Enticing us with an intricate, acoustic guitar performance demonstrating nothing short of instrumental mastery and a charismatic connection, Cameron Mizell opens his album, The Tree On Saffron Path with emotive depth as the opening track, The Rhythm of Language expands with a cinematic strings arrangement.
A plucked transition draws us into a more chamber orchestral vibe as we are immersed fully in the visionary composer’ soundscape. Next up is Never Felt The Wind, which evolves with elegance and intrigue, as we learn that the recording pairs Mizell’s intimate acoustic and electric guitar playing with elegant string trio accompaniment, performed by violinist Concetta Abbate, five-string violinist Zosha Warpeha, and cellist Julie Kim.
We appreciate the emotional nature of the record, and She Wants To Believe delivers a more optimistic sonic approach which could work perfectly on the Bridgerton soundtrack! Unfolding shares drama, akin to a day in the life of energy, tapping into that timeless cinematic vibe, and creating a cohesive tapestry of sound that we simply cannot get enough of.
Next is