Customer Reviews

Language of the Flame

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I came to Amazon.com on the rumor there's a new concert CD from Michael Gulezian (haven't found it yet), and noticed someone from Austin already wrote a review for "Language of the Flame" - I was at that Cactus Cafe performance also, and remember it well. It was an incredible thing to witness. Gulezian was the opening act at a sold-out rock-oriented concert ... it took all of maybe twenty seconds into his first song before every eye was glued to the stage. Forty minutes later the entire audience was blown away - something you rarely see in this town.

Michael Gulezian plays with such power, ferocity, and unrestrained passion, such complete authority, such dazzling technique, such clarity of tone, and with such a distinctive voice (did I mention power, ferocity, and passion?), it leaves absolutely no doubt this guy is one of the greatest solo instrumental acoustic guitarists alive today. His guitars sounded huge. Monstrously huge. Yet for all the firepower, Gulezian's music also happens to be gorgeous - there's always a sense of gracefulness, even when the music screams. Michael Gulezian is a sophisticated and talented composer disguised as a guitarist with superhuman chops. He embeds melodies into harmonic voicings that move and build through each piece, with rhythms that seem to shift and turn in ways you never expect. This is one intense musician. The only other guitarists I've witnessed on this level are Stevie Ray Vaughn and Michael Hedges (more on Hedges later).

"Language of the Flame" is a major statement. I love my CDs by Leo Kottke, Don Ross, Adrian Legg, Tommy Emmanuel, Willy Porter, and especially Michael Hedges. I think it's safe to say that "Language of the Flame" ranks as one of the best solo acoustic guitar recordings of all time, right up there with Kottke's "Six and Twelve String Guitar," and Hedges' "Aerial Boundaries."

There isn't a weak track on this disc; here are my highlights. "Little Meggie" is a fingerstyle delight - intricate, brash, and joyous - a clear reflection of Kottke's influence on Gulezian. "Jello Moves" and "Trampoline Heart" rock out a lot more, but with incredible precision and finesse. And then there's "The Room of Doom," which has to be the single most explosive piece of acoustic guitar music ever recorded ... this stuff comes from another galaxy. Gulezian sings - beautifully - on one track, a very atmospheric, almost Peter Gabriel-esque arrangement of Oh Suzannah. Wish he would sing more.

The closing track, "Michael Hedges Goes to Heaven," is simply mindblowing. A symphonic open-tuning twelve-string bottleneck refrain that builds into a crescendo of key changes and reverse reverbs. It's stunning. Jaw-dropping. There are many people who consider Michael Hedges the greatest acoustic guitarist who ever lived. Apparently Gulezian and Hedges were both friends and musical influences upon each other. This track is eight minutes of musical apotheosis, a fitting solo guitar soundtrack for Hedges' ascension to Eternity.

"Language of the Flame" is a triumph of transcendence and passion, power and emotion. It is a tour-de-force of originality and vision. It is music that simultaneously pushes the technical boundaries of what is humanly possible on the instrument, while still touching your heart. This is a dominating performance from one of the most incredible acoustic guitarists you will ever hear. Highest recommendation.

(Just in case you do not have time to read this entire review, I heartily recommend Language of the Flame as a superb collection of acoustic guitar music, from one of the most creative, innovative, evocative, and listenable acoustic guitarists of all time. Buy 2 copies, and give one to your best friend.)

And for those of you who do have a couple of minutes...
I discovered Michael Gulezian one day when I turned on my radio, and heard Michael performing as an in-studio guest at KUMD radio. He played three selections from Language of the Flame, flawlessly, and with an extraordinary depth of passion. I was instantly floored, and knew I had not heard anything like this since the last time I had seen the late great Michael Hedges perform live. The luck of the Irish was with me; Michael Gulezian was to play the following night at a local venue.

