a way, they're the American version of Iceland's Amiina, creating a gentle, slightly surreal sound like a music box with Indian tines being cranked in the Ozarks. Sangita takes a while to work its charms. Melodies are embedded in an intricate interplay of strings, like the strumming mandolins of "Mistral," which are topped by a melody that alternates between sitar and fiddle. Indian ambiences, Appalachian picking and an elegant European nostalgia converge on "Cimarron," which sounds like a Nino Rota soundtrack for Fellini, played by a bluegrass band.
Sangita is like an undiscovered musical tributary, a meeting of the Ganges River with the Swanee River. It's a CD full of sonic details and plaintive melodies."
John Diliberto of ECHOES RADIO
“All music played by hand, on instruments made out of wood,” says the back cover of Sangita. Fernwood conjure up an image of a Sitar-toting Chinese cowboy wandering through the Appalachian mountains, sailing the seven seas, and fighting dragons. The music isn’t as confused as my imagination, but it is evocative, and much more cinematic than most world music out there.”
SOUND ON SOUND Magazine
"This month’s Spotlight is a beautiful acoustic based track featuring a combination of instruments that we rarely hear. While the writing, arranging and performances are of the highest order, it is the blend of the various instruments in the mix that really makes this release something special to our ears. Gayle and Todd have skillfully managed to combine numerous stringed instruments, many with competing frequency ranges, into an open, airy mix that leaves space for each individual sound source, while maintaining a full cohesive feel, free of artifact and digital “nasties.” Relax and enjoy! Well done!"
"Highly Recomended"
RECORDING Magazine
“A really nice, rather amazing CD of instrumental pieces done on a wide assortment of acoustic, mainly stringed instruments. The songs are complex and thoughtful enough that they don’t venture into New Age drivel, and the musicians, Gayle Ellet and Todd Montgomery, are obviously extremely talented, but use their talents at the service of the compositions, rather than showing off their chops. It’s subtle, but it gets under your skin.”
AMOEBA MUSIC Music We Like
"Fernwood is a musical entity of two musicians who feel each other's essence for such cooperation well. This acoustic cooperation is rather descriptive in a very moody way, with pickings and notes in different rhythmical speeds, spinning around, with some lovely tunes. The listing in my 'acidfolk' section does not completely do justice to the release. Especially young people often tend to look for something with a hype factor, with "weird" or strange or modern associations, while the mature composer also recognises better things that last longer, or that reflect harmonic balances. For record companies, harmonic results are also harder to sell or categorise, when the music does not follow any of the mainstream tendencies. Fernwood's music reflects harmonic pulses and melodies, arranged by the inspirations of a duo playing together with interactions and melted ideas of compositions, and a whole diversity of instruments."
"Recommended!"
PSYCHEDELICFOLK.. (Belgium)
"Californians Gayle Ellett and Todd Montgomery bring a mastery of instruments ranging from bouzoukis and sitars to harmonium, oud, Chinese ruan and mandolin, to a series of captivating original compositions. Each piece has a cinematic feel but is complete in itself, the sounds all slot satisfyingly into place, and the album makes a cohesive, diverse and very rewarding listen."
fROOTS (Folk Roots) Magazine (Ireland)
"The concept behind this album should be enough to tempt any lover of acoustic music to click straight across to CDBaby and grab a copy of this album for a mere $12. The idea is beautiful in its simplicity: All the music is played by hand, on instruments made out of wood. The exhaustive mix of instruments is what separates this album from any acoustic instrumental record I’ve ever heard. The instruments are used in different combinations across the 12 songs. As a result there is a such a wide range of sounds, textures and energies that each stands as a wholly individual listening experience. As a listener I was kept enthralled, as each track opened new possibilities. An enchanting, beautiful and captivating aural pleasure."
Conclusion: 9 out of 10
DUTCH PROGRESSIVE ROCK PAGES (Holland)
“Majestätisch in ihrer Ruhe und Demut, kraftvoll in ihrer Sanftmut, inspirierend in ihrer Bescheidenheit und Einfachheit. Dass Instrumentalmusik, die unter gleichsam esoterischen Aspekten wie „handgemacht“ und „Instrumente ausschließlich aus Holz“ produziert und vermarktet wird, nicht nach Frömmelei riecht – wer hätte das gedacht? Dafür stehen Gayle Ellett und Todd Montgomery offenbar einfach zu fest auf dem Boden der Tatsachen ihres heimatlichen Malibu: Wenn sie nicht alle Arten von Gebrauchsmusik für Filme oder Computerspiele produzieren oder sich Progressive Rock, Folk oder Jazz spielen, gehen sie gern surfen oder Drachenfliegen. Vielleicht kommt der ausgeprägte Sinn für Organik und Harmonie, der das Debütalbum ihres Fernwood-Projektes durchzieht ja aus dieser Art Erdung in der wirklichen Welt? Sanft bauen sich die vor allem auf Bouzoukis, Sitars, Mandolinen, Gitarren, Bässen und dergleichen gespielten Stücke meist auf, schwellen gelegentlich wie Philip Glass’ „Koyaanisqatsi“ oder „Powaqqatsi“ ein Stück an und vergehen wieder. Dabei haben sie einen Sinn für Rhythmik, der sie über Geflirre erhebt, einen Sinn für Dynamik, Struktur und Proportion. Und natürlich sind auch Instrumente wie ein Rhodes Piano mit am Start – aus Holz? Kleine Lüge gelegentlich gehört dazu.”
