Todd Mosby – Land Of Enchantment Review

By BT Fasmer - May 12, 2023 25

Land of Enchantment will be released on July 7, 2023

“Wherever one goes in the Southwest, one encounters magic, strength, and beauty,” Ansel Adams wrote. Inspired by the same landscape – and Georgia O’Keeffe‘s art – each of the pieces on Todd Mosby’s upcoming album have similar characteristics. Land of Enchantment has magic enough for several releases. Stylish, playful and cool, the album underlines the deep connection between geography, art and culture.

Todd Mosby has created a new musical syntax integrating Indian classical music and Western music. His 13-year study of traditional North Indian music with his neighbor and guru-ji Ustadt Imrat Khan led to the development of acoustic and electric versions of the Imratguitar, a hybrid sitar-guitar. His most recent albums are On Eagle Mountain (2016), Open Waters (2019) and Aerial Views (2020).

Place in The Sun
The album opener is called Place in the Sun – and what a warm and inviting piece it is! Under a cloudless sky, good company and a playful atmosphere make this album opener into something truly spectacular! The female vocalization (Laura Vall) and Timothy Bailey’s bass sound divine. But don’t take my word for it; check it out for yourself:

The track fades beautifully into Moonrise Samba. I especially enjoy the jazzy, guitar driven melody. The Rhodes keyboard too shines brightly in the moonlight. Vinnie Colaiuta is, as usual, brilliant. We are in the company of world-class performers, no doubt about that. The warm and upscale piece makes it impossible to sit still.

Talking about movement; Native Dancer seems to incorporate the two tracks we just heard, and somehow takes it all into a new and creative direction – much thanks to the Imratguitar and sax. Where ever you might be, the landscape of New Mexico seems near.

A Distant Light
At this stage, the album changes pace. The delicate A Distant Light gives time to reflect on everything we have experienced this far and ponder about what’s next. Adrienne Woods’ cello and Mosby’s electric guitar engage in a wonderful duet that will illuminate even a dark room.

Listening to Georgia’s World gives the same experience as studying Georgia O’Keeffe’s artworks; one cannot help thinking that this is indeed a genuine masterpiece! The blues guitar and the Rhodes piano, similar to the mid-section on The Doors’ Riders on the Storm I think, invite us into this unique and incredibly well-crafted track. The melody is easygoing and light, making the listener hang on to each note. Georgia’s World is, in short, a winner from start to finish.

Norwegian Wood
The album’s rendition of the Beatles’ Norwegian Wood is playful and makes the melody fit well with the New Mexico atmosphere. Especially the last 40 seconds are fantastic.

On Emerald Springs, we finally get a Todd Mosby solo. The steel string guitar sounds incredible! It is a very dynamic melody Mosby has in store for us; after a powerful opening it almost stops, then a more thoughtful segment follows – before a few heavy riffs are heard. It is only three minutes long, so I had to put it on replay to really appreciate this part of Mosby’s musical expression.

I’m happy to report that the album ends on a high note; Glen Campbell’s By The Time I Get To Phoenix rounds off the album in a dreamy and heartwarming way. The lovely guitar and violin duet twists and turns delightfully.

In conclusion: Bold and uncompromising, Land Of Enchantment by Todd Mosby is an exploration of the connection between nature, culture and art. The summery vibe often hides the fact that this is a flawless release by an artist at the very height of his abilities. Dapo Torimiro on piano and Vinnie Colaiuta on drums, to name a few, do their part in making this journey in music both rewarding and unforgettable, too.

From jazz, jazz fusion and samba to Bossa-nova and folk-rock, the album’s genre defying style makes sure that there is something here for everyone. I enjoy how the sound seems to represent the landscape, from the baking A Place in the Sun to the reflective By The Time I Get To Phoenix. There is a lot to discover in-between with almost limitless replay value.

Georgia O’Keeffe said: “I know now that most people are so closely concerned with themselves that they are not aware of their own individuality. I can see myself, and it has helped me to say what I want to say—in paint” Listening to Todd Mosby play, I’m 100% sure that he can say the same about the guitar.

