Since Windham Hill emerged in the mid-70's there have been an unprecedented number of guitar recordings released. It's consequently become nearly impossible to create something in that genre which is truly original and even unique. Rudy Perrone manages to accomplish this with apparent ease in "The Language of Spirits". Using a raft of different guitars and guitar-like stringed instruments, Rudy offers an astounding range of instrument textures and musical styles while somehow never losing the singular voice that is so distinctively his. This is an achievement of performance skill and compositional inventiveness to be sure, but these are not mere academic experiments; this is music of the heart and it connects on a profound level. That players like Michael Manring and Glen Velez are a part of this creation only adds to the remarkable impact offerred in "The Language of Spirits".” - Will Ackerman - Windham County, Vermont
Arlequins: Review from Italy/English Translation/ Rudy Perrone: “The Language of Spirits” By Alberto Nucci - Translation: Salma Ralph What can be expected from the soloist album of an artist that has gone from the highly eloquent symphonic prog of Cathedral (that of “Stained Glass Stories”) to the pop dancing of Industry? Obviously, nothing that reminds us of this two prior musical experiences. Just like its predecessor “Guitar in the Kitchen”, the “Language of Spirits” is an album in which the acoustic guitar is the absolute protagonist. The eleven musical “paintings” included here, can still be seen, even in the presence of other instruments that accompany the polished and precise note of the guitar. Always with close respect for the cello, the oboe and the electric bass which timidly supply a touch or counterpoint to the discreet sustained melody designated by Rudy. It is not an accident that the production of this album has Will Ackerman’s signature, founder of the acclaimed New Age label, Windham Hill. The noted bassist Michael Manring, who also belongs to the same label, contributes with his work in some tracks. All the parts of the guitar are arpeggiated, and the warm and relaxing atmosphere the music of this album certainly tends to touch the heart, as well as the mind of the listener. Surely, all the New Age catalogs have plenty of acoustic guitar albums, therefore, there is a more than tangible risk of replicating what has been already presented by others. There is no doubt that this album won’t re-tell a story; it’s beautiful recording quality allows the appreciation of every note of this delicate, pleasant and captivating music. The flavor and the discreet technique of Perrone is being manifested in the creation of essential but unconventional arrangements. This could be truly attractive even for the most demanding palates in the music environment. An album decidedly pleasurable, that projects in my mind an image of savoring the music in front of a burning fireplace with a good glass of aged brandy.” - Alberto Nucci

Arlequins/Italy/English text

RUDY PERRONE "The Language of Spirits" / Square Box 2007 USA Cosa aspettarsi dall'album solista di un artista che è passato dal magniloquente prog sinfonico dei Cathedral (quelli di "Stained Glass Stories") al danzereccio pop degli Industry? Ovviamente niente che ricordi queste due precedenti esperienze musicali. Così come il suo predecessore "Guitar in the kitchen", questo "The language of spirits" è un album in cui la chitarra acustica è assoluta protagonista. Gli undici quadretti sonori qui contenuti tuttavia vedono anche la presenza di altri strumenti ad accompagnare le note pulite e decise della chitarra, sempre in primo piano rispetto al violoncello, oboe e basso elettrico che timidamente forniscono giusto qualche ritocco e qualche contrappunto alle caute e dilatate melodie disegnate da Rudy. Non è un caso che la produzione di quest'album sia firmata da Will Ackerman, fondatore dell'etichetta guida della musica New Age, la Windham Hill, dalla quale proviene anche il noto bassista Michael Manring che fornisce la sua opera in alcune tracce. Tutte le parti di chitarra sono arpeggiate e la musica di quest'album tende sicuramente più a toccare il cuore dell'ascoltatore che il cervello con delle atmosfere calde e rilassanti ma mai uguali a sé stesse. Sicuramente tutti i cataloghi di New Age sono pieni di album per chitarra acustica quindi il rischio di fare una replica di quanto già ampiamente proposto da altri poteva essere più che tangibile. Senza dubbio questo album non vi racconterà storie mai sentite ma la sua bella qualità di registrazione, che consente di apprezzare ogni sfumatura di questa musica delicata e piacevolmente avvolgente, il gusto e la tecnica discreta di Perrone che si manifesta anche nel saper creare arrangiamenti essenziali ma non banali, possono rappresentare una valida attrattiva anche per i palati più esigenti in questo ambito musicale. Un album decisamente piacevole che proietta nella mia mente un ascolto di fronte ad un caminetto acceso e a un buon bicchiere di brandy invecchiato. Alberto Nucci” - Alberto Nucci