FOLKER! Magazine (Germany)
"Almeria pervades often the same sphere as records from The Penguin Café Orchestra: broad orchestrations full of strumming and diverse melody-lines which occur simultaneous and are played on many instruments, with rhythmic bass-patterns which create a certain link with rock. The latter is also accomplished by the effective deploy of organ and Fender Rhodes and the use of slide and E-bow. The songs are sometimes cheerful and bright, sometimes modest and sober. There are plenty of folkloristic elements present, because of which the listener feels as if he’s on a musical world-trip or hearing a sound-track from a culture-documentary, although he’s not getting the feeling of being dished up all kind of separate elements. Besides Penguin Café, the fans of the solo-work of Anthony Phillips will also find plenty of recognition, while the closing track Nightingale has the same desolate atmosphere as Nick Drake’s Pink Moon. Solemn, progressive and crystal-clear produced world-music."
iO PAGES (Holland)
"Projet plus qu’intéressant, FERNWOOD est constitué d’un duo : tout d’abord Gayle ELLETT connu pour son activité avec le groupe Djam KARET (Seize albums au compteur) et qui a joué sur plus de 50 cds à ce jour, joue et compose depuis plus de 35 ans. Il a écrit de la musique pour nombres de films, jeux vidéo, publicités, etc. Ensuite, Todd MONTGOMERY, un musicien qui a appris le sitar avec le maître Harihar RAO (le plus vieil élève de Ravi SHANKAR) et qui pratique nombre d’instruments traditionnels. Il a notamment joué du bouzouki irlandais et de la mandoline pour le film « Chasing The Dragon : The Veronica GUERIN Story ». Ces deux compères ont décidé de s’adjoindre les talents d’un producteur de renom, Wayne YENTIS, éditeur du magazine « Recording Engineer/Producer », inventeur du Clavitar, un contrôleur de synthétiseurs au look de guitare. Il a personnellement désigné et construit des instruments électroniques customisé pour des groupes aussi légendaires que PINK FLOYD, TOTO, Frank ZAPPA, SUPERTRAMP, Herbie HANCOCK, Lee RITENOUR, Joe ZAWINUL, George DUKE, Patrick MARAZ, Terry BOZZIO et beaucoup d’autres.
Avec FERNWOOD, les deux compères ont décidé de créer un groupe entièrement acoustique, jouant à la main sur des instruments faits de bois. Tout au long des douze morceaux composant l’album d’une durée de 48 minutes, c’est un véritable enchantement de tous les instants. L’inspiration est là, les instruments, qu’ils soient seuls ou très nombreux, sonnent tous comme s’ils étaient dans la même pièce que vous.
Musique fondamentalement belle, chaude, exotique, elle développe des relents de folk américaine teintée d’exotisme (sans le chant, l’album est entièrement instrumental) et de cinématique (on croirait entendre une bande son de film). Ainsi un morceau comme « Ruidoso » avec son banjo nous emmène vers des rivages pas si éloignés que ça de la mythique musique du film « Délivrance » (« Dueling Banjos » par Eric WEISSBERG et Steve MANDELL). Gayle ELLETT raconte : « c’est une réaction à la musique moderne et vers où elle se dirige : des sons joués par des machines ou des ordinateurs. C’est mauvais et faux. Nous devrions éviter ça ». Etonnantes paroles de la part d’un musicien issu d’un groupe comme Djam KARET ! Todd MONTGOMERY déclare pour sa part : « Je voulais jouer de façon à ce que mon professeur, s’il était amené à m’entendre, ne soit pas offensé. Cela devait être assez indianisant pour qu’il ne se fâche pas, vous comprenez ? ». Ensemble, ils sont parvenus à une sorte d’americana matinée de musique de chambre inédite basé simplement sur des instruments faits de bois. Une musique parfaite pour se délasser le corps et l’esprit. De plus il est superbement packagé."