For more information and music samples, visit toddmosby.band

See our Todd Mosby coverage: newagemusic.guide/tag/todd-mosby

REVIEW FROM ARTS FUSE: AERIAL VIEWS

Allen Michie works in higher education administration. He is a respected, if not always appreciated, car dashboard and aluminum kitchen sink percussionist at his home in Austin, Texas. 

St. Louis–based Todd Mosby’s Aerial Views flies toward the pastel sunset horizon where world music meets New Age and smooth jazz. Mosby is an unusual guitarist who makes relatively conventional records. He comes from a bluegrass background, but he has studied closely with Indian sitar master Imrat Khan and learned classical North Indian technique. Mosby draws on both in his acoustic performances by playing a hybrid “Imrat guitar” he helped design, a half guitar and half semi-sitar.

“This is as brilliant a recording as I have ever been associated with,” states Will Ackerman, the founder of Windham Hill Records and producer of the CD. This is high praise from the man who essentially established the genre of New Age music. Ackerman brings his familiar Windham Hill touch to this disk, and it is as brilliantly engineered as you would expect. It’s difficult to effectively mix melodic acoustic guitar over a rich instrumental background, as Pat Metheny and Earl Klugh know well, but it is accomplished here with delicacy and immediacy.

Mosby brings a touch of bluegrass to the proceedings, so there is more folksy appeal here than you’d expect in slick New Age music. He’s not hesitant to outright strum. The guitarist also tastefully adds some fretboard and string effects that remind me of the late (and greatly missed) Windham Hill guitarist Michael Hedges. The compositions, according to the notes, are “influenced, in part, by Mosby’s childhood co-piloting experiences with his father.” The concept “depicts a journey across the skies.”

The opening track, “Gliding,” is indeed bright and airy — it exhales a cool exhilaration. “Aether” proffers a slow, gradually unfolding melody that is picked up by Premik Tubbs on soprano sax via a solo of long-held notes. “Earth & Sky” has a nice groove that includes an unexpected sonic blend of the Imrat guitar and snare drum and wind synth. “Into Starlight” is music for the hot tub, especially when Lola Kristine enters with echoey wordless vocals. Still, a strong backbone of rhythm guitar and percussion keep it tethered to earth. A taste of Tony Levin’s melodic fretless bass arrives, but it soon becomes lost in the wordless ooh-ahh vocals and that lame wind synth Indian flute again. Charlie Bisharat’s violin is featured on several tracks, adding some classical dignity. Other effective sonic touches are Tubbs’s lap steel guitar, Mannering's powerful fretless bass, Kristine’s George Winston–like piano, and Jeff Haynes’s consistently tasteful percussion.

The sonic palette isn’t as wide here as it is on the Pat Metheny Group records, and the soloing isn’t nearly as ambitious. But there are similarities in the careful layering, airy spaciousness, and carefully arranged entrances and exits of instruments to vary textures and enhance emotional impact. Aerial Views succeeds, on its own artistic terms, in evoking the beauty and clarity of the open skies. This is lovely and relaxing music, if you let your guard down, you might be uplifted.

Chris Spector Midwest Record TODD MOSBY/Aerial Views:

If producer Will Ackerman thinks this is one of the best albums he’s ever been associated with, it helps to take notice. Played with a lightness that was never often found on the typical Windham Hill record, Ackerman rounds up a bunch of the old gang, gives it the feel of Paul Winter on a busman’s holiday and the good times really do flow. Jazz/new age almost like you’ve never heard it before, wood and strings really take you someplace else here. Well done. (MMG 1202) 

REVIEW JONATHAN WIDRAN:

“All these stirring details make Mosby’s music seem revolutionary… that makes this one of the year’s most dazzling instrumental collections.”

TODD MOSBY, Aerial Views : Considering that legendary new age guitarist and Windham Hill Records founder Will Ackerman and his production partner, keyboardist Tom Eaton, have literally recorded hundreds of incredible acoustic new age and jazz projects at their Imaginary Road Studios, we best listen when Ackerman touts guitarist Todd Mosby’s all at once pin drop exquisite, playfully rollicking and sonically ambient and spacious album Aerial Views as one of the most brilliant recordings he has ever been associated with.

