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Ed Blumenthal | The Late Train Home

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New Age: Neo-Classical New Age: Contemporary Instrumental Moods: Featuring Piano
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The Late Train Home

by Ed Blumenthal

Emotionally uplifting semi-minimalist piano with horn, violin, guitar, bass, cello, EWI, and etheric voice accompaniment.
Genre: New Age: Neo-Classical
Release Date: 

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  Song Share Time Download
1. Who Knows
6:00 $0.99
2. The Roads Imagined
4:11 $0.99
3. We Walk On
4:37 $0.99
4. The Hands We Hold
3:33 $0.99
5. Along the Way
2:07 $0.99
6. The Late Train Home
5:00 $0.99
7. Always Waiting
4:59 $0.99
8. Until Then
5:46 $0.99
9. The Sea Sings
4:14 $0.99
10. For Us
5:56 $0.99
Downloads are available as MP3-320 files.


Album Notes
The Late Train Home was produced under the guidance of Grammy winner William Ackerman (founder of Windham Hill Records) and ace mixer and mastering Engineer, Tom Eaton. It features guest appearances from Charlie Bisharat (violin), Eugene Friesen (cello), Jill Haley (English horn), Noah Wilding (wordless vocals), Premik Russell Tubbs (EWI), as well as Eaton (bass), and Ackerman (acoustic guitar). The album also includes the mesmerizing sound of the Zadar Sea Organ on the track - The Sea Sings.

What others are saying:

"This is as successful a debut recording as I've ever heard."
William Ackerman - Imaginary Road Studios

"Ed Blumenthal's pacing is pure perfection. I give Ed and all his players a Most Hightly Recommended rating, with an EQ (energy quotient) score of 4.99 for this sonic adventure."
Rotcod Zzaj - Contemporary Fusion Reviews

Ed Blumenthal's debut, The Late Train Home, places him squarely among the vetrans in the field of instrumental piano artists - yes, it's that good of an album."
Bill Binkelman - Wind and Fire

"The Late Train Home is a breath of fresh air and is excellent from the first note to the last."
Kathy Parsons - Mainly Piano



to write a review

Kathy Parsons

From MainlyPiano
"The Late Train Home" is Ed Blumenthal’s first album under his own name; he also released "The Way The Story Goes" in 2014 under the name EVI. The earlier album was solo piano and consisted of original music written many years ago. "The Late Train Home" was co-produced by Will Ackerman and Tom Eaton at Ackerman’s Imaginary Road Studios in Vermont and features many of the excellent musicians who often play on Ackerman’s productions. The ten original pieces express a range of emotions and experiences with a relaxed pace throughout and plenty of substance to satisfy a more focused listener. Guest musicians include Charlie Bisharat (violin), Eugene Freisen (cello), Jill Haley (English horn), Noah Wilding (voice), Premik Russell Tubbs (EWI), Tom Eaton (NS bass) and Will Ackerman (acoustic guitar). One track also includes the Zadar Sea Organ in Croatia (more about that below!). It is also interesting to note that reading the titles of the pieces in their playing order acts as a descriptive poem.

"The Late Train Home" begins with “Who Knows,” a beautifully-flowing piece for piano, cello and English horn. As usual, Freisen’s soulful cello adds depth and poignance, as does Haley’s English horn. Much of the piece is a quietly reflective piano solo with the other two artists adding tonal color in select passages. The music becomes bolder and more dramatic in the middle of the piece and then tapers off to a more subdued closing. “The Roads Imagined,” a duet for piano and EWI wind synth, overflows with longing and a touch of regret - a favorite! “We Walk On” combines piano, cello, English horn and voice with elegance and grace. The easy tempo suggests a walking pace - unhurried and enjoying being out and about. “The Hands We Hold” could be about many things - children who have grown up and moved away, past loves, elderly parents, etc. With deep emotion pouring freely from their hearts as well as their instruments, the piano and violin seem to mourn a painful loss. “Along The Way,” for piano and English horn, lightens the mood considerably with a sunny daydream. The title track is the only piano solo this time and beautifully demonstrates what an expressive pianist Blumenthal is. As I listen to “Until Then,” I’m watching several birds effortlessly gliding on wind currents, swooping through the air without having to flap their wings at all. That’s exactly what this piece feels like to me. Piano and EWI wind synth create effortless perfection! “The Sea Sings” has a fascinating story. To quote the liner notes: “Perched along 230 ft. of coastline in Zadar, Croatia, lays an architectural wonder; a series of marble steps that join the land into the sea. These steps conceal a labyrinth of tubes that produce harmonic tones as the sea water rushes in. Mesmerized by the haunting music the wind and tides were composing, I sat down at my piano, turned on the recorder, and improvised an accompaniment. This was done in one take, and I have only ever played this song once.” Tom Eaton then mixed “The Sea Organ” with Blumenthal’s piece. It’s an incredible one-of-a-kind piece, and I have just added a new destination to my “bucket list”!

