Cinematic Reviews

This 2-CD album is unique in the fact that many of the same songs are on the second CD, except that one is solo piano and the other is ensemble. If some of these songs sound familiar, it may be that you heard them as musical compositions for the movie industry. Brewer is not only a multi-million-selling composer, pianist and producer, but also a connoisseur of many of the greatest film scorers of all time. The beauty of Cinematic is that his music creates several moods, building tension and then letting the listener down easy at the end as the lights come up and the credits roll.

-Eagleeye One

“Cinematic” is the long-awaited and much-anticipated two-CD release from pianist/composer Spencer Brewer, his first release in sixteen years - and it was well worth the wait! Brewer was a chart-topping artist on the Narada label for more than a decade, also earning a reputation as an incredible stage performer, and then he sort of disappeared from the public eye in the later-’90s. Since then, he established Laughing Coyote, a state-of-the-art recording studio nestled among the Northern California redwoods, working behind the scenes with other artists and continuing his work as a mover and shaker in the Northern CA music community. He has also continued to compose new music and arrange older favorites for solo piano and a variety of other instruments. Which brings us to “Cinematic,” a masterpiece twelve years in the making. The set consists of “Black and White,” an eclectic collection of thirteen original pieces, some new and some older, recorded in all their glory for solo piano; the second disc, “Technicolor,” contains fourteen orchestrated pieces, ten that are also on the solo disc, performed by artists such as Paul McCandless, Jeremy and Joel Cohen, Alex de Grassi, Norton Buffalo, Matt Eakle, and many others. The piano appears prominently in most of the music, and there isn’t a weak track anywhere. The quality of the production is superb from the Salvador Dali cover artwork to the overall sound of the recording. I’ll go as far as saying that this is one of my favorite CDs EVER. I have been a huge fan of Spencer Brewer and his music for about twenty years, and am just delighted that he is back on the scene with such a great album! Brewer is always in his element playing live, injecting a ton of fun into his more upbeat jazz stylings and heart-melting emotion into his more serene work. “Cinematic” captures that spirit like none of his previous recordings have - this is truly Spencer Brewer at his best! Both discs alternate the upbeat with the quieter pieces, creating a varied and exciting listening experience. I have always wished Brewer had a solo piano album , and “Black and White” is IT. Containing a mind-boggling assortment of musical styles, from the hauntingly beautiful melodies he is known for from his Narada days to the funky jazz and blues he delights audiences with in concert to elegant neo-classical works, this is a true portrait of Brewer the pianist/composer. Titles include Brewer classics such as “Quintessence,” “Fellini’s Carousel,” “Caravanserai,” and “Satie’s Forgotten Dream” as well as newer gems like “Say What?,” “Lupin Swing,” and the sweet and slinky “Blueberry Street.” All of the tracks are newly-recorded and sound as fresh as ever. A delight! The “Technicolor” disc is equally spellbinding. From the richly-orchestrated “Quintessence” to “Dreamgift” for solo harp, this is again a complete portrait of the artist and his myriad styles of composing and playing. “Morning Glory” is lighthearted and whimsical, “Blueberry Street” is playful and bluesy, “Ode For Patricia” is heartbreakingly sad, and “Say What?” is funky fun. But wait, there’s more! “Outer Limits” is smooth jazz, “Cinematic” is ambient and floating, and “Lupin Swing” is big-band style jazz. Most of the other tracks are the smooth, melodic beauties many fans of Brewer’s recordings expect, and they will not be disappointed. It is extremely rare to find a collection of twenty-seven pieces without a weak one in the bunch, but this is one of those exceptions. If you are new to Spencer Brewer’s music, this is the album to start with. If you are a longtime fan, you’ll be thrilled with these new recordings and fresh arrangements of old as well as new favorites. This is NOT a compilation of older recordings assembled under a new title. All of the music has been newly recorded for this collection. This could be the release of the year, so check it out!