From the infectious, breezy jazz melody of “Gliding” (featuring Premik Tubbs’ lilting soprano sax deep in conversation with Mosby’s electric imrat guitar) through the gleefully percussive, high spirited closing track “Shining Lights” (spotlighting the ethereal lead vocals of Lola Christine), the 12-track collection continues two very powerful threads running throughout Mosby’s artistry.

With songs created thematically to reflect the feeling of air and air travel – influenced in part by Mosby’s childhood experiences co-piloting his father’s plane - Aerial Views is the third in a series of concept albums (after Eagle Mountain and Open Waters) centered around natural elements. It’s also the latest of the award-winning artist’s works to reflect his deep, lengthy immersion in Indian music, which includes a 13 year disciplined study of classical North Indian technique, raag and philosophy in the Imdad Khan gharana tradition. A hypnotic swirl of these influences and elements shine throughout, whether Mosby is strumming gently over a hypnotic ambient percussive groove (“Aether,” “Into Starlight”) or loping over a lively beat with sitar-like string modulations (“Earth & Sky,” “Between the Clouds”).

His ensemble of greats include Tubbs (who also plays lap steel and wind synth), violinist Charlie Bisharat, bassists Tony Levin and Michael Manring and drummer Jerry Marotta, with Eaton on Rhodes and piano and Lola Kristine on vocals, piano and Rhodes. Mosby takes his Indian influences one step further in complementing his acoustic and electric guitars with a new instrument (and powerful lead artistic voice) called the Imrat guitar. Released in 2004 and 2017 and designed by sitar player Imrat Khan, Mosby and luthier Kim Shwartz, it’s an 18 stringed hybrid instrument that bridges the sounds of Eastern and Western music and allows for subtle and melodic phrasing characteristic of the sitar and the modal chord harmonies of jazz. All these stirring details make Mosby’s music seem revolutionary, but even if you are unaware of them, you can still enjoy the graceful, organic and slightly exotic chill flow that makes this one of the year’s most dazzling instrumental collections. 

REVIEW DICK METCALF

“Unbounded creative guitar led wonderment Todd Mosby – OPEN WATERS: I was first exposed to Todd’s excellent creativity in issue # 159, where he got high marks from my ears… one of the very best videos I’ve watched (yet) in 2019 shows the artists at work.” - Dick Metcalf - Rotcod Zzaj 

I will tell you right now, Todd is among the most unique creators & performers you will ever hear… you’ll realize that immediately as you listen to “Water Dancer“… the visualizations (stones skipping across waves, or surfers sliding through the ocean) are palpa-ble… it’s only 3:46, so you’ll be hitting “replay” often, I’ve no doubt… this one will be getting MAJOR airplay on stations ’round the globe, folks! “A New Land” will wrap you up in it’s quietly cast spell, and take you down roads you didn’t even know existed… when Fiona Joy’s piano melds in at the 2:36 mark, the magic truly comes alive. The album was produced by Will Ackerman & Tom Eaton & features Todd Mosby – composer, acoustic guitar, acoustic imrat guitar, electric imrat guitar, fender rhodes, synth bass; Michael Manring – bass; Charlie Bisharat – violin; Fiona Joy Hawkins – piano; Lola Hennecki – vocals, piano; Tom Eaton – fender rhodes, shakers, synth pads; Premik R Tubbs – saxophone, wind synth, bansuri; Jeff Haynes – percussion Steve Bankuti – drums and Noah Wilding – vocals. You’ll quickly notice the “nautical” theme from track titles like “Dolphin Song“, of course… what I love most about this song is Todd’s perfect “pacing”… again, it’s filled with images that you’ll be able to reach right out and experience… the interactions between the performers is subtle, yet totally engaging! Aspiring guitarists who love finger-plucking & strumming will find the closer, “Sea of Joni“, an inspiration, and listeners everywhere will be lifted up by the exuberant spirit the song projects… perfect way to close out an album.

