In the immortal words of John Lennon: “You may say I’m a dreamer, but I’m not the only one.” That is something I, and I’m sure many people reading this can relate to, including multi-instrumentalist/ composer Holland Philips, whose fourth and latest release, “Daydream Alley,” reflects in this intriguing collection of diverse compositions. One thing that I’d like to point out at this early stage of focusing on Holland’s music is his use of synthesizers, both for electronic sounds as well as their ability to emulate real instruments. While he uses synths extensively for both these purposes, Holland’s orchestral scoring with them is exceptional. The music on “Daydream Alley” features the sounds of piano, violin, a string section, chimes, bass, drums, oboe, bassoon, sax, percussion, electric piano, French horns, trombones, B3 organ, harpsichord, chimes, flute, percussion, and more in addition to electronic sounds. The album opens with a track called “Etude in D Minor,” which has been described as a “modern classical piece.” Its an interesting description because, although there are neo-classical influences, there are other touches, in particular the electric piano, that add a jazzy new age feel. But a high point in the song is the soaring violin sounds that brought to mind jazz-fusion artist Jean Luc Ponty. Also of interest is a three-part counterpoint section between the violin, a group of French horns and the string section, which shine a first light on Holland’s composing and arranging abilities. A track called “Serendipity” is a fully orchestrated piece with an upbeat airy new age/ fantasy vibe that could appeal to fans of David Arkenstone or Vangelis. A similar feel is also found in the album’s title track, and a song called “Friends” as well. Another standout piece for me was the closing track entitled “Colors.” This song, for me, evoked feelings of grandeur and majesty, and felt like a soundtrack in search of a movie. So, while I have mentioned other artists as reference points, there is an air of originality to Holland’s music, and a style that is his own. I greatly enjoyed “Daydream Alley” and was impressed with Holland’s flair for composing and arranging, as well as his formidable instrumental abilities in playing all the tracks on the recording. This is an album that I believe will appeal to a wide range of listeners… and dreamers.

If you enjoy hearing a versatile synthesizer player at work, take a listen to the album DAYDREAM ALLEY by Holland Phillips. This keyboardist is known for his exquisite synthesizer playing and lovely melodies. He uses the synth to sound like a synthesizer at times, but also piano, violin, a string section, chimes, bass, drums, oboe, bassoon, sax, percussion, electric piano, French horns, trombones, B3 organ, harpsichord, chimes, flute, percussion and more. And his instrumental new age sound touches on other genres such as neo-classical, contemporary-jazz and light-progressive-rock. Even though Phillips creates all of the music on the new album using a wide array of keyboards and synthesizers (both modern and others from decades past), he realistically captures the sounds of many different band and orchestral instruments. One way he does this is by learning to play the real instruments first so he knows the range, limitations and capabilities of each one. On this album Phillips explores the sounds of new age-pop (“Serendipity”), neo-classical (“Etude in D Minor”), jazzy-new age (“Jazz Nite”), two pianos dueting (“Two Pianos”) and much more. His history includes years of studying classical music, playing in and touring with many classic-rock and progressive-rock bands, and working as a session musician. This is his fourth solo album. His influences range from Rick Wakeman to Alan Parsons. One listen to this new album and you will be amazed by not only his versatility of styles, but his expertise in molding synthisized sounds into a lovely and melodic cohesion.