PROGRESSIVE AREA (France)
“Djam Karet main man Gayle Ellett’s desire to find alternative horizons to plunder have resulted in many an obscure soundtrack project. Together with Todd Montgomery, the crux of this new recording surrounds two bouzoukis originating from geographicly dispersed locations. The subject matter comes from your trusty world map to find “Almeria”, an exotic Old World vacation spot in Spain. The mood of the recording is non-invasive using traditional instrumentation to flesh out spirited jaunts and passive themes. Spanish bird observations pose a common thread from the opening “Sandpiper”, bearing arppegiated passages with a few minor twists, while “Crane” lies in a Frisell vein of simple folk deconstructed themes relying on emotive chords and unsettled lead lines. In contrast “Pelican” is Indian sounding while “Nightingale” is a late night sensitive ballad, calming with a firm resolved ending. “Open Seas” is closer to some of the themes developed from early 1980’s Metheny and Mays, maybe even a little “New Chautauqua”. Covering different ground are pieces such as “Hungarian Holiday” where the harmonium gives an Old World carnival feel and a Ukranian dance fade out. One of the best played pieces is “Makena” that uses that sustained open chord somewhat popularized by David Gilmour and Richard Leo Johnson’s pastoral moments. The disc comes off like a musical tour where few things have changed due to modernization and natural surroundings remain intact. Overall it’s a great headphone experience with a joyful balanced mix.
“Almeria” is a breath of fresh air and is a welcome alternative to today’s electronic and synth dominated music.”
EXPOSE' Magazine
"Without going out of my door, I can see the things on Earth"... ricordate "The inner light" di George Harrison? Senza andare fuori di casa, posso vedere le cose della terra... E ricordo anche la Alice di "Visioni" - con firma di Camisasca - quando cantava "E più lontano vai, sempre meno conosci"... Probabilmente alla base del duo Fernwood c'è la più mistica, sensibile e estatica delle visioni: quella causata dalla musica, dalla composizione in totale e incontrollabile libertà artistica, dal viaggio inteso come condizione dello spirito.
E pensare che il 50% del duo, ovvero il grande Gayle Ellett, proviene dalla leggenda Djam Karet, quasi 30 anni di potenziale non commerciale e di radicale jam-rock. Eppure, come già dicevamo ai tempi del loro primo disco "Almeira", i Fernwood recuperano una bella parte del patrimonio Djam Karet: quello acustico e meditativo, che nel loro progetto viene valorizzato a dovere. "Sangita" è il secondo tassello di un affascinante mosaico che Gayle e Todd Montgomery hanno creato con cura e dedizione.
World music "immaginaria", con numerosi strumenti acustici, come se i due fossero un'orchestrina innamorata di Oregon e Third Ear Band. Al di là delle definizioni, Fernwood è una grande tavolozza acustica che prende da diverse parti del mondo, o meglio utilizza strumenti etnici come il bouzuki, il sitar e l'oud, e ne tira fuori umori e fragranze. Qualche concessione all'organo, al piano rhodes e all'harmonium, ma il disco è un labirinto di strumenti a corda e percussioni, suonati con grazie ed eleganza, a partire dalla dolce "Kalyan" al minimalismo ipnotico e maliardo di "Dor County", passando per le danze di "Hobbs Bay" e "Helen Island" fino all'incanto di "Mistral", probabilmente il pezzo più dinamico e cangiante del lotto.
Pur non cambiando rispetto al primo album e rivelando stucchevoli reminiscenze new age, "Sangita" approfondisce la personalità del duo e si mostra un album accattivante, tra i migliori lavori acustici degli ultimi tempi."
8 out ot 8 Stars
MOVIMENTIPROG (Italy)
“Fernwood is actually a duo (Todd Montgomery & Gayle Ellett) hailing from Southern California, and they have been working with exotic instruments for many years and in many different styles (Google them both to see where there musical history lies). Almeria is a graceful set of music that carry's you to many locals, and with great spirit. It makes you feel like you are traveling around the world, stopping to hear the local music everywhere you go. Exceptional sound and peaceable acoustic melodies prevail!"
Highly recommended!!!
SKOOPZ.. (Philippines)
"Tucked away in the picturesque mountains towering above the Pacific ocean Topanga Canyon attracts artists of all kinds, each adding their own unique vibration. I've been delighted to discover Fernwood, the eclectic and inspirational music creation of Todd Montgomery and Gayle Ellett. The duo have released two albums,"Almeria" and "Sangita" which have gained recognition worldwide. Their acoustic, cinematic compositions take the listener on an epic journey colored by the traditional instrumental sounds of Morocco, India, Greece, Turkey, China, and Italy, to name a few. Theirs is the kind of music one can sail away on. It swirls and flows in unexpected and delightful harmonies. While painting, free writing, or journaling it provides the perfect sound scape to entice and encourage creativity."
