Aloft

Filled with agreeable melodies and competent playing, the debut solo recording from session guitarist Sean Harkness could hardly be a more pleasant affair. Commanding? No. Rewarding? Only sporadically. But pleasant? Without question. This is a sweet audio truffle intended to blend nicely with after-dinner drinks and civil conversation. Harkness has a thing for kites (hence the album's title), and fittingly the folk- and jazz-tinged compositions he offers on Aloft convey a lighter-than-air mood that is engaging yet dispensable. Playing a variety of guitars and a fretless bass, the nimble-fingered Harkness gently mixes textures (pop, Celtic, flamenco, Caribbean, funk, folk) to arrive at an easy-listening destination that is a modest notch above standard smooth-jazz fare. To his credit, no saxophones invade the guitarist's carefully constructed audio space, and Harkness sometimes breaks from his airplay-friendly formula ("Green Mountain Trail," "Cuchullain's Dream," and "Wynkus McGynkus," a detailed exercise on classical guitar) to remind us that this hired gun possesses an inquisitive, artistic soul of his own.
--Terry Wood

After enjoying chances to shine on Windham Hill's holiday compilations, guitarist Sean Harkness alights on his own with this amiable solo debut. Not just a catchy, New Agey title, Aloft is also an apt description of Harkness' abilities. This guy flies on those acoustic-guitar strings.

Cleanly articulated lines and technical mastery are just the beginning, for Harkness does something rare in any musical genre: He expresses power and passion with soft touch and meaningful glances, knowing that often our most compelling moments are ones that simply brush past. Some of his note shading on "Siempre Conmingo," for example, is heart-stopping. And if the dramatic spiraling dance "Luna Baillando" demonstrates Harkness' talents as a guitarist and composer, "Coconuts," an island tune riding a sly line between parody and homage, shows him to have a sharp sense of humor as well.

Adding to the abundance of spacious melodies are guests Gil Goldstein, whose accordion brings an Old World touch to the gorgeous "Puesta del Sol," and pianist Liz Story, whose delicate interplay on the title track is a memorable highlight. The closing funk of "Harlem River Drive" loses none of its organ-powered vigor with Harkness' nylon strings at the wheel.
--- Larry Nai, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc. -- From Jazziz