Todd & his folks offer up a dozen gems for your aural adventure… the one that stood out for me, & is my choice for personal favorite, is “Atlantica“… it’s actually a complicated piece to play, but not (at all) complicated to listen to… absolutely lovely and completely engaging!

I give Todd and his players a MOST HIGHLY RECOMMENDED rating, with an “EQ” (energy quotient) score of 4.99. Get more information on Todd’s BandCamp page for the album. Or, better yet, purchase it from the Pre-sale site on iTunes!

REVIEW Dyan Garris

“Open Waters” by Todd Mosby Album Review by Dyan Garris, New Age CD and Zone Music Reporter - “Open Waters” by Todd Mosby is a concept album based upon the theme of a journey from the lost city of Atlantis. Whether or not you be-lieve Atlantis is real or mythological, the music on “Open Waters” is as fresh and authentic as it gets, just like the sea.” – Dyan Garris

Todd Mosby is an American composer, award-winning guitarist and recording artist who em-bodies the musical philosophies and traditions of classical North India, traditional Jazz and classical composition with immersive studies in each of these disciplines. He has toured performing arts centers across America such as Montalvo Arts, Kravis Center, Soka University, The Harris Center, Prius Hall, and Polsky Theater to name a few. As well, Todd’s music has been featured in films, television shows, and advertisements.

Hailing from a family of inventors, Todd co-created a new instrument, the Imrat guitar, along with Kim Schwartz and Imrat Khan. This instrument allows him to “phrase as a sitarist and still play the lush chordal harmonies found in modal jazz.” Todd’s compositions for this instrument are an authentic blend between North Indian Rag and traditional Western Jazz. Fascinated with Indian music from early on, Todd is the only guitarist ever admitted into the famed Imdad Khani Gharana of sitar musicians dating back 500 years to Tan-Sen and the Mogule courts.

The track titles on “Open Waters” are oceanic and nautical in nature. The album concept is one of an archetypical journey. This one follows the potential survivors of the destruction of Atlantis as they journeyed forth by sea to a new land, not knowing what the journey would bring. This album is the 2nd installment of a trilogy based upon the elements of earth (Eagle Mountain), water (Open Waters), and air (unreleased as of the date of this review). Mixed and mastered by Tom Eaton, and produced by Eaton and Will Ackerman, the album fea-tures renowned musicians, Fiona Joy, Michael Manring, Charlie Bisharat, Jeff Haynes, Premik Russell Tubbs, Steve Bankuti, and other notables. This crossover album combines elements of Jazz, New Age, Folk, and Indian music.

It is 12 tracks of lush and “day-dreamy enjoyability.” The voyage begins with the “floaty,” ambient “Drifting,” which perfectly sets the mood for all that comes next on the journey. This is followed by “Atlantica. This is flowing and agreeable with a kind of soft jazz feel. Very nice. The title track, “Open Waters” is spectacular. The word-less, haunting, vocals of Lola Hennecki make this song special. Jazzy, relaxing, and uplifting, I think we will be hearing this everywhere.

The entire album is wonderful, making it challenging to choose a particular favorite. So, I won’t even try to do that. However, some standouts on the album: “A New Land” features well-known New Age pianist Fiona Joy along with Jeff Haynes on percussion, which is utterly superb, and gives the song a magical quality. The outstanding vocal track, “Western Sky” is equally as enchanting. We can literally feel the vivid light of the Western sky shining upon and through us, bringing peace and illumination to the spirit. Beautiful. The graceful, “Dolphin Song” conjures up images, and perhaps ancient memories, of these magnificent creatures elegantly swimming along with the flow of the sea. And so, then can we. “Water Dancer” is lively, smooth, and fun. It’s a “feel good” tune. Love it. Ditto for “Island Song.” Upbeat, and with a gorgeous mix, this is excellent. The album closes out with the out-standing “Sea of Joni.” With wordless vocals again, this song is hopeful, joyful, and uplifting to the soul.

