John Ephland

This is clearly an ensemble effort. Yes, all the music comes from Eckemoff’s pen, but the narrative qualities seem to have required an expanded sonic palette to be realized. Like Chick Corea’s forays into storytelling (think Romantic Warrior), this isn’t just an album consisting of songs but one made up of melodic threads that connect the roles and varied movements. This isn’t a jazz album, per se, although improvisation, instrumental skill and the occasional groove permeate. Riccardo Bertuzzi’s electric guitar forays recall Corea’s own sonic designs, along with the rapid-fire deliveries that come from Trilok Gurtu’s uniquely combined percussion and drum work. The groove doesn’t drive the music, which feels more orchestrated. And yet, as Eckemoff says about the project, “I didn’t want just guitar and bass, I wanted rock guitar and electric bass and really strong drums.” In other words, more of a prog-rock feel — in this case, tapered more to melodic expression instead of a driving beat. The flute playing of Carlo Nicita goes a long way furthering this particular approach. “Monks In Scriptorium,” for example, seems to inevitably lead to Nicita’s evocation of the song’s mood of mystery and tranquility. Likewise with the aptly titled, solemn “Cathedral,” Eckemoff’s sonic palette coursing throughout. Indeed, Scenes From The Dark Ages surfaces as a realized childhood dream of her “Medieval Symphony.