-Kathy Parsons, Mainlypiano.com

Composer, pianist, and producer Spencer Brewer expresses his love for movie music in Cinematic, a two-CD album celebrating classic film scores. The first CD, "Black & White", has Brewer playing solo piano, with the inclusion of a guitar and a flute on the last track. The second CD, "Technicolor", includes instrumental compositions by a diversity of artists led by Brewer on piano, synthesizers, Hammond B-3, and a pump organ created in 1888. A wondrous medley ranging from Brewer's own popular compositions to new material and some music that has already been used in cinema, Cinematic is an emotionally rousing listening experience, enthusiastically recommended to movie and music buffs everywhere.

The Book Watch, Midwest Book Review

This long-awaited album is Spencer’s first solo release in sixteen years and his seventeenth CD. It is a double-CD with original compositions which were composed for film and TV. The first CD, “Black & White,” contains all numbers carried out on solo piano, whereas the second disk “Technicolor” contains the same numbers carried out by complete ensembles and orchestras. Already Spencer has composed and played instrumental music for thirty years, and that music has already been heard on “The Oprah Winfrey Show,” on the Olympic Games of 1988 and 1992, CNN, etc. He wrote, among other things, the theme songs for the YMCA and the Japanese Postal Services, and the soundtracks of the films “The Color or Fear” and “Last Chance for Eden.” Besides his own label, he also started the Ukiah Music Center where bandsmen help friends make music, and he is heard on the radio show “The Wonderful World of Pianos.” On his double-CD now, there stand up a number of his classic tunes such as “Quintessence,” “Fellini’s Carousel,” “Caravenserai” and “Satie’s Forgotten Dream.” Of course there is also a place for his newer work. I prefer however the orchestra versions on the Technicolor CD, especially the light “Morning Glory,” the bluesy “Blueberry Street,” the sad “Ode For Patricia,” the smooth jazz in “Outer Limits,” the ambient “Cinematic', the ragtime in “Lupin Swing'” and the harp in “Dreamgift.” Moreover I also like the surrealistic cover drawing by Salvador Dali. This CD is good for fans of easy listening music.

-Patrick Van de Wiele, Keys & Chords

I would venture to say that Spencer Brewer is one of those people behind the curtain in the Emerald City. If you recall, the Wizard of Oz, the guy on stage, was really operated by a small man hiding behind a curtain. This may sound like a backhanded compliment, but look at it another way…the Wiz would never have been as scary or potent without the man behind the scenes. And so it is with the people who produce “incidental music”; the stuff you sort of hear while the action proceeds on the screen. Writing this music is tougher than it would appear at first glance. Everything has to at least fit in with what’s going on without taking over from it. As a writer, you’re expected to enhance the atmosphere of the story without taking over from it. You’re supposed to make others look good without showing yourself.

