reviews

The Hereness and Nowness of Things:

...very romantic, beautifully rich and melodic.

July 2010

In order to give you some comparisons to see if this is something you’d like, I always try to give some connection to another band’s style of music. Esthema makes it hard, because their music is so different and unique. They call themselves “World Fusion,” and that makes sense. They are influenced by jazz and progressive, and use acoustic instruments from the Middle East, like oud and bouzouki. If I had to compare them to any recording or band, I would say Yo-Yo Ma’s Soul of the Tango or a prog-classical Gypsy Kings. There are also echoes of King Crimson, California Guitar Trio and especially Azigza.

It begins with “Change of Season,” a light fusion piece reminding of Spyro Gyra or Hiroshima. It sounds like belly dancing music with a moving lyrical violin line throughout. The Gypsy King vibe I was speaking of comes to the forefront on the next cut, “Eastern Dance.” “Arrhythmia” is the song that brings on the tango, with a lovely cello by guest musician Robyn Ryczek.

It’s all very romantic, beautifully rich and melodic. Andy Milas on guitar, Onur Dilisen on violin, Ignacio Long playing bass Tery Lemanis with oud and bouzouki and bringing it all together with percussion, Bruno Esrubilsky. They all play with precision and great emotion. “”Forward Motion” has nice flamenco runs all over it courtesy of Andy, and “On & On” reveals a heretofore hidden electric guitar talent.

The varied instrumentation and eclectic nature of the writing, along with the World Music and ethnic mood, is what puts this recording squarely in the progressive category. If you are willing to venture from the “rock” aspect of progressive rock and listen to something a bit different, this would be something you would find interesting. I’ll bet that these guys would be tremendous live!

- Terry Jackson, ProgNaut.com

It flows and washes over you...

June 2010

Esthema are a Boston based fusion band who specialize in blending Eastern European & Middle Eastern sounds into rock & jazz based music. The band is made up of five musicians playing instrumental music using violin, oud, bouzouki, drums, guitar & bass. As is fitting for a band blending musical styles they hail from a diverse range of countries, Turkey, Brazil, Argentina and the USA. The Hereness & Nowness of Things is their second release after a well received first release Apart From The Rest (2007)

The term World Music usually makes me cringe but Esthema make it work, this isn't a cheesy disk selling the benefits of meditation, there are interesting interplays of styles & instruments and ever changing dynamics. It is sufficiently different from anything I've heard before without being pretentious or over self involved. It's a distinctive blend of jazz, rock, eastern & western influences. It doesn't necessarily grab you by the throat, it's not that kind of music. It flows and washes over you and bears repeated listenings to slowly ingrain itself.

Plenty of hooks, & a very enjoyable listen, World Music in a good way. Well played & produced. Worthy of further investigation for those interested in a fusion of jazz, rock with a Middle Eastern influence.

- NogbadTheBad, Progressive Ears

...an inspired album

May 2010

Exploring a style of music that will have to be described as heavily world music-inspired with some jazzy flavouring, Esthema manage to blend characteristics of several distinct flavours of folk music with jazz in a neat and interesting manner on this latest endeavour of theirs.

With rhythms and guitars more often than not providing jazzy flavours with nods in the direction of Django Reinhardt and the gypsy tradition, skilful use of oud and bouzouki respectively adds touches from Arabian/Persian and Greek folk music to these compositions, while the violin visits each of these three styles in it's everlasting wandering from passage to passage and song to song.

The end result is an inspired album, perhaps a bit too much like itself as it moves towards the end but very well made and performed non the less. Especially for those who might find such a blend of styles intriguing, obviously.

- Windhawk (Olav Martin Bjørnsen), Prog Archives

...masters of world fusion like no one has ever done before.

April 2010

In spite of the curse on sophomore albums, Hereness and Nowness of Things is by far the best of the two albums Esthema has produced. All of the nine songs, except “Four Colors,” which was written by Onur Dilisen, are composed by Andy Milas. Each track contains multiple layers of instrumental voices and moods, making the album not something you can put into the player and do something else while half hearing the tracks. There is just too much interesting stuff going on. The Middle Eastern and Eastern European confluence with American jazz is a smooth interweaving. It is impressive. From the first track, “Change of Season,” you know that this isn’t an ordinary album. You are instantly transported into other realms. “Eastern Dance,” though very much an original tune, also has a few familiar ethnic lines woven through the piece. There are so many that this isn’t a flaw of the work but one of the reasons why the track is so successful.

