Electronic keyboards are often designed to synthesize acoustic instruments or other
instruments like an electric organ, violin, or a guitar. Often, these sounds are played
and the listener may mistake them for the real thing. The quality of sounds on the
palette of synths today can easily produce quality music and allow the creation of a
personal orchestra. I understand why most synths are aimed to be successful in
replicating or reproducing real instrument's, however, I get excited when the instrument
allows me to be more creative and produce sounds from my imagination. New opportunities
can therefore open up to explore new music. This is one reason why I really enjoy
writing music with electronic instruments.
With the release of this third album on his own Electrofine label, Jim Pietkivitch expands further into the heart and mind of space music.
The 10 tracks on Inner Worlds confirm his already impressive standing in this genre. Once again, Pietkivitch avoids the
all-too-common mistake of losing the music in the technology. His obvious passion for this work helps create electronic feelings that
are surprising and impressive on an exclusively keyboard composition.
Remarkably organic, tracks such as "Skyward," "The Way Home" and "Inner Worlds" show such gentle, personal touches and
eloquent flourishes that at times it seems the "instruments" must certainly be actual, not digitally synthesized. However, even
discounting his battery of synths, Pietkivitch is not entirely alone on Inner Worlds, as flautist/vocalist Melanie Lunsford lends
her talents to two tracks: flute on "Skyward" and vocals on "Peaceful Valley."
Like a deep, sighing release, Inner Worlds contains the smiling contentment of a cleansing breath, and the knowledge that there
is no rush, no hurry, no panic necessary in this life--that everything not only happens for a reason, but unfolds exactly as it needs to,
when it needs to, with no need for intervention on our part. Additionally, Inner Worlds stands up well to repeated listening and
ought to appeal to recreational listeners, too.
- Joe Derderian
In the '90s, instrumentalist Jim Pietkivitch acquired a small following in the new age market -- and the producer/composer accomplished
that by providing albums that are fairly unpredictable. Some new age artists make a point of being as predictable and formulaic as
possible; their primary goal is to help listeners relax and unwind by giving them a peaceful ambience, and they want to make sure that
listeners know exactly what to expect from one moment to the next. But Pietkivitch, for all his peacefulness and tranquillity, has shown
a willingness to try different things on different songs. Pietkivitch obviously appreciates different styles of music -- he doesn't come
across as someone who listens to new age exclusively -- and he is likely to incorporate elements of European classical music one
minute and jazz the next (and perhaps world music after that). Pietkivitch has also been influenced by progressive rock, especially
Tangerine Dream and Pink Floyd; other artists who have affected his work (either directly or indirectly) range from Steve Roach to
George Winston to Jonn Serrie (not to be confused with New York-based jazz pianist/keyboardist John Serry). Pietkivitch began
studying music in the '70s, when he was a pre-adolescent. After starting out on the oboe at the age of 11, Pietkivitch took up the
acoustic piano in 1978 and drums in 1980. As a high-school student, he played in various progressive rock and jazz bands -- and
one of the people he studied with was jazz drummer Joe Pulice. But eventually, Pietkivitch made new age his primary focus and
learned about the uses and possibilities of electronic synthesizers. He learned that programming synthesizers could allow him to
function independently as a one-man band; even so, Pietkivitch never gave up acoustic instruments altogether, and his albums --
although heavily electronic -- have also found him playing traditional ethnic instruments that are generally associated with world music
(such as Native American drums, the African djembe, and Tibetan bells).
Pietkivitch's recording career began in 1994, when he recorded and put out his debut album, Twilight Dreams. At first,
Twilight Dreams suffered from limited distribution, but that changed when the independent Ivory Moon label re-released the
album in 1995. It was in 1997 that Pietkivitch started his own label, Electrofine Music, which released his second album, Spiral Journey,
the following year. In 2004, Pietkivitch put out his third album, Inner Worlds, on Electrofine; the album, which he produced,
features guest Melanie Lunsford on flute and vocals.
- Alex Henderson
The music made by Jim Pietkivitch reflects the intense emotions that activaty his
artistic creativity. With an approach more or less connected to New Instrumental Music
as well as Space Music, the album offers us an excellent sample of the work by this
artist, who has a remarkable talent to create melodies of a great beauty. A very good
choice for those listeners who enjoy a melodic symphonism with space shades.
-Edgar Kogler
Aural Innovations
I’ve always been fascinated by musicians who could creatively sneak classical music
inspired riffs into their songs. It’s what made me give up Top 40 for Progressive Rock
when I was just a kid. Over the years I’ve sampled a variety of bands that successfully
mated classical and rock. To be honest, I’m pretty particular about my music, and while
I liked all of them, I drifted away from most of them over the years. I did manage to find
a few gems and three symphonics that still find their way into my regular rotation are
Enid - In the Region of the Summer Stars, Anthony Phillips - Slow Dance, and Michael
Oldfield - Islands.
