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To see an artist’s progress and growth from one release to the next can be a truly inspiring event. Such is the case with Stephanie Sante’s 2001 Immaculate Conceptions release as compared to her earlier notable release. Sante’s newest creation is light years, infinite spaces, and billions of parsecs ahead of anything I have previously heard by her. The awesome sound-visions she has sculpted have propelled her, (in light of my well-trodden listening paths), upward to the hallowed ranks of the top synth artists on the planet. Sante can safely rest as accomplished and highly successful with the release of Immaculate Conceptions.
On “Radiance” and “Twilight” one can easily find themselves adrift, rapt in swoon, and transported into regions of deepest dream-moment. With “Rainmakers” things are more Native American-esque and percussive – lively. On the plateau of “Giza” yet another region and time’s peoples are brought alive again – the dawn illuminates the Great Pyramid – Ka rises – ghostly boats drift among ancient ruins – echoes of forgotten rites drift across the eons – I see god-kings and the shadows of Anubis. Only Sante’s music so paints such a vivid memory. You can feel a deep awe cast upon the sun-scorched desert lands so long ago Egypt’s mysteries reigned. It continues with the somber tones of “Iridescence” where Sante employs very unique synth voicings and midi-guitar strummings to evoke jeweled places regal – the courts of opulence and leisure seem near.
I shall cease here, to not “overdo” my praise for a must-have release. Nor will I reveal all the great joys one can discover in their own listen to Immaculate Conceptions. Discover Stephanie Sante’s vision – all over again! Recommended to roam inner worlds majestically.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.