I was always impressed in the late 1980s by a New Age band called Shadowfax that emerged in the era of synthesizers. It offered more for the meditative ear than schmaltz, introducing complex world music themes. Then later I discover Umphrey’s McGee when they released Local Band Does OK, where each track was a musical smorgasbord. These were bands well before Esthema’s time who weren’t even attempting what these musicians are nor did they have the broad musical range as the musicians of Esthema.

But it is clear that Hereness and Nowness of Things is just a glimpse of what these musicians can produce. Though I truly hope they will record a garage full of albums, these two recordings have already marked them as maestros of their instruments and as masters of world fusion like no one has ever done before. Every track on this album is an absolute delight and could be parsed for years by musician enthusiasts. I know that every time, I put this album into my player I will discover something new that will speak to me. That is because Esthema not only constructs and attacks their compositions with intelligence and technical skill, but they do it with soul and heart. That is something that cannot be taught. Very highly recommended!

-Janie Franz, Skope Magazine, Music Up Close - April 2010

...one of the most unique bands in America

March 2010

American band, Esthema fuses elements of jazz, progressive rock, classical and the ethnic music that comes from the Balkan region in Europe which is why they are regarded as one of the most unique bands in America. But uniqueness and originality aren’t Esthema’s only attributes, they succeed in combining all mentioned elements into an experimental-progressive classical symphony, which is based on the music of our [Slovenia’s] southern neighbors. Their music, at times can be very calm, melodic, and even therapeutic, and when the music is at its peak – bombastic, loud, and progressive.

The most obvious influence of East and West is perfectly shown in the first two tracks, Change of Season and Eastern Dance (the title itself suggests eastern rhythms). Then A Place To Rest and Arrythmia share a heavy Mediteranean influence. The latter posesses some Spanish elements that showcase Andy Milas on acoustic guitar. Arrhythmia is followed by a more progressive, fusion composition, called Forward Motion, which also has a strong Balkan feel. I believe, it is much stronger than the previous compositions and it really breaks the final pieces of ice. Four Colors follows with a calm, though quite experimental melody, where once again we can hear those elements from the music of our parts of the world, which are mixed with a prog-jazzy sound. Illusion Of Truth, the next track, is a bit more mysterious, maybe even the most emotional composition on the album, with a pinch of melancholia. Some individual parts show the virtuosity of this quartet; the track brings out the best of them. Esthema ends the album with the least typical track, maybe even a bit popish, but very enjoyable and melodical; it is, in my opinion, their best composition on the cd. The warm sound of the violin, that had a much edgier experimental sound on earlier tracks, is a welcome novelty that should be used more. It gives the track a fresh feel. On & On is a welcomed change given some repetiveness in the earlier compositions.

Esthema defined themselves with their debut, Apart From The Rest, and created a major difference between them and other jazz fusion and progressive rock bands. Uniqueness is an attribute that was put on them immediately, and with that uniqueness they continue on the Hereness and Nowness of Things. A Slovenian equivalent would be Terrafolk, which is well known in Europe.

-Tine Kolenik, www.RockLine.si

Evocative and dramatic throughout

February 2010

Self proclaimed World Fusion ensemble Esthema out of Boston return with their second album, the Hereness and Nowness of Things, which follows on from a favourable response to their 2007 debut Apart From The Rest. The title of their debut certainly proves accurate as this is an outfit that can seamlessly blend the sounds of the Far East and Eastern Europe with more contemporary Western rock influences and also finds space for more than a passing nod to the prog bands of yesteryear. This is a vibrant and colourful collection that frequently changes direction but stops well short of self-indulgence and is held together by some inspired playing from the musicians and in particular the steady rhythm section of bassist Ignacio Long and drummer Bruno Esrubilsky. Evocative and dramatic throughout, the guitar flourishes of Andy Milas regularly interchange with violin, oud and bouzouki with "A Place to Rest" and "On and On" being notable high points.

An entirely instrumental effort, the Hereness and Nowness of Things will satisfy those who are seeking something that little bit different that transcends boundaries and has melody, originality and spark.