I arrived early the next night, and sat directly in front of the stage, just a few feet from where this superb guitarist would be performing. This would give me an excellent opportunity to watch his hands. I have been toying with guitar playing for over 30 years, and hoped to pick up some technique. After decades of listening to and watching many of the world's greatest guitarists, from Atkins to Zappa (and Montgomery, King, Tedesco, Pass, Benson, Ritenour, Carlton, Page, Clapton, Freeman, Beck, Buchanan, Guy, Hedges, Bensusan, Ross, Santana, Knopfler, Hendrix, Vaughan, Gilmore, Kottke, Cooder, Gatton, McLaughlin, Fripp, Andress, Reed, etc.), I can pretty well visualize what the guitarist is doing with their hands as they play. And I knew this would be a treat, because I could "see" that Michael had to have his hands all over the guitar to achieve all of the many timbres he employs in his beautiful creations.

On that night when I sat so close to Michael's hands, I gained no new guitar techniques. I was immediately lost, immersed in the music. The left side of my brain didn't have a chance.

In addition to the skilled fingerstyle techniques Michael has mastered, he will tap, hammer, pull-off, spank, bend, trill, chime, mute, and employ flamenco-like bursts of arpeggiated chords both on the upstroke and downstroke. I never get the sense that these techniques are used as boastful embellishments; instead, it always feels appropriate to the piece. He has broadened the palette of timbres that can be coaxed from a guitar, allowing his solo guitar to achieve a more orchestral quality. His choice of tunings (don't expect EADGBE or DADGAD to be in the mix) is rich and evocative, crafted for the particular dominant mood of each piece. He is equally adept on the 12-string guitar as he is on 6-string, and could give Leo Kottke or Ry Cooder a run for their money with a slide.

In a break between sets, I approached Michael and told him that at times it sounded as if he was "channeling" Michael Hedges. He took it as a compliment, and expressed his sorrow that Michael Hedges had been taken from us so soon. I found out much later that Gulezian's recorded work, incorporating many of the guitar techniques that Hedges is credited as having created, predates Hedges' work by years. I don't mention that to take any thing away from Hedges, whom I respect as being another of the most creative and masterful acoustic guitarists of all time. I mention it to give credit to Gulezian as the innovator that he is. Hedges, who was a good friend of Gulezian's, would have agreed.

But perhaps the highest compliment that I can pay to this musician is to recognize what is beyond the skills of his performance talents and refined musicianship. Michael Gulezian's compositional skills are second to none. What would be the outcome if one of the world's best short story writers lost their pen but acquired world-class skills as a guitarist? Language of the Flame. This CD is a broad collection of superbly crafted, emotionally charged, and passionate stories of life.

By the way, that smile that you see in the picture of Michael on the back of Language of the Flame is genuine, and escapes often. He is a charming and witty stage performer, on top of his skills as a composer and musician. Don't miss the chance to see him perform live, and pick up a few copies of Language of the Flame to give to your friends that love acoustic guitar music.

Michael Gulezian doesn't create music with a guitar; he creates magic.

-Dennis Leahy

I have enjoyed this for several years now and I never seem to grow tired of hearing it. Gulezian's compositions are interesting, intense, and beautiful.

I will try not to be long winded or sentimental, but when Michael Hedges died in 1997, I thought that new acoustic music died with him. Thankfully, I was wrong; thank god for Kaki King, Gulezian etc.

I could wax rhapsodic about the whole CD and its wonderful composition and melodic beauty. My favorite track has to be "Michael Hedges Goes to Heaven". What a beautiful piece of music! It is haunting (additionally I listened to it the other day as I was driving through the canyons of Nevada on my way to LA and it was a wonderful compliment to the landscape).

The thing that makes me happiest about discovering Gulezian is that I am not left in darkness after Hedges death. I am very happy to have found this wonderful talent to comfort my ears. This CD is the answer to an guitar-lover's prayer.

Michael Gulezian is all soul and passion. Probably one of the greatest Guitarists out there that needs more exposure. This is a great album. Mike Rocks! I have seen him around 12 times in concert and he just keeps getting better and better! Buy this album! You will not regret it!

