"He is probably the most underestimated musician on the planet and also probably one of the most advanced."
- Eric Clapton
Featuring: Sonny Landreth, guitar
David Ranson, bass
Brian Brignac, drums
Sonny Landreth’s 11th album, bearing the fittingly evocative title Elemental Journey, is something very different from the Louisiana slide wizard. Released on his own Landfall label on May 22, 2012, the new CD is Landreth’s first all-instrumental effort and his most adventurous work to date.
“From day one on the guitar, many genres of music have had an impact on me” says Landreth. “For these recordings, I drew from some of those influences that I hadn’t gone to on previous albums with my vocals. Trading off the lyrics this time, I focused solely on the instrumental side and all this music poured out. Then I asked some extraordinary musicians to help me layer the tracks in hopes of inspiring a lot of imagery for the listeners.”
Like its predecessor, From the Reach (2008), Elemental Journey features guest stars, in this case handpicked by Landreth for what each could bring to a particular aural canvas. Joe Satriani delivers an astonishing, ferocious solo on the audacious opener “Gaia Tribe,” the returning virtuoso Eric Johnson casts his seductive spell on the dusky dreamscape “Passionola” and steel drum master Robert Greenidge brings his magical overtones to the balmy, swaying “Forgotten Story.”
Drummers Brian Brignac, Doug Belote and Mike Burch, each of whom Landreth has worked with in the past, lend their particular feels to various tracks, working with Sonny’s longtime band members, bass player Dave Ranson and keyboardist Steve Conn. Tony Daigle, another key member of Sonny’s team, engineered and mixed the album, while Landreth produced.
“One of the things I’ve always loved about a good instrumental song is that it can be more impressionistic and abstract,” Landreth notes. “Though melody is always important, it’s even more significant with an instrumental. So what I wanted to achieve was something more thematic with lots of melodies and with a chordal chemistry that was harmonically rich. That’s when I got the idea to treat the arrangements with more layering and to have the melodies interweave like conversations. I also wanted it to be more diverse, to not adhere to any categories. I wanted to leave it wide open to possibility.”