-Dean Pedley, Sea of Tranquility

...the group plays at a truly world-class level

February 2010

As their press states, this Boston-based quintet is “a world fusion ensemble mixing elements of Eastern European/Balkan and Near/Middle Eastern music with jazz and progressive rock.” Led by exceptional guitarist and composer guitarist Andy Milas, Esthema also includes Turkish violinist Onur Dilisen, oud and bouzouki player Tery Lemanis, Argentine Bassist Ignacio Long, and Brazilian drummer Bruno Esrubilsky. Drawing on advanced musical studies and international performance experience, the group plays at a truly world-class level, with authenticity, aplomb, and exuberance, resulting in a sumptuous blend that’s as tasty as an Athenian olive.

- Barry Cleveland, Guitar Player Magazine, April 2010 Issue

If one wants some breathtaking World Fusion music, then Boston, MA's Esthema is the way to go.

February 2010

If one wants some breathtaking World Fusion music, then Boston, MA's Esthema is the way to go. Despite the heavy Middle Eastern influence and sound, this has universal appeal. The recording is magnificent bringing all the instruments both exotic and traditional, fully up in the mix. The drums especially sound wonderful, in particular the cymbals and snare drum. Of course, it helps to have an excellent drummer, and Esthema do in Bruno Esrubilsky.

Other instruments featured include acoustic and electric guitar, violin, bass, bouzouki and oud. If Rock fans were able to enjoy the Page/Plant tour of '95-'96 and heard all the Middle Eastern arrangements to various Led Zeppelin songs with an open ear, than why not Esthema? The track "On & On" is the closest to being maintsream or Rock oriented, largely due to the killer electric guitar solo by Andy Milas which shows a heavy Jazz Fusion influence from acts like The Mahavishnu Orchestra and Return To Forever. It's just an outstanding piece of music and the drums and violin are also stellar. Nothing else displayed here sounds like this one song, and it would be nice to hear more material of this ilk.

"Eastern Dance" sounds just like the title says and features very delicate arrangements that work perfectly, while "Arrythmia" is more of a mellower, drawn out piece. For fans of World Music, Jazz Fusion, Progressive Rock and even Folk Rock, Esthema are a rewarding investment.

-Peter Braidis, Indie-Music.com

I could not recommend this more highly to lovers of world and jazz music.

February 2010

The latest from Esthema is another great slab of east meets west, jazz meets world, art meets earth. A follow-up to their critically acclaimed Apart From the Rest, this new album picks up on the framework previously laid down, while refining and blurring the lines of influence. The band has obviously evolved to become more that a sum of their parts. This new release is a much more cohesive singular idea. This thread of continuity gives this album a natural flow lacking in their previous release. The compositions are more of a collaboration of all members than just one, which provides a fluid counterpoint, spotlighting the talents of everyone in the band so eloquently. I could not recommend this more highly to lovers of world and jazz music.

-Joel Simches, The Noise Magazine

Excerpt from TAXI's (the World Leader in Independent A&R) critique of Change of Season

fall 2009

The group sounds excellent. Based on what I am hearing you’re all superb musicians. I’m quite impressed by the fusing of Middle Eastern/South Asian & perhaps medieval approaches with jazz improve sensibility; the results sound seamless as well as fresh & inspired. The recording is also well done; to my ears this is radio ready and is sonically viable for potential film/TV uses.

-TAXI, The World Leader in Independent A&R

...melodic, smoothly flowing persuasion with exotic texturing and tricky changeups

fall 2009

Two years after debut Apart from the Rest, eclectic Boston-area ensemble Esthema returns with another album of Eastern- and Latin-flavored ethnic instrumentals sifted through the jazz-improv strainer. Violinist Onur Dilisen and guitarist Andy Milas pace these eight tracks with Tery Lemanis (oud, bouzouki) lending ethnic flavors. Ignacio Long (bass) and Bruno Esrubilsky (drums) man the rhythm section. Guests on doumbek and cello also appear.

Like its predecessor, The Hereness and Nowness of Things is of melodic, smoothly flowing persuasion with exotic texturing and tricky changeups. Nine-minute opener “Change of Season” sets the prevailing tone of subtle mood shifts, from mysterious to playful to cerebral – unpredictably twisting and winding about in mid-tempo fashion. Long’s understated bass soloing pushes the jazz vibe out front while Dilisen alternates between strident and swingin’.