“Open Waters” is an outstanding, unforgettable album with many layers and textures. The love pours out of it and onto us, like a sea of its own. A marvelous, mystical thread connects each song to the other and to our hearts. This sojourn across open waters is a “must have.”

Todd Mosby Feature INTERVIEW

Author: Michael Diamond
Music & Media Focus March 20, 2016

While many musicians create their own music, not many, I’m sure, create their own original instruments to play it on. However, guitarist Todd Mosby helped design and create one of the most fascinating guitar/sitar fusions I’ve ever seen. And man, can he play it! More on this innovative instrument later, but for now let me introduce and provide some background on this master musician.

Some of the earliest music Todd was drawn to was the bluegrass revival movement of the ‘70’s with artists like Doc Watson, Vasser Clemens, Bill Monroe, Earl Scruggs, and others in addition to the music of Joni Mitchell, James Taylor, and later into fusion, folk, jazz, and sophisticated pop. However, according to his bio: “A chance opportunity to catch a concert and workshop on Indian music in college opened up Mosby up to the winding microtonal capabilities possible in non-Western music, and he pursued these new paths with steely conviction. The music was so difficult, but I was so passionate about it. I used to get headaches and pass out trying to learn it.” Parallel to this, he became more spiritually centered through yoga and meditation, and his rigorous music practice routine slowly blossomed into a kind of prayer. These awakenings and introspection also led him to numerous charitable pursuits.”

Todd’s formal training has been extensive and includes a Diploma and various certifications from the prestigious Berklee College of Music in Boston, a Master’s degree in Music Composition from Webster University, as well as years of study with Usted Imrat Kahn where Todd made history as the only guitarist to enter the Imdad Khani Gharana of sitar musicians, India’s oldest and most respected musical family, dating back 500 years in an unbroken chain. All this has brought us to today, where Todd is considered one of the most highly regarded jazz guitarists and composers in the St. Louis area where he lives, and headlining every major jazz festival and playing every major venue in town, sharing the stage with some of the biggest names in jazz.

He was also one of the first artists from St. Louis to enter Russia on a 3-city tour after Perestroika in 1994. In addition, his music has been featured in numerous films, television, shows, and advertisements.

It’s been an illustrious career thus far, but Todd’s creativity is still picking up momentum and moving into even more adventurous territory. His stunning new album, On Eagle Mountain, was produced by Grammy winning producer and Windham Hill Records founder Will Ackerman, along with co-producer, studio wiz, and multi-instrumentalist Tom Eaton, whose own superb recent release I had the pleasure of writing about.

Recorded at the iconic Imaginary Road Studios in Vermont, the album also features a number of Will’s A-list accompanists that I’ll mention as we get into discussing the tracks. But one of the stars of the album is not a person, but is the innovative instrument that Todd was involved in creating. The Imrat guitar is a 20 stringed hybrid sitar guitar with scalloped fretboard. It is the dream instrument of Ustadt Imrat Khan who had a major influence in the design of this unique acoustic instrument. Luthier Kim Schwartz, who was already experimenting in this field, was the builder and the instrument was tweaked to Todd’s performance specifications. The acoustic Imrat guitar is the first of its kind and serves as a musical bridge between the two eastern and western music cultures. There is also an electric version. Those interested in the technical details and back-story of this instrument can read more here.

In my interview with Todd, we discussed the theme of his new album, On Eagle Mountain. According to Todd: “This particular body of work revolves around a central locality theme of a mystical mountain where the elemental, animal, crystal/mineral andspiritual kingdoms resides. The project evolved from a personal experience growing up, in and around various mountain settings (Colorado, North Carolina, Missouri Ozarks), an acquired spiritual wisdom and understanding and a need to translate into musical sound what I experience emotionally and metaphorically.”

