finds new age pioneer , often known for making cosmically inclined music for instruments such as zither, autoharp, and gong, returning to his first instrument. learned to play piano growing up in the 1950s, starting with church music as well as jazz and R&B, with influences including and . Following a spiritual awakening during the '70s, he focused on making improvisational, meditation-based music for autoharp, but he's continued to use keyboard instruments throughout his career, both electronic and acoustic. contains 41 minutes of purely piano compositions, recorded in a Brooklyn church by , free of electronic effects or vocals. The pieces generally feel joyous and inspirational, reaching back to the musician's formative gospel influences without directly playing in that style. This doesn't resemble rousing, revival-style gospel -- it's uplifting, but also highly introspective. An interpretation of folk standard "Shenandoah" fits surprisingly well into his form of jazz-tinged inspirational playing, and other pieces such as "Sunny Day Horse" evoke feelings of a gentle, mind-clearing trip through the vast countryside. On "This Too Shall Pass," which could easily fit in a musical if someone wrote lyrics for it, manages to wrap a profound message in a playful tune. "Moods & Emotions" also starts out a bit jaunty, but is elevated with a more spiritual, searching tone. The album's final selections are much freer and more peaceful, with "Resonance" approximating a steady float down a river, and "Embracing Timeless" more of a weightless drift. One of 's earthiest records, is a pure expression of his talents, as he projects spirited melodies straight from his soul. ~ Paul Simpson