The likes of “Eastern Dance” and “Four Colors” are danceable (but you’d better be especially light on your feet). “Illusion of Truth” has some swiftly nimble call-response passages. “On & On” features Milas on electric guitar, which Esthema hopefully will explore further next time.

-John Collinge, Progression Magazine, Fall 2009 - Issue 58

Esthema’s approach is like a great example how a world fusion band should be able to sound.

november 2009

Esthema’s approach is like a great example how a world fusion band should be able to sound. Nothing here of the recognisable themes to be improvised upon, but contemporary music based upon a wide range of skills and ideas, forming a new form of chamber folk(rock) music with a total world music fundament. The violin plays with jazz-fusion abilities but also switches easily to a few folkdance melodies with the same sort of strength; the percussion plays with accurate precision, including microrhythms (learned from his Brazil days), while broadening the scopes and pushing the boundaries towards a folk-rock and jazzrock, something which even improved the band’s original sound with a subtle touch of power. There are recognisable Greek or occasional Turkish music themes here and there, immediately adapted into bigger compositions and orientations. Surprising was also the use of some electric guitar, which widens the emotionality within the music even more, in an equally subtle balance. There were some guest appearances on dumbek and cello. Highly recommended!

-Gerald Van Waes, Phsyche Music

Esthema seems to have a solid grasp of what the hereness and nowness of things is about.

november 2009

The band Esthema may hail from Boston, but it is the diverse makeup of the band that makes them so unique. The world fusion quintet contains some members from Turkey, Brazil, and Argentina. They are all thoroughly trained musicians, and to add to their range, some of them have trained throughout several countries in Europe, including Spain, Greece, Belgium, and Ireland. Putting all of these pieces together, Esthema brings something original on their second release, The Hereness and Nowness of Things.

Esthema’s first release, Apart From the Rest was composed of six tracks that were written by guitarist Andy Milas. They were arranged by the entire band and included many elements of Eastern and Western music. On The Hereness and Nowness of Things the creation process is pretty much the same, outside of “Four Colors”, which was written by violinist Onur Dilisen.

With over eight songs, Esthema really takes you around the world while ranging from more traditional elements to some more modern, and often a combination of them. The styles vary, and you will be reminded of different regions several times, sometimes even in the same song. Personally I tend to prefer the more traditional aspects, but I think the quality of the musicians carries you through the different characteristics that you may like less and makes the transitions smooth. My favorite track is the opener “Change of Season”, so sample that one first. The closer “On & On” tends to be more modern, so check out that one to get a better sense of the range of this album.

At first The Hereness and Nowness of Things seemed an unfitting title for this album. There is much more to this album then the “here and now”, it certainly seems to cover the “then and there” as well. However, the more I think about the title, how it feels, and the time in which it is being released, Esthema seems to have a solid grasp of what the hereness and nowness of things is about.

- Kevin Kozel, Muzik Reviews

...an emotional experience that is dramatic and cinematic

november 2009

Boston isn’t known as a major player in world music but that doesn’t mean it isn’t home to some fine bands who love to play the more complex and unconventional sounds associated with the genre. Need proof, just listen to Esthema’s latest cd The Hereness and Nowness of Things which expands on the charms of the group’s debut Apart from the Rest by tackling new ways to fuse European, Middle Eastern, and American music together.

In the past, Esthema has successfully incorporated music from the Eastern European Balkan area and the Near/Middle East with the sounds of progressive rock and jazz. The result gave the band a distinct personality as it flawlessly blended such traditional Western instruments as the guitar, bass, and drums with Eastern instruments such as the oud and bouzouki.

Now, as apparent from listening to the all-instrumental The Hereness and Nowness of Things, the five members of Esthema sound even more confident as they are willing to add folk rhythms from Eastern European dances to its songs. The tracks “Eastern Dance” and “Arrhythmia” are the best examples of this as the stringed instruments played by Andy Milas (guitar), Onur Dilisen (violin), and Tery Lemanis (oud and bouzouki) sparkle by giving off a nice groove.

While songs like these showcase the band’s willingness to add new textures to its sound, the most enjoyable stuff on this recording are the songs that are more like the stuff heard on the group’s debut. However, this time things are more complex. The opening track entitled “Change of Season” is a nine-minute epic that feels more classical in nature because of its numerous tempo changes and glorious violin and cello work. Best of all, it gives the listener an emotional experience that is dramatic and cinematic.