As we get into the album itself here, I must point out the gorgeous packaging that accompanies the CD. Included is a 15-page booklet with beautiful artwork, information about the album and individual tracks, as well as a Zen-like haiku that Todd has written for each song, expressing its essence. While many of the tracks are larger ensemble pieces, the album opens with “Spirit of the Mountain,” which features Todd on his Imrat guitar, accompanied only by Tom Eaton on synthesizer strings and textures and singing bowls. The music is quite spacious and ambient, creating a dreamy atmospheric vibe that draws the listener in. If I hadn’t read about the various features and sounds that the Imrat guitar can create, I would have thought that a number of different instruments were being played. It was also interesting to hear the amount of reverb and echo effects that were used, which are not as often found to that degree in other recordings I’ve heard coming out of Imaginary Road Studios.

From there we take flight with a short piece called “Soaring,” that is another duet – this time with Premik Russel Tubbs on electronic wind instrument, a kind of flute or horn synthesizer. Premik has worked with everybody from Carlos Santana to Ravi Shankar, Sting, Whitney Houston, and many other well-known artists. Here the combination of his airy flute sound with Todd’s Eastern-influenced drone sounds is transcendental. A track entitled “Eagle Mountain” brings in a larger ensemble. On this one, in addition to Todd and Premik is world renown fretless bassist, Michael Manring, percussionist Jeff Haynes who has played with the Pat Metheney Group, and the maestro himself, Will Ackerman on rainstick. It’s interesting that Todd described this song as having been composed “during the coldest week of the coldest month of the coldest year ever in the mountains of Vermont while living in a cabin with only a wood stove for heat.”

However, there is no trace of icy ambiance, and the song is actually quite warm and inviting in its sweet rhythmic flow. Perhaps Todd was channeling the warmth of that wood stove.

And speaking of rhythm, “Falling Light” absolutely launches itself right out of the gate on an up-tempo romp that showcases Todd’s impressive guitar chops in a somewhat jazzier context. Yet in a yin-yang contrast the song drops into a more introspective section in the middle graced by the ethereal vocalizations of Noah Wilding, who also does an impressive chant section towards the end that was inspired by Will Ackerman.

And making their introduction on this album are violinist Charlie Bisharat, who is best known for playing with Yanni and John Tesh, and bassist Tony Levin, who records and tours with Peter Gabriel and King Crimson.

With 7 more songs to go on the album, I won’t go into detail about all of them, but will share what were, for me, some of the many highlights. A much more introspective piece is “Colorado Missouri,” that features the haunting English horn playing of Jill Haley along with Tony Levin on bass. Todd’s haiku for this piece, which perfectly reflects its spirit, is:

“Portals Open
Native Star Seeds
Crystal Silence
Speaks Softly”

A song called “Jack’s Fork” captures the feeling of floating down an exquisitely scenic river, and also features whatTodd describes as “a rare, maybe the only recorded bass solo performed by bass legend Tony Levin at the end of the song.” I have to say that out of the dozens of albums I’ve written about that Tony Levin played on, I don’t ever remember hearing him solo like this – so a rare treat indeed! Joining a number of the aforementioned accompanists on a tune called “Spirit Dancer” is cellist Eugene Friesen, who is known for playing with the Paul Winter Consort. I loved the toe-tapping, jazzy, free wheeling energy of this song, and especially Todd’s exceptional guitar work, which alternated between his regular guitar and sitar sounds – definitely one of my favorites. I could easily hear the influence of guitarist Pat Metheney, who Todd cites as one of his guitar heroes.

In contrast to this intricate ensemble playing, the next song, “Ode to Joe,” is the only solo track on the album, which highlights the fact that Todd’s elegant and expressive guitar playing is equally enchanting on its own. The next couple tracks, “Moon Song” and “Mountain Lullaby” lean towards the quieter, more reflective side of the musical spectrum, and are both quite lovely. The album draws to a conclusion with “Star Song,” which features the alchemy of Todd’s sparkling guitar work blended with ethereal vocal textures, percussion, and interestingly, both Michael Manring and Tony Levin on bass.

While On Eagle Mountain will certainly have a wide appeal, I would say that anyone who loves guitar music in particular, should not miss this one! The album is a mélange of exotic ingredients that alternately sizzle and simmer to delight the musical palate with flavors of new age, contemporary instrumental, jazz, and world music. Todd Mosby is a guitarist’s guitarist whose exceptional compositional sensibilities and impeccable playing technique create one of the most compelling albums I’ve heard in a while.