Highlight: Michael Hedges goes to Heaven

Like most of the reviewers, I had heard nearly nothing of Michael Gulezian before I saw him perform at my college. I knew he had performed at St. Olaf before (it was actually his 12th time), but I knew nothing of him or his music. Between the free guitar clinic he gave a few nights before the performance, and the stunning, non-stop 2 and a half hour performance, along with an afternoon of hanging out (as I am a sound technician at the concert venue, and I also worked the show), I definitely fell under Michael's spell. I sat down the next day with a guitar, and I was at a loss--I had no idea how to ocmmunicate like he did--either live, or (as you most likely care about more) his Language of the Flame CD. His guitar vocabulary is so unique and so evocative, it is amazing. Even after its 20th spin in your cd player, it still is fresh, and still touches your heart. A must for anyone who cares for any guitar music. Plus, a song is called the Room of Doom. Honestly. How much does that rock?

(P.S.:I ran into Michael two days later, and he recommended www.stropes.com as a starting place for learning that vocabulary.)

I am a student at Northern Illinois University, Michael came to Northern as he does every year and stayed for a few nights. Prior to his comeing a lot of people got excited for his visit. Being a new student to NIU last year i didnt know what evryone was talking about, but when he got here and spent a few days i soon found out why. I went to his concerts and learning sessions on guitar and going solo in the music buisiness; his concerts were one of the best concerts i have ever been too. Watching Michael play his fantastic music is like watching magic. He shares with you every emotion with every note of the song. I recomend this CD to anyone who wants music from a true musician. Excellent!

~Aaron

Michael... P.S.

Cheezecake rocks too man!

There is a realm of pure sound that moves through everything, everywhere, which interconnects us with all that is. Michael Gulezian's latest release, "Language of the Flame," is a portal to this dimension. Deeply steeped in the trail blazing sonics and percussives of the late Michael Hedges, Gulezian continues to explore the aerial boundaries pioneered by his mentor and friend, whom he memorializes in the album's final track. This is music that will sway your innards with its earthy rhythms, then invoke meditative stillness with its wide open, infinite spaces that awaken the "third ear." If you're looking for a shamanic journey in sound, this one is for you.

I have a story to tell...

I saw Michael perform in front of a packed house at Cactus Cafe in Austin one night. I was amazed. The whole audience was captivated by Michael's music.

So...a day later, I go to Common Grounds at Baylor University because one of my friends wants me to come hear "some guy who is good at the guitar." When I get there, Michael is setting up for the show. When I see that he is the guy from the previous night's show, I run up to him and say, "Dude, I saw you last night...You were awesome!" I was pumped that I was going to get to see him perform again. Once again he put on an awesome show.

He has a soothing and unique style of music, and his goofy stage humor and side jokes entertain the audience rolling with laughter. So, not only should you see a live performance, but you should also get a CD...in fact I am listening to his CD as I write this review. YOU ROCK MICHAEL.

...ok that is the end of my story

-Chad Rainey

I had a chance to see Michael as he came to Bemidji State University in Bemidji, MN the winter of 1984. He played to about 10 of us in the Rendezvous Room, and it was fantastic. I also bought his album, UNSPOKEN INTENTIONS and it was badly warped. I sent it back and it took a long time for him to get new ones, finally getting it back to me some months later when it was re-pressed. He came back the spring of 1986 and played at the Union there to a largely unappreciative crowd of lunchgoers. Too bad, as he again amazed. I got him to sign my album, and he did with the words "Selling records has never been more fun."

Gulezian is a completely unpretentious man who is amazingly humble and one of the best acoustic players out there. When I saw him, I saw a heavily Kottke and Fahey influenced player who did amazing things with a slide and a twelve string. Gulezian cites Michael Hedges as the greatest guitar player ever, and that influence is heard here on this CD. The growth in his playing from then to now is astonishing and breathtaking.

Gulezian strikes, bangs, strums, and picks incredible soundscapes. Haunting and beautiful doesn't even come close to describing what he does. Submlime is more like it. I love the version of "Oh Suzannah" (the only vocal on the record) which is turned into an aching, longing ballad. He has a wonderful voice.

A fantastic guitarist.