Another standout is “On and On” which is definitely the most accessible track on The Hereness and Nowness of Things. The first half of the song is pleasant enough with an understated violin and guitar but the second half is where Esthema lets loose with its rockier side. The most impressive aspect to it is Milas’ guitar work which is propelled beautifully by the steady rhythm section of bassist Ignacio Long and drummer Bruno Esrubilsky.

In the end, Esthema’s sophomore release should be experienced as a whole though because there is no filler here. In fact, the band shows on the cd that it is talented enough to be a player in the world music scene—and not only in Boston, but anywhere.

- Todd Sikorski, Skope Magazine

A listener can't go wrong with The Hereness and Nowness of Things; there is much to love.

november 2009

     Boston's Esthema offers a world-class collaboration of the highest order.  Their sophomore CD, The Hereness and Nowness of Things, is currently being released, and once again, Esthema dazzles.  The eight instrumental tracks each have a distinct flavor, with the overall common theme of changes in tempo that build excitement and mystery, while enriching the texture of each composition.  "Change of Season," an exotic Arabian nights interlude, and "Four Colors" perfectly illustrate pace changes that blend seamlessly into each other and journey full circle to a satisfying conclusion.  "Arrhythmia" is a slightly otherworldly piece that gets under your skin, as its base and rhythm keep time with your heart.  Or sample "Forward Motion," a bold but sweet, skillful  intermingling of sounds.  Throughout the CD, the individual instruments of guitar, violin, oud and bouzouki, bass, and drums, take on a persona of their own in each song, as they guide our feelings and emotions to follow wherever they lead.  A listener can't go wrong with The Hereness and Nowness of Things; there is much to love.

- Lily Emeralde and Emma Dyllan, Phosphorescence Magazine

Boston’s Esthema may be one of the most original acts we’ve come across.

October 2009

Boston’s Esthema may be one of the most original acts we’ve come across. A World Fusion band that takes that label to heart, Esthema blends Eastern European, Middle Eastern, South American and Far Eastern Sounds with Progressive Rock and Classical elements to create magic. Esthema released their debut album, Apart From The Rest in 2007, receiving significant positive press. They follow up on November 3, 2009 with their sophomore effort, The Hereness And Nowness Of Things.

Esthema leads off with Change Of Season, mixing Western, Middle Eastern and Far Eastern sounds in a dynamic musical composition that sounds like it should the opening score element of a major motion picture. The piece has a highly distinctive sound and style and is very enjoyable. The cultural genre-bending continues on Eastern Dance. Highly energetic and danceable, Eastern Dance varies significantly from the sort of popularized dance music currently in vogue, relying on pulsing and morphing organic rhythms that travel from percussion to strings and back again. The focus changes slightly on the Mediterranean flavored A Place To Rest before Esthema returns to a grand cinematic feel for Arrhythmia. Nuanced and vibrant, A Place To Rest co-mingles Middle Eastern and old world Spanish styles and sounds in pleasurable ways.

Four Colors features a vibrant, almost frantic energy in an explosively energetic dance number before Esthema rolls into Illusion Of Truth. Illusion Of Truth has a cloudy feel to it, with a theme that's roiled and punctuated by turbulence. It's as if "facts" and "truth" collide atmospherically in a cycle that never ends, winding and unwinding throughout the composition sparking sometimes storms and sometimes unsettled skies. Esthema closes out with the "Pop-iest" selection on the disc. On & On has a serene feel that's neither ethereal nor ambient but lends to a sense of transcendence. You can almost hear an arrangement of this forthcoming from Keith Lockhart.

We noted that Esthema's Apart From The Rest was a magical musical experience. On The Hereness And Nowness Of Things, Esthema leaves behind the magical world for the gritty, earthy charm of The Mediterranean, where culture upon culture washes upon the shore with sometimes unpredictable outcomes. The Hereness And Nowness Of Things is a musical breadbasket where loaves and fishes mix in fantastical ways and there's always enough to fulfill you as a listener, no matter how many times you return.

Rating: 4 Stars (Out of 5)

—Wildy Haskel, Wildy's World, October 2009

Apart From The Rest:

Recommended and very enjoyable listen!