Todd’s skills as an arranger are inspired, and as to be expected from Imaginary Road Studios, the album is masterfully recorded. The range and integration of Todd’s diverse influences is exceptional which led Will Ackerman himself to say of Todd: “Somehow he manages to synthesize these disparate elements into a singular musical voice that is unique in my experience… and ‘unique’ is not a word I throw out easily or frequently.” I was consistently impressed with everything I heard over the course of this listening experience and have no doubt that this album will bring a much wider recognition and appreciation for the talents of guitarist Todd Mosby.

"Four guitars invites the listener to experience the sonic world of the acoustic steel string guitar in the most intimate and magical manner. The exquisite recorded sound of each instrument engulfs the listener. In songs like Unconditional one hears the careful entrance of each guitar adding it's unique voice. Eventually deeply rich and resonant textures are revealed. Beautifully strummed chords, cascading arpeggios, heartfelt single line melodies and solos, luscious vibrato, jewel tone harmonics, wonderfully sustained notes and chords, percussive tapping all help shape these beautiful "songs without words". Four musicians came together to share a lifetime of music making on four guitars. Those who are fortunate enough to hear what they created will be glad they did." - Benjamin Verdery (Composer and Professor of Guitar Yale School of Music)

“Four Guitars is more than the work of four fine players. It’s the extraordinary collaboration of four composers who clearly love the space they occupy together. Anyone who has ever collaborated in producing art will tell you it’s not easy. Doing it with four composers demands an even rarer form of magic. On this album, Will Ackerman, Trevor Gordon Hall, Vin Downes and Todd Mosby found it! Their shared vision is just beautiful to experience. Listen!” - Alan Gross (Acoustic.Life Publication) (Grammy Winning Guitarist Los Angeles Guitar Quartet)

Reviewer: Pete Pardo, Sea Of Tranquility

Added: April 17th 2005
Todd Mosby Group: West East

The jazz-fusion ensemble Mosby Group hails from St. Louis, and is led by master guitar player Todd Mosby, a gifted musician who combines searing jazz rock ala John McLaughlin, Larry Coryell, and Pat Metheny, with North Indian rag influences. Mosby utilizes electric guitar as well as the 20 stringed Indian instrument called the Imratgitar on the CD's seven lengthy pieces, and he is joined by a crew of other seasoned musicians to create an enjoyable listening experience of smoldering fusion music.

"North Star" kicks things off in fine fashion, a song sweetened by the wonderful Fender Rhodes of Adam Maness and the tasty guitar lines of Mosby. The rhythm attack of bassist Phil Burton and drummer Henry Claude add a nice funky groove to this very 70's sounding piece. Maness turns in a great Chick Corea-influenced performance on the 12-minute "Bhim's Palasie", where his gentle Fender Rhodes electric piano melodies float above the gentle jazz rhythms, eventually giving way to Mosby's blazing guitar runs. After the brief "Falling Water", which sees Mosby hitting gentle melodies on the Imratgitar, the band moves into the laid back jazz of "Heading West", a song that combines styles of be-bop, fusion, and Latin jazz, surely to please fans of Corea's work. Mosby delivers some speedy leads here that harken back to the glory days of John McLaughlin's Mahavishnu Orchestra, while furious rhythms and spacey Fender Rhodes support him marvelously.

On "Kalian's Way", the band melds Indian rag with Eleventh House styled fusion, as Mosby performs some melodies on the Imratgitar and then lays down a searing electric guitar solo. The band lets it all out on the rampaging "Turn", a rocking fusion number featuring Mosby's distorted wah-wah leads, popping bass grooves from Carl Caspersen, nimble drum work from Ron Carr, and of course Maness and his magic Fender Rhodes. Fans of the Mahavishnu Orchestra will love this tune!

There you have it, a solid mix of calm and volatile 70's fusion styles, with some traditional Indian flavors added in for good measure. East West is highly recommended to fusion lovers of all ages.