Arlequins/Italy/Italian text

Arlequins: Review from Italy/English Translation Rudy Perrone:” Guitar in the Kitchen” By Roberto Vanali - Translation: Salma Ralph The name of Rudy Perrone brings back to our minds that wonderful recording “Stained Glass Stories” from 1978 done with the band Cathedral, of which he was a guitarist. Since that extraordinary experience Perrone’s career has taken musical directions of different types. A few know, for example, that in 1984 he was a guitarist and composer for the group Industry with the new-wave synth-pop record “Stranger to Stranger”, together with his ex-band member and drummer Mercury Caronia. On the record “Guitar in the Kitchen” we find him in a solo and completely acoustic version. The “kitchen” in the title is emblematic because it represents an intimate dimension of the home which we find in all 13 tracks. Its an entirely acoustic recording that reminds us - for example, of Steve Hackett’s acoustic work and other progressive guitarists that have sometimes, and temporarily, abandoned the electric to dedicate themselves to acoustic moments. In fact, the dominant sounds relate to the classical and the contemporary, but the picking is more oriented towards an American southern style that creates an essential difference and a strong personalization of the work. The pieces are all of watercolor clarity; there are no strong tints, and the feelings that generate from listening are resolved with ease. The dimension of the listening is therefore, based on the mood of the moment, on the disposition of the listener and find a moment all of their own; designed to share a certain intimacy with the notes proposed by Perrone. The songs are frequently warm and passionate; sometimes serene and sunny, but without missing the more reflective and nostalgic parts. If the listener puts himself in complete connection with this harmony, with the right tempo and the right pace, it will be certain to win his/her heart.” - Roberto Vanali

Arlequins/Italy/English text

RUDY PERRONE "Guitar in the Kitchen" CD 2001 USA Il nome di Rudy Perrone, riporta la mente a quel meraviglioso disco "Stained Glass Stories” del 1978 fatto a nome Cathedral di cui era chitarrista. Dopo quella straordinaria esperienza la carriera di Perrone prese strade musicali di vario tipo, pochi ad esempio sanno che nell’’84 fu chitarrista e compositore per gli Industry, nel disco di new-wave synth-pop “Stranger to Stranger”, assieme all’ex compagno e batterista Mercury Caronia. In questo disco lo ritroviamo in versione solista e completamente acustica. La cucina del titolo è emblematica perché rappresenta quella dimensione intimistica e casalinga che troviamo nelle 13 tracce. Pur essendo un disco interamente acustico, siamo lontani - ad esempio - dai lavori acustici di Steve Hackett o di altri chitarristi progressive che hanno talvolta e temporaneamente abbandonato l’elettrica per dedicarsi a momenti acustici. In effetti le sonorità dominanti hanno a che vedere con la classica e la contemporanea, ma il pizzicato è più indirizzato verso un southern style americano, il che crea una netta differenza e una forte personalizzazione del lavoro. I brani sono tutti dei semplici acquerelli, non ci sono tinte forti e anche i sentimenti generati dall’ascolto si risolvono con semplicità. L’ascolto è quindi dimensionato in base allo stato d’animo del momento, alla predisposizione dell’ascoltatore a cercare un momento tutto proprio, destinato a condividere una certa intimità con le note proposte da Perrone. I temi sono spesso caldi e appassionati, talvolta sereni e solari, ma non mancano parti più riflessive e nostalgiche e se l’ascoltatore riesce a porsi nei confronti di queste armonie con i giusti tempi e con il giusto passo sarà anche certo di farsi conquistare. Roberto Vanali” - Roberto Vanali

Arlequins/Italy/Italian text

Finally, a guitar album that is pure. Straightforward and no nonsense performances from this excellent guitarist....Dan Bayer, WKAR / Lansing MI” - DAN BAYER

— WKAR RADIO [ Guitar in the Kitchen CD - review ]