August 2008

The most amazing thing about Esthema is that all members, despite having mastered whole different styles… (-Turkish born Onur Dilisen on violin is busy finishing his masters degree on violin at Boston Conservatory ; Tery Lemanis on oud/bouzouki graduated for guitar at Berklee College of Music while also having included a study on Bouzouki, Oud, and Byzantine music in Greece as part of the university’s exchange program ; Brazil born Bruno Esrubilsky on drums/percussion experienced a period of touring, teaching and studying throughout Europe, now joined in through Berkeley ; Argentine born Ignacio Long on bass has studied in Brazil, New York, and Boston for Composition and Film Score at Berkeley College of Music ; Andy Milas on guitar has been performing traditional and contemporary Greek music for over a decade throughout New England, but also arranged for Progressive Rock, Greek, New Age, and Jazz musical projects), together they manage to fuse and transform a resume of their skills into one fruitful unity with a more global style, and with each previous style completely adapted into one another. They perform with a sort of jazz-fusion improvised strength, which directs the music with some melodic flows, combined with the skilful rhythmical structures which have always micro rhythms available and subtle separate cooperative layers in them -which sound logical and easy, but which aren’t-, played by mostly cooperative-dialoguing paired or sometimes single instruments.

The acoustic guitar on its own could easily range from Spanish, Western and Greek flavours reaching out hands to the bouzouki/oud player while adding elements to the other members. The oud/bouzouki takes its own freedom, just a little bit more of a jazz nature in doing so, but with ideas coming forth from Greek and Middle Eastern music. The drums make many micro-rhythms possible, are skilful like jazz, but can handle art-rock, and adds moments of surprises and change with Latin/Cuban rhythms, without ever letting those new moments take over the flow of the melody drives, or the previous basic scale (especially great on “finding my way”). Also the bass player manages to add such Latin swing surprises amongst a more usual jazz-rock drive. The violin player has improvisations on top (comparable in nature to what happened in Curved Air or Mahavishnu Orchestra, but with a different flavour), in some way mixes a jazz-fusion freedom with an mid-eastern touch. Some of the used rhythmic scales are incredibly interesting like the 4+5/8 rhythm (-if I count right-), on “Distance”, and the brilliant, very unusual parts of even more combined rhythms on the closing track “apart from the rest”, which are (Ii think) adapted from Arab scales.

On the website they give a bit more detail into how they play Western Jazz improvisation and Eastern Taxims, Latin Samba and Eastern Kasilama, Western modes like Aeolian and Phrygian and Eastern Scales/Maqams like Hijaz, Sabah, and Niavent, for those who know what this all means in detail.

Recommended and very enjoyable listen!

—Phsyche Music , August 2008

...weaves us in and out of a perfectly crafted dream-world

June 2008

In 2007, Boston-based instrumental group Esthema, released a CD entitled, "Apart From The Rest." This "World Fusion Ensemble" consists of five members merging the sounds of violin, oud/bouzouki, drums/doumbek, bass, and guitar. It is a blending of Eastern and Western traditions that bring myriad flavors to the table resulting in a wonderful international resonance. Within each of the six compositions featured on the CD, different styles and genres such as Middle Eastern, Jazz, and Progressive Rock are effortlessly pulled in and led away, only to reappear, forming a lovely circle of sound that fully engages the listener. "For Whom? For Me…" is one such example where these many pieces are smoothly rolled into one. Likewise on "Erimos," which keeps moving at a steady, upbeat pace that holds the listener's attention. Our favorite was "Distance," with the haunting beginning of a classical arrangement that then rises to a crescendo, and weaves us in and out of a perfectly crafted dream-world. This is the place where one can entirely appreciate the talent of these musicologists. Bravo!***** The Best!

—Lily Emeralde and Emma Dyllan, Phosphorescence Magazine, June 2008 Issue

...nothing less than a true celebration of a number of different styles of world beat, jazz, rock, ethnic European and Middle Eastern traditional music

May 2008

This recording is nothing less than a true celebration of a number of different styles of world beat, jazz, rock, ethnic European and Middle Eastern traditional music. The passion for the music cannot be understated, nor can the sense that these styles can breathe anew in this collection of songs. Though the five musicians themselves hail from different parts of the earth, the global chemistry between them is obvious, like five minds MIDI-linked without latency issues. It is refreshing to hear schooled musicians playing together and not simply showing off their chops. Though there are several opportunities for each individual to shine within the framework of these six pieces, this album is a true collaboration of musical sensibilities. This CD will be in my player for some time to come.