Track Listing 
1) North Star (9:53) 
2) Bhim's Palasie (12:27) 
3) Falling Water (2:28) 
4) Heading West (9:23) 
5) Kalian's Way (11:44) 
6) S.A.T. (0:19) 
7) Turn (9:06)

Review by Matthew FROss (USA Today)

Artist: Todd Mosby
Album: West East
Rating: 5 Stars (out of 5)

Missouri-based Western and non-Western guitarist, Todd Mosby, opens up with an introspective recording featuring a rare, Imrat guitar.  The Imrat guitar melds the microtonal sounds of India with American jazz, neo-classical, and experimental music idioms amidst a plethora of sympathetic strings.  The instrumental recording is aptly-titled, as it bridges the global sounds of the East and the West over seven tracks.

“North Star” opens with a jazzy intro, swishy percussion, and a funky bass-line that takes hold and doesn’t let go.  The Imrat guitar gurgles with funky pleasure and a spritely elegance.  The instrumental tune contains sparkling and fluid keyboard arrangements and glittery guitar picking that is electric and groovy.  This is a relatively up-tempo track that incorporates a jazzy, throw-back of a sound that encapsulates a quasi-funky beat and bossa-nova-esque chords.  Whatever it is called, “North Star” opens up with shimmering beauty, sparkling rhythms and melodies, and funky percussion with electric guitar sounds that run for nearly nine-and-a-half-minutes. 

“Bhim’s Palasie” opens with a light jazz percussion set and scintillating sitar-like sounds on the Imrat guitar.  There are slow, melodic sounds early on with sauntering keyboard arrangements that are jazzy and crystalline with light percussion taps, cymbals, and drums.  A few of the Imrat guitar notes permeate the track with Eastern brilliance and beautiful, tonal clarity.  There are a few repeated sequences that incorporate a little more percussion each time.  The bubbly and smooth jazz guitar sounds are probably created with a keyboard, but the affect is still on the mark.  About four minutes in, the track goes into a full-blown avant-garde jazz medley with lush cymbals, fluid keys, and punchy Imrat guitar.  The latter half of the track builds on the first half with a little more percussion, faster guitar work, and more bossa-nova-esque arrangements that are inspired by South Asian nuances. “Falling Water” begins with a few sparkling acoustic guitar notes unaccompanied by any other instruments.  The finger-picking is rustic, yet meditative throughout.  The cascading sounds seem to emulate raindrops or trickling water.  The aptly-titled song provides no other accompaniment, but it is very intimate and soothing.  It ends as subtle as it begins with a scintillating melody and organic arrangement in true instrumental fashion. “Heading West” opens with swishy percussion, varied ticks and rattles, and spritely guitar arrangements.  The jazzy beat incorporates a bit of a South Asian ambiance, but the fluid keyboards and edgy percussion suggest a more of a Western influence, which the title describes. Mid-song, the tune picks up the tempo with swishy percussion, fast guitar picking, varied percussion sounds, and a mixed bag of tones, timbres, and melodies.  At any rate, Todd knows how to evoke different results with different arrangements.  The track is not completely divergent from the rest of the album; instead, it is more complex with more instrumentation. 

The end of the track features light drumming, clashing cymbals, and a few keyboard notes with a bit of a bass-line. “Turn” will make heads with an opening beat that is electric, fluid, and funky.  The swishy percussion, frenzied and muted guitar sounds, and up-tempo keyboard arrangements make the track one of the more aggressive compositions on the album.  For instance, the fast percussion and electric guitar displays are more akin to a rock instrumental than a jazz or new age arrangement.  Still, the divergent song will awaken one’s soul by creating vivid rock rhythms and loud sounds that carefully incorporate fluid keyboard sounds as both solo and mixed arrangements. 

Todd Mosby creates a moving instrumental masterpiece that is part new age, jazz, bossa nova, neo-classical, avant-garde, and world fusion. The conglomeration of genres is well-represented throughout.  A mix of sounds and melodies makes the album shine.  Fans of guitars, jazz, world fusion, Shawn Lane, and Action Figure Party will find faultless happiness in the musical creations of Todd Mosby.