-BullFrog Music Reviews

Never an artist that would pigeonhole himself, Spencer Brewer was the master of mixing New Age nuances with a conservative Smooth Jazz foundation or perhaps vice versa depending on your perspective. To some extent his integrity and no compromise approach was also his undoing, as while he was a major player in the musical circles of the late 80’s and early 90’s he never quite made the inner circle; then he just disappeared. Thankfully, "Cinematic" takes care of that mystery, as Brewer returns with a progressive bang courtesy of this double album that is both an audio and visual delight. So let’s deal with the visual delight which begins with the Salvador Dali artwork found on the cover. It brings to mind the contemporary artwork of Roger Dean, made popular via his work on rock albums by Yes, Uriah Heep and Asia to name a few. Brewer takes it one step further with an innovative album that unfolds into three parts with the credits labeled like a movie ticket and at the same time encasing the two discs cheekily entitled “Black & White” and “Technicolor.” While the presentation is very impressive, does the music match its packaging? The answer is an emphatic yes! "Cinematic" begins with the first disc subtitled “Black & White,” which is essentially Spencer Brewer and his piano presenting the main event in its bare format prior to the “widescreen” production found on the second disc “Technicolor.” The playing is precise and passionate and an utter delight for those of you who are desiring to hear Brewer minus all the sweet embellishments that he has added on his past recordings. Check out the challenging “Say What” without the furbishing. There are also a few tracks not explored on the counterpart disc such as the dark melancholy of “Walls That Move” and the unusual “Into The Mirror.” However, one of the highlights on the solo disc is the slow paced almost ragtime feel of “Blueberry Street” that could have resided very well on "The Sting" soundtrack. Speaking of movies, the main event, courtesy of the second disc “Technicolor,” opens with “Quintessence” that is inclusive of a gorgeous string arrangement caressed along by the soft and supple performances of Brewer and Paul McCandless on the English horn. Brewer fans may recognize this title that was first heard on his 1991 recording "The Piper’s Rhythm." Along with “Dreamgift” from the "Emerald" recording, they both receive significant “facelifts” here. Meanwhile, fanatics of Brewer may also recognize three other tracks taken from the sorely overlooked "Torches On The Lake" that Brewer released with Paul McCandless back in 1996. Otherwise, there is a plethora of brand new material for your listening pleasure with the effervescent presence of McCandless on ten of the fourteen tracks. His involvement extends to assisting with the arrangements of four of the tracks as well as co-writing the title track. The hues and tones of “Technicolor” are rounded out with a multitude of fine performances, most notably Norton Buffalo’s repeat performances on harmonica and the harp of Jessica Schaeffer on the previously mentioned “Dreamgift.” But ultimately it is about the return of the sorely missed pianist Spencer Brewer whose performances are eloquent and heartfelt. It has been over fifteen years since Spencer Brewer released his last solo effort "Romantic Interludes" for the then burgeoning recording label Narada. A major player back then, the blockbuster "Cinematic," whether in “Black & White” or “Technicolor,” has all the ingredients of returning this musician back to his rightful spotlight. Those of you that missed Brewer first time around and enjoy intelligent, progressive, and stimulating instrumental music then "Cinematic" is a must.

-Michael Debbage, Mainlypiano.com


“Spencer Brewer was one of the top new age artists in the late Seventies and early Eighties before he decided to focus on being a producer/engineer. But finally, after many years away, he had decided to record again and delivered this two-CD set. It was worth the wait The first CD is solo piano and the second disc has him surrounded by various ensembles, most notably reedman Paul McCandless (Oregon, Paul Winter, etc.). The idea behind the recording is that all of this music would work well as film or television soundtrack music (and select pieces already have been). The melodies are good, but the arrangements tend to give you that dreamy, floating feeling of the best in cinema background music. The piano sound is very crisp and clean. The group arrangements on the second platter show that Brewer really knows how to augment a piece of music with key musical elements. Since some of the tunes appear on both discs, you can do your own comparison between the simple, streamlined, piano-only versions and the more fullbodied productions. I especially liked the bluesiness of "Blueberry Street" and the jazziness of "Lupin Swing." Plus the title of the tune "Last Chance for Eden" knocked me out. All in all, a package simply full of very good instrumental music ranging from film themes to new age to jazz.”

-Sputnikmusic

“In the Eighties and Nineties, pianist Spencer Brewer became a multi-million-selling contemporary instrumental recording artist with chart-topping albums such as WHERE ANGELS DANCE, SHADOW DANCER, EMERALD, PORTRAITS, DORIANS LEGACY, PIPERS RHYTHM and ROMANTIC INTERLUDES. After turning to producing and engineering (more than 200 albums including acts ranging from Alex de Grassi to Holly Near), Brewer is back with another recording of his own, CINEMATIC. This double- CD (part solo piano, part ensemble pieces) is a Brewer tribute to the great instrumental film scores. This is all original material (some of which has already been used in movies and on TV) written and arranged in the style of the great sweeping, passionate, film scores of the past 50 years. Music from the CD Album CINEMATIC can be heard on the Spectrum show.”