—Joel Simches, The Noise - Boston, May 2008

It’s a perfect combination of Middle Eastern/East European folk music and American jazz, like an amped-up Loreena McKennitt without vocals.

april 2008

I’ve gotta come clean and tell you that I’m a bellydancer and I love jazz. I want to kiss my editor for sending me this disc. It’s a perfect combination of Middle Eastern/East European folk music and American jazz, like an amped-up Loreena McKennitt without vocals. This quintet has studied all over the world, and with excellent musicianship, they smoothly turn out originals centered around the beautiful melodies played on oud, bouzouki (both members of the lute family prominent in Middle Eastern music) and violin with bass, drums and guitar providing the support.

It’s the drums and bass that give these compositions an American jazz sound. Missing are the distinctly polyrhythmic Middle Eastern beats. In fact, if you isolated the rhythm section you’d find a pretty standard jazz base. Very well-played and creative, to be sure, but definitely not Turkish or Egyptian. The same goes for the bass and guitar. It’s the gorgeous minor melodies played on the other stringed instruments that serve as a centerpiece for this recording and really make them stand out from the crowd of bands doing “world music.” (Can I say how much I hate that term? Everything is world music. It’s just a label slapped on some bands by folks who think anything outside of the states is exotic.)

On “Consequence” the violin and bouzouki do a very cool call and answer, then join together for musical phrases. (Please forgive me if I confuse the oud and bouzouki. There aren’t separate credits for each cut and to my ear, they have a similar sound.) It quiets for a section then the bouzouki becomes the focus, ably backed by the drums and bass. There are several more sections – like a good jazz jam with lots of tasty melody – and towards the end is another call and answer. Beautiful. “For Whom? For Me …” is in an odd time that compliments the melody. Every good jazz band has a few tunes in something besides 4/4. “Apart From the Rest” really lets the band stretch and show off their chops with each of them taking a solo and no, the bass solo doesn’t suck. This isn’t some garage band, y’all, they know their stuff.

I should send roses to my editor for giving me this disc. As for everyone else – go hear Esthema live – they seem to play in Massachusetts and New York mostly – or buy their disc. Don’t bother with the flowers.

—Jamie Anderson, Indie-Music.com, April 2008

...a unique listening experience

march/april 2008

While many may find the new age-jazz-rock fusion genre to be as pretentious as a Sting discourse on global warming and tantric sex, there is a band out there that might please even those critics. The Massachusetts-based Esthema is a promising quintet who has just released the enjoyable Apart From The Rest which works well because of the band’s top-notch musicianship.

Best of all, Esthema has added something else to the normally staid jazz-rock sound – a heavy Eastern European influence – that makes the six instrumentals on Apart From The Rest a unique listening experience. Every song features an impressive blending of genres with a typical example being the track “For Whom? For Me.” The song has a Moroccan influence but there is also an American jam-band vibe to it as Onur Dilisen impresses with his violin playing much like DMB’s Boyd Tinsley.

While there is some jazz freeform stuff going on underneath in some of the songs, Esthema also knows how to play a song with hooks and melody as the standout “Finding My Way” shows. With the right lyrics, that track could have easily found its way onto the radio.

For all of this to work, the musicians obviously have to be gifted and all here know exactly what they are doing. The most impressive are Andy Milas who does great acoustic steel guitar on “Consequence,” Carl Sorensen who provides a solid backbone with his strong drumming, and Tery Lemanis who plays the European stringed instruments the oud and bouzouki particularly well throughout the recording.

—Todd Sikorski, Skope Magazine, March/April 2008 Issue

Esthema has made a truly moving and magical musical experience

february 2008

Esthema is a World Fusion ensemble based in Boston, MA that deserves your attention. Drawing on musical styles from Eastern Europe, and the Middle East and combining them with Prog and Jazz themes is worth a listen, even if simply in respect for the sheer audacity this takes. Esthema has the goods to match its audacity with talent, reminding us all that it's only bragging if you can't back it up.

