This is pianist Valerie Mih's second release and, put simply, Meridians is one of the standout piano recordings of 2008. With how many CDs in that genre see the light of day yearly, that's a strong statement. Beyond her musical artistry, Mih also distinguishes herself by her interesting choice of accordion as one of the primary accompanying instruments on selected songs, e.g. the opening title track. You probably can't imagine how an accordion can be integrated into a somber and slightly melancholic piano number and have it come across as not just appropriate but wholly unpretentious and not the least bit precious, yet Mih carries this feat off with ease. As the accordion is folded gently in over the piano refrain (as well as the artist's haunting wordless vocals and sparse application of synth bell tones), the overall evocation for me was of walking through Paris at night, a light mist falling, and my mind recalling what it was like to be in love the last time I visited there. Yeah, it's that strong a feeling for me.

Throughout Meridians, Mih displays her affinity for her dual background in improvisational jazz as well as classical piano. This music is more complex than standard new age piano usually is, yet should still prove accessible for your "average fan." There is a rare depth, both an emotional underpinning and a richer aspect to the artist's actual talent and technique, at work here, regardless of the tone or mood of any particular track. On the emotional resonance scale, I'd place the CD somewhere between "reflective" and "moody" with occasional bouts of energy tied to less cheerful emotions. The quick tempo on Flowing conveys the titular reference of water coursing over a river bed, but couched in minor key notes, especially in the lower register. Little One has a playful element to it, but once again with a notably less "happy" subtext. Interwoven, yet another "fast" piece, carries a strong classical influence, featuring delicate interplay between a repeated circular refrain and passionate soloing, with Mih displaying exceptional technique at her piano's upper register. She avoids sounding shrill which many other artists fall victim to when they reach this high. The textural synths in the background lend a layer of gravitas and a cinematic feel. The effect of all these components on the track is of one being in a hurry, racing against time toward some goal, either literally or figuratively, and feeling sorely pressed by some possible consequence.

Things slow down considerably on the impressionistic/minimalist piece Saturn's Rings which again features accordion, this time in a sparser and less specifically evocative fashion, instead fleshing out the piano indirectly. Bass synth beats are dropped in here and there, another nice touch that! Autumn has Mih going to the piano's lower register for dramatic "oomph" while the track's main "melody" (which sometimes hints at dissonance in a pleasant way) is carried by her middle and upper register playing. Wordless vocals and accordion are once again part of the picture on the closing Circular Dreaming, a great closing number that balances warm beauty with gentle melancholy all within a moderately slow time signature.

I'd like to make a comparative statement about Valerie Mih for the sake of readers who need such a thing, i.e. "her music sounds like so-and-so" but Mih is an original, presenting a fresh and unique (but always inviting) musical vision on Meridians. For clarification's sake, I can state that her playing is more in the impressionist arena than it is a structured/new age "pop" approach, if that's any help. However, both her compositions themselves and her creative use of the other instruments present on the CD are what mark her as someone apart from the norm. She is definitely someone to pick up on if you want to hear one of the rising stars in this genre. Highly recommended.

- Bill Binkelman for New Age Reporter