Perrone, Rudy - The Language Of Spirits | Drukuj | Autor: Artur Chachlowski / MLWZ / POLAND 02.08.2008. Niedawno na naszych łamach przedstawialiśmy nowy, wydany po trwającej ćwierć wieku przerwie w działalności zespołu, album „The Bridge” amerykańskiej grupy Cathedral. Ukazał się on niemal 25 lat po poprzednim krążku zespołu, „Stained Glass Stories”. Tak długa przerwa pomiędzy pierwszym, a drugim albumem w dorobku zespołu jest dużym ewenementem w świecie progresywnego rocka, tym bardziej, że zespół Cathedral nagrał obie te płyty prawie w identycznym składzie. Na nowej płycie zabrakło jedynie gitarzysty Rudy’ego Perrone. Jak się okazuje ten absolwent słynnej Berklee College Of Music (ukończył ją w 1974r.) poświęcił się karierze solowej i nie dołączył do swoich byłych kolegów reaktywujących grupę Cathedral. W 2001 roku wydał swój pierwszy krążek „Guitar In The Kitchen”, zawierający 13 instrumentalnych miniaturek zagranych wyłącznie na gitarze. Niedawno ukazał się jego drugi album, „The Language Of Spirits”, na którym Rudy ponownie przedstawia instrumentalną muzykę gitarową zawierającą elementy klasyki wymieszanej z new age. Zasadniczym szczegółem różniącym oba te wydawnictwa jest fakt, że o ile na swojej poprzedniej płycie Rudy wystąpił w pojedynkę, to na nowym krążku wspierają go inni muzycy grający na: basie (Michael Manring), instrumentach klawiszowych (Tim Story), perkusji (Glen Velez), oboju (Kimberly Bryden), wiolonczeli (Martha Reikow) i rożku angielskim (Jill Haley). Tym samym przynajmniej niektóre kompozycje Rudy’ego Perrone’a na płycie „The Language Of Spirits” nie mają już wyłącznie cech muzyki kameralnej, choć trzeba przyznać, że swoimi rozmiarami nie przekraczają one ram kilkuminutowych utworów, z których spora część to liryczne, bardzo spokojne i nastrojowe drobiażdżki. Pomimo bezspornego faktu, że Perrone jest wybitnym gitarzystą, z premedytacją stroni on od nadmiernego epatowania słuchacza swoją wirtuozerią. Na „The Language Of Spirits” nie znajdziemy ekstrawaganckich popisów i solówek na miarę Satrianiego, Vai, czy całej rzeszy naśladujących ich gitarzystów. Solowe dzieło Perrone’a, choć jest albumem na wskroś gitarowym, urzeka słuchacza czymś zupełnie innym. Na płycie panuje wyjątkowy nastój, który sprawia, że muzyki Rudy’ego najlepiej słucha się późnym wieczorem, gdy wszystkie kłopoty i trudy całego dnia już dawno za nami. Płyta kręci się w odtwarzaczu, z głośników docierają spokojne dźwięki gitary, melodie płyną do naszych uszu, kameralne dźwięki uspokajają skołatane całodziennym wysiłkiem nerwy... Co wtedy zrobić najlepiej? Podkręcić potencjometr wzmacniacza o jeden stopień głośniej, założyć na uszy słuchawki, nalać sobie kieliszek dobrego wina, usiąść wygodnie i chłonąć te magiczne, rozpływające się w uszach autentycznie piękne dźwięki akustycznej gitary w sposób mistrzowski obsługiwanej przez Rudy’ego Perrone.” - Artur Chachlowski

MLWZ/Poland

GUITAR IN THE KITCHEN ' # 59 , JANUARY 2003'” - TOP 100 NEW AGE/AMBIENT/WORLD RADIO/INTERNET AIRWAVE CHART

— NEW AGE REPORTER

The Language of Spirits was produced by New Age guitar pioneer Will Ackerman, and you can feel the Windham Hill effect over the course of this CD. Since his emergence as a guitar pioneer back in the late 70's, Perrone has appeared on a number of film soundtracks, children's music, progressive rock, folk and classical/new age releases. The Language of Spirits is really just that - a summoning up of acoustic guitar imagery in the spirit of Ackerman's Windham Hill sound as well as echoing the early music of Ralph Towner in the Paul Winter Consort. Several artists assist Perrone on his third acoustic guitar CD including Tim Story, Michael Manring, Glen Velez and Ackerman too on Parlor Guitar. The Language of Spirits is highly atmospheric, meditative stuff that breezes by as the hours flash by.” - Robert Silverstein

20th Century Guitar Magazine /The Language of Spirits /CD Review

LOVE THIS !! Great for late rainy winter nights.... Valerie Lawe / Atlantic Crossing” - Valerie Lawe

— Atlantis Crossing [ Guitar in the Kitchen CD - review ]

Greattt music. unlike the usual Gi Dussault, The Upper Room with Joe Kelly WVOF , Fairfield CT” - Joe Kelly

— WVOF RADIO - The Upper Room - with Joe Kelly ["Guitar in the Kitchen" CD - review ]