Apart From The Rest is ultimately listenable and memorable, taking your mood from Eastern European Café to Saudi Bazaar and back again. You'll tap your feet and find yourself dancing in your seat even if you're not the sort to do so. "Erimos" is a true gem here, slowing down the thought process but branching out to places you couldn't imagine a little instrumental EP going to. "Finding My Way" sounds like it should have been the soundtrack to My Big Fat Greek Wedding, and you'll find the melody winding its way through your noggin long after the CD has stopped playing.

This reviewer is not generally a huge fan of instrumental records, as it is easy for instrumentalists to become self-derivative within the space of an album, but Esthema has made a truly moving and magical musical experience. They are definitely worth your time.

—Wildy Haskell, Wildy's World

...a truly exciting instrumental record

December 2007

Although they call Massachusetts home, Esthema mix up progressive Western rock styles with Eastern European folk and Middle Eastern influences on their debut album, ‘Apart From The Rest’. They call it ‘world fusion’, and that’s as good a name as any for a form of music which seems to encompass such a large part of the planet. The Middle Eastern influence is especially enticing and in parts it reminds me of Jaz Coleman and Anne Dudley’s ‘Songs From The Victorious City’ album, at other times the references are less obvious, though no less captivating. Overall, a truly exciting instrumental record, which should appeal to musical adventurers everywhere. Their Myspace page offers four of the seven tracks to audition and if they hook you, then CD Baby has it available for purchase.

—Rob Forbes, Leicester Bangs

...the seamless blend of Eastern and Western motifs

November 2007

Esthema is a Massachusetts-based quintet that performs traditional Eastern/Latin (gypsy, Greek, samba) music with a solid jazz-rock foundation and flowing improvisation. I’d liken much of it to the music by those old guys who serenade the belly dancer at your local Middle Eastern restaurant – only on steroids.

The propulsive rhythms and consequent ability to build dynamic tension on a track such as “Distance,” for example, is what sets Esthema apart from a purely traditional ensemble. That, plus the seamless blend of Eastern and Western motifs: Ethnic scales and meters intertwine delightfully with jazz-rock drums and bass beneath jazzy improv and winding melodies. “Finding My Way” is a great example of the band combining these disparate elements with a melody you can hum it.

Onur Dilisen’s authoritative violin leads are complemented by Tery Lemanis on oud and bouzouki for the undeniable ethnic flavor, while drummer/percussionist Carl Sorensen adds flair via djembe and doumbek. Acoustic guitarist Andy Milas and bassist Jack Mason provide the contemporary “glue” bringing it all together.

—John Collinge, Progression, Issue 52, Fall 2007

Progression magazine is a quarterly journal of progressive music.

Esthema knows what the heck it’s doing...

August 2007

No two words scare a body like mine like world music do. Most of the time, the stuff’s created by a bunch of well-intentioned lads who drive expensive cars, wear fancy clothes and have a lot of liberal guilt over their immense financial superiority. The results are usually powerful enough to turn goat pee into rancid goat pee as said lads rarely take the time to learn how to play the instruments they claim to fascinated with. Often, they lock into a single idea, get their “we be jammin’” shtick on and go from there. Sure, I paint in broad strokes, have probably offended your Saab-toting uncle Walter (who just happens to wear suspenders and look a little bit like Barry Levinson to say nothing of how he won the county oud carving contest last summer). But all that offensive jargon, lads, was to let you know that Esthema knows what the heck it’s doing. With fine refined compositions such as “Consequence,” “For Whom? For Me” and “Finding My Way,” the Massachusetts-based quintet makes the case for not giving up on world music just yet.

— Jedd Beaudoin, Sea of Tranquility

Sea of Tranquility is a web portal for information, news, and reviews related to the worlds of progressive rock, various forms of metal, and fusion music.

Great Stuff

July 2007

I found lots to enjoy in this distinctive, very well played and solidly produced hybrid of musics. The writing was a very appealing hybrid of the music of several locales, with some Gypsy, Moroccan and Eastern European flavors. The sound of the strong violin, in combination with the guitar and Middle Eastern sounding stringed instrument (bouzouki), reminded me a good bit of Shakti, John McLaughlin's acoustic World music band, though that band was tilted more towards India and yours leans more towards Europe/Middle East. The playing was high quality and impassioned by all. The rhythm section was flexible and played with authority. Great stuff.

— TAXI, The World's Leading Independent A&R Company