Of course, over the years my musical tastes changed. I no longer seek out progressive
rock with the fierce determination I once did and symphonic even less. So, like I’ve
said here before, lots of music goes right by me and I never even know it.
That brings me to Jim and Inner Worlds. Jim plays keys, percussion and oboe. He’s joined
on 2 tracks by Melanie Lunsford who plays flute and sings. I should tell you that I
really like this recording. It is without a doubt one of the most beautiful symphonic
works I have heard in a very long time. Even though it’s electronic keyboards, it’s
mostly natural sounding instruments and organic patches. There is a very light
sprinkling of percussion to add a bit of snap when it’s needed.
The songs themselves are, well, beautiful. Lilting melodies balanced out with gentle
accompaniment. Miles away from ambient, but soothing and introspective just the same.
Even though it’s an all instrumental album, it’s never boring or repetitive, and I
never found myself tuning it out (even briefly). This one will join my regular rotation,
stuffed in between Jeff Greinke, Robert Rich, and the Ozrics.
-Louis Hesselt-van-Dinter
In listening to this project I discovered an artist that delivers rich wonderful sounds.
His music is thick, nuanced and so lush that I was almost blown away by most of the cuts.
The first couple of tracks clearly presented this sense. Musically it has a symphonic,
near classical aura but it is more modern--as what is done with synthesizer. Cut #3
"Flying Crow" (6:20) has more emphasis on textures ala electronic. I really enjoyed
this tune as I did many of the cuts. On "Desert Journey" the sense was most interesting
and somehow the song reminded me of MIKE OLDFIELD and maybe his" Tubular Bells"
[the theme song to THE EXORCIST] (especially in the opening), as well as the other works.
"Beyond Dream" goes on for over an unbelievable nine minutes. Here, there's more to
the nuance and touch. In some ways this was my favorite cut. On other cuts he adds
edges that give the works an ethereal feel. In places he reminded a bit of say VANGELIS
and others. Often the songs develop slowly. One pretty number was "Farewell".
The title track, the last cut on the CD, has a magical and mysterious sense and pretty
much encapsulates the PIETKIVITCH approach. An interesting work that leads the mind to
soaring. Recommended.
-A Canales
Traversing the Gulf Of Burmer and docking on the shore of the Arkenstone Peninsula, Jim
Pietkivich’s soothing electronic vistas mine territories previously staked by
Rockenfield/Speer’s Hellscanyon, Emerald Web’s Catspaw, and Roach/Braheny/Stearns’
Desert Solitaire. On Inner Worlds, delicate melodies surf the crests of gentle,
hypnotic rhythms and combine into one “ambient rock” whole. Jim’s new album is a
soundtrack for zones less populated, kingdoms arid and sparse or lush and tropical —
those places as yet untainted by the wide swaths cut by civilization’s continual
expansion, and the residual peace they offer.
Realized with a bevy of the smoothest emulations of strings, pianos, oboes, basses and
delicate washes of pure synthetic space, Jim also performs on Roland V-drums and a handful
of indigenous instruments, including Native American drums, a Djembe and a Tibetan Bell.
This type of sonic terrain will prove much too somnolent for some, yet given patience,
the placidity found here can be very rewarding for those spare moments when the pomp of
prog, the frenzy of fusion, and the mania of metal just won’t do. Key tracks include the
melodic bliss of “Skyward”; the stationary freedom of making a “Desert Journey”;
“Farewell,” which echoes midperiod Jean-Michel Jarre; and the title track, which is
unabashedly reminiscent of Steve Roach’s days on the long-retired Fortuna label.
Adversely, “The Way Home” is much too saccharine.
Inner Worlds isn’t as texturally diverse or dynamic as, say, Kitaro, or latter-day
Vangelis, but Pietkivich borrows from neither. Recommended for fans of any of the
ambient/electronic/new age artists mentioned in this review.
-Elias Granillo
Take some hippie into yuppie sensibilities about electronic music, mix them with some well honed jazz chops, stir until tasty and you have a nice genre busting set that gives good vibes, good music and doesn't ask for qualification. A staple of back road music avenues, Pietkivitch continues his journey to quality music with a set that shines brightly. A nice set for those inner directed moments when adults just need something special to ease them into the quiet.
-Chris Spector
“Inner Worlds” is a melodic jazzy prog-rock escapade that coarse through your entire body with its beautiful notes and lingers there almost daring you not to continue listening. Vocalist/flutist Melanie Lunsford adds further dimensions to this spacey rock compendium. Several other interesting instruments add more flavor such as the djembe, rain stick, Tibetan bell, and Native American drums. The percussion while light slowly possesses you and engages you in dance.
-J-sin