"The Late Train Home" is a breath of fresh air and is excellent from the first note to the last. I hope there will be many more albums coming from Ed Blumenthal!

Dyan Garris

The Late Train Home by Ed Blumenthal | Album review by Dyan Garris
The Late Train Home by Ed Blumenthal

“Warm and intimate, ‘The Late Train Home’ is a thoughtful, evocative, album that soothes the soul, relaxes the psyche, and gives us pause for deeper reflection upon our journey.”

There are so many windows in life. What we see (or hear) depends upon where we are sitting or where we are looking. Are we looking in or are we looking out? Are we seeing a reflection? A mirror into eternity? Or perhaps we are simply contemplating our journey.
“The Late Train Home” is the solo piano debut of Ed Blumenthal. Ed is a chiropractor, composer, and mostly self-taught pianist. This thoughtful, evocative album is ten heartfelt, relaxing, well-composed tracks that soothe the soul, relax the psyche, and give us pause for deeper reflection upon our journey. The album has a warm, intimate, authentic feel throughout.

Co-produced by Will Ackerman and Tom Eaton, and mixed and mastered by Tom Eaton, the album was recorded at Will’s legendary recording studio, Imaginary Road Studios. And here we also have a talented group of guest musicians woven into the mix as well. Charlie Bisharat performs on violin, Eugene Friesen on cello, and we also have the distinctive English horn of Jill Haley. Too, we have beautiful, ethereal, wordless vocals from Noah Wilding, masterfully mixed in, as well as Premik Russell Tubbs on EWI wind synth. Tom Eaton performs on NS bass and rounding out the mix is Will Ackerman on acoustic guitar on a few of the tracks.

So yes, it’s good. It’s really good. But there are some very interesting elements in here to note. The first is that if you read the song titles in order, they form a theme or “story” that goes something like this: Who knows the roads imagined? We walk on. The hands we hold along the way. . .The late train home. Always waiting. Until then, the sea sings for us.

“The sea sings for us” is particularly interesting because the song, track 9, “The Sea Sings,” is an improvised piano accompaniment with a recording from a man-made architectural wonder in Zadar, Croatia, called The Zadar Sea Organ. The Sea Organ is a series of marble steps merging the coastal land with the ocean. Underneath is a network of tubes that produce harmonic tones as the sea water does its timeless dance of ebb and flow. Done in one take, this is a beautiful, mesmerizing, unique song. It is quite special, as is the whole album.

The album opens with the very pretty “Who Knows.” Expressive and emotionally evocative, with piano, cello, and English horn all nicely wrapped in each other’s arms, this is 6 minutes long, setting the tone for all that follows. The equally pretty, “The Roads Imagined” follows with piano and EWI wind synth dancing elegantly together. “We Walk On” features soothing, wordless vocals, along with English horn, piano, and rich cello. “The Hands We Hold” is a harmonious blend of piano and English horn.

The flowing “Along The Way” brings us further along into the journey. This is a favorite on the album. The violin and piano together are superb. The title track, “The Late Train Home,” is rich and delicious, perfectly capturing the feelings of traveling on the train of life. It’s contemplative and reflective. Another favorite is “Always Waiting,” with sweet violin, cello, voice, and Will Ackerman’s guitar all adding luscious layers to this super-relaxing piece. It’s truly beautiful. The EWI wind synth and piano are the perfect couple in “Until Then.” I really love these two instruments together. Premik Russell Tubbs is a master of this instrument. This is harmonious, melodic, wistful and very nicely composed.

The album closes out with the very beautiful “For Us.” This has a heavenly quality with Ackerman’s guitar sounding almost harp-like, Tom Eaton’s NS bass adding texture, and the ethereal vocals floating in and out of the dream. You can feel your stress melting away as you completely zone out. Very nicely done.