-SPECTRUM The Radio Alternative on 97.1 FM - Australia

“This is quite a double-disc album for an artist-originated project. The general idea, as its title would suggest, is music which creates mini-films in the mind’s eye thru its descriptive, fantasy-like qualities. There is a New Age feel to some of the tracks but mostly they go deeper than that, and there are nice little jazz touches here and there. The presence of reed man McCandless (of Oregon) would indicate a sort of smooth jazz/Paul Winter sort of genre but the whole project partakes of a more creative slant than that. The title tune Cinematic undergoes quite a lush transformation in the orchestral version on Disc 2. With McCandless soloing on English horn and flute, it recalled for me Alec Wilder’s piece for English horn and chamber orchestra from the 1940s.”

-John Henry, Audiophile Audition.com

Multi-million-selling pianist Spencer Brewer is back with a two-CD set called “Cinematic,” a tribute to the type of music used in films for the past 50 years when Hollywood needs the romance or grandeur or excitement of a glorious piece of instrumental music highlighting a key scene. The CD sub-titled “Black & White” is mostly piano solos. The other CD, marked “Technicolor,” is full of ensemble tracks. The musicians are top new age, classical and jazz players including acoustic guitar virtuoso Alex de Grassi, reedman Paul McCandless (Paul Winter, Oregon), flutist Matt Eakle (David Grisman, Suzanne Ciani), harmonica player Norton Buffalo (Steve Miller, Kenny Loggins), drummer Mark Walker (Oregon, Paquito D’Rivera), and bassists Steve Rodby (Pat Metheny, Chuck Mangione), Todd Phillips (David Grisman, Psychograss) and Cliff Hugo (Rick Braun, Richard Elliott), plus other percussion, wind and string players including the renowned Quartet San Francisco led by Jeremy Cohen. If you like music with that film-feeling built in, take a listen to “Cinematic,” music created with visual imagery in mind (some pieces have already been used in film and TV). “Quintessence” is quite a lovely melody. “Blueberry Street” is sort of bluesy in an old-fashioned Broadway manner. “Caravanserai” has an Arabian Nights feeling. The group arrangement of “Lupin Swing” falls into the jazz category. Many of these pieces appear in two versions, one on each CD, but a small handful only show up once. By doing this, Brewer definitely shows off his arrangement and production skills as if he is saying, “Hey, I can present my music in several different ways!” Plus, I dig the Salvador Dali cover painting. Instead of dripping clocks, this Dali has dripping musical instruments. Surreal indeed.

-Shots in the Dark, Shotgun Reviews 10/08

I knew Spencer Brewer’s music back in the late ’80s when he was on the Narada label, which specialized in New Age instrumentals. It’s not surprising that many of Brewer’s compositions have ended up in movies and TV shows over the years, since they usually have a nice, easygoing quality. The composer’s latest self-released 2-CD collection is his bid to re-open his repertoire and display his talents to Hollywood. And while the music collected here may not prove he is ready for any big blockbusters, smaller indie films and TV dramas should take notice. The set is divided into 2 CDs. The first, entitled “Black and White,” features Brewer on piano. The second CD, entitled “Technicolor,” includes more complex arrangements of the same music for more instruments. While I have always enjoyed piano solos, most film music fans will gravitate towards “Technicolor.” The pieces range from pre-existing compositions to new works, including music that has been written specifically for movies. In the latter category, his most famous is probably a piece he wrote for the Jason Robards/Hilary Swank movie, Heartwood; it contains a lovely tune with a James Horner-like emotionally swelling arrangement. The disc is filled with many different styles, but Brewer excels at music that seems to best fit images of the American heartland, as in his piano-only composition, “Walls That Move.” There’s a lot to admire in this set. As long as you treat it like an audition or compilation CD as opposed to a cohesive soundtrack, you should enjoy Brewer’s casual style, and his take on many different genres. This release can be found on Brewer’s website as well as at amazon.com, and as digital downloads.