SACRED SOUND
"Gayle Ellett er her ute med sitt sideprosjekt Fernwood, som sikkert er en fin avveksling fra det velklingende moderskipet Djam Karet. Fernwood har et slagord som sier at alle instrumentene er spilt av hender, og alle instrumentene er laget av tre! Musikken en slik kontekst avleirer får vi nær innpå femti minutter av på ”Sangita”, som er skive nummer to fra Fernwood. Dette bandet består av nevnte Ellet men også av Todd Montgomery som trakterer mange instrumenter herunder velkjente Irsk bouzouki som jo alle hjem med respekt for seg selv har flere avJ Gayle Ellett har enda flere eksotiske instrumenter som han spiller på, Gresk bouzouki, ruan, oud, dilruba, bulbul tarang, jal tarang, dotara, gopichand, swarsangam, cumbus, gimbri og rababa. Selvsagt skaper dette en musikks om er temmelig unik og som garantert ytterst få om noen har hørt fra andre band før. Det er jo heller ikke å forakte at disse to musikerne oser av spilleglede og regelrett er ekstremt dyktig hvilket nå enn av de mange instrumentene de trakterer. Det er temmelig mange raske og usedvanelig dyktige fingre som står for musikken, og jammen klarer de ikke også å fremskaffe svært varierte musikalske landskap. Rått og riffbasert blir det aldri, men en svært finurlig, intelligent og fengslende musikk varter Fernwood opp med. Malibuduoen sørger for et fabelaktig samspill mellom de forskjellige instrumentene, og har en først blitt fengslet av sjarmen og den gripende musikken til Fernwood er det umulig og ikke å nyte den til det ytterste. Den iboende etnisiteten alle disse ”verdens” instrumentene skaper er pent er vellykket fusjonert med mer velkjente instrumenter og en samtids americana. Skiva krever en våken lytter for at alle de subtile detaljene som finnes skal avdekkes. Skrur en derimot på den musikalske radar, om en da har en slik? så er det en ganske så variert bukett med stemninger Ellet og Montgomery kreerer. Soundet til Fernwood er som nevnt kjemisk fritt for enhver manipulering og urørt av det digitale uhyretsJ tentakler. Bare pur og delikat musisering i en organisk kontekst som er både frisk, freidig, sjelfull og livlig. Noen ganger er musikken nærmest skjør og skrøpelig, mens andre ganger er det et utall av instrumenter i samme låt noe som avleirer et tilnærmet orkestral sound. Albumtittelen ”Sangita” er en løselig hentydning til Sangita Ratnakarna som er en åtte hundre år gammel bok skrevet av musikk teoretikeren Sharngadeva. Oversatt betyr Sangita Ratnakarna noe sånt som hav av musikk, og boken tar for seg de mange og varierte musikkstilene og alle instrumentene som datidens India hadde. Selv om denne skiva ikke dveler særlig mye med India er den på mange måter en etterfølger hva estetikk gjelder. En estetikk som går på å skape vakker musikk av multiple stilarter og instrumenter. Det er hva denne skiva dreier seg om så vidt vi kan skjønne, og så vidt vi kan skjønne har den nok et noe smalt nedslagsfelt, og det er trist fordi dette er så knallbra. ”Sangita” er nok mest for den virkelig dedikerte musikkelsker, men selvsagt håper vi at vi tar grundig feil og at alle vi like musikken her! Uansett så er ”Sangita” er album som ikke er dusinvare, og har rikelig med egenart, fengslende instrumentering, spilleglede og ikke minst variasjon. Denne globale kammermusikken som er injisert med americana er utvilsomt et friskt pust i en verden av ofte likelydende musikk. De som vil ha noe temmelig genuint som også er ytterst velspillt bør kjenne sin besøkelsestid og anskaffe skiva."
MERLINPROG (Norway)
"Fernwood is a group that's hard to pin down. They mix Americana elements with Appalachian strings along with bouzouki's from the Middle East and Ireland and sitars from India. Headed up by Todd Montgomery and Gayle Ellett who also plays guitar in the ultra-progressive rock band, Djam Karet, Fernwood creates a global chamber music with Americana accents and cinematically inclined melodies.
DJ John Diliberto described their music as "Acoustic Americana World Chamber Music".
"Number 4 ALBUM OF THE YEAR"
ECHOES RADIO
Check it out for yourself!
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