—Cary Wong, Film Score Monthly

“[Spencer Brewer is] One of those under the radar cats you thought found his way to Narada too late to use them as a platform for his new age ambitions, he's sold in the millions while nobody was looking. Here we find him following his passion for film music by coming up with a collection of scores for unmade movies. A two-disc set, it comes in sweetened and unsweetened versions. With the wealth of first call instrumentalists he rounded up for the sweetened version, you'd have to be nuts not to enjoy it as first rate NAC. On the unsweetened side, we find he has a real knack for saloon piano…with Dave McKenna in retirement, Brewer could easily become one of the genres leading lights. Clearly a top notch set for adult, instrumental fans.”

--Midwest Record

“…extraordinary and luscious when it’s filling my house – full screen richly colored images, inside my head.”

--Susanna, fan

“Thematically, the music on the Black and White album could be said to be a homage to the silent cinema, and that on Technicolor to the golden era of Hollywood. These are no simple pastiches to classic soundtracks, the music here is all original but suggests styles of movies, and even movie stars. It also evokes those moments of awe when lost in the magic of that movie on the big screen. … If anything this album is a love affair between one musician and all the composers of movie music through the golden age of the cinema. I can't really decide which versions I prefer, you could arguably play either CD depending on your mood. Either way you are on a winner as this is a superb double album that is a frequent visitor to my CD deck. “

--The Borderland, United Kingdom

“…remarkable. I love the transparent sound he's gotten. All the elements are clear as a bell. The instrumentation/orchestration is just wonderful, and the styles he's incorporated, both in the composing and the arranging are engaging and eclectic as can be. I love it. Right now I'm listening to "Outer Limits" on the Technicolor disc and just can't get enough. Again, the whole thing is really excellent. “

--Kevin Kern

“…melodically strong and unique - so many moods & emotions, so many different angles … there is a richness to each track and as I listened I'd think, "oh, this is my favorite!", then the next track would come along and I would love it just as much. I hear so many different flavors from classical to contemporary, French Enui to American jazz, and many points in between… soulful playing…as much heart and soul as one could want.”

--Lesley Spencer

“… unlike much music written for films or TV, it stands on its own …Brewer's music seems to tell a story, whether it's of the sweeping beauty of a sunset-drenched landscape, the aching longing of a heart or the pulse-quickening joy of a triumph. … spare, evocative and often subtle music.”

--Cincinatti Enquirer & Post. 9/08

“…full-bodied an rich-toned,…when the fantastic strings, horns and other grand sounds are added to the same track on the second CD (titled "Technicolor"), the tracks really come to life! I imagine it will depend more on your mood at the moment to decide which album you enjoy more. Both versions have intimate little nuances that will be revealed on repeated listens. Brewer's explorations are for the most part related to film music - what you might term "movie scores’... a whole art unto itself, if you've never noticed that before. ‘Average viewers’ often don't realize just how powerful the music behind the imagery is, and how it is intentionally designed to influence the emotions. Spencer's wonderful CDs will bring that home for you! One of the most haunting pieces (from the "Technicolor" side) was "Error! Hyperlink reference not valid.", my favorite on the albums...wonderful orchestral sequences for your ears! HIGHLY RECOMMENDED, to be sure!”

--Doctor Jazz, Improvijazzation Nation 9/08

“Spencer Brewer shows a distinctive style that runs the gamut from James Horner to Randy Newman in compositional tendencies and ingenuity. The optimistic Morning Glory is a sensational piece of writing and benefits distinctly from the small ensemble arrangement on disc two. Blueberry Street is a cabaret jazz/piano bar song with an unforgettable melody. Lupin Swing is an old school piano jazz piece that harkens back to the 1930's and early 1940's. What becomes abundantly clear is that Spencer Brewer has an ear for the sort of music that helps to drive theater and movies. The epic Cinematic is as close as Brewer comes to a grand theme, but his brand of nuts and bolts composition is much more difficult to master. Grand themes require the ability to find a signature hook or riff and play upon it through repetition, variation and changing of background scenery. Spencer Brewer has an ability to fill in the hue and cry that emboldens a landscape from black and white to Technicolor. Cinematic is a work of art.” 4.5 out of 5 Stars

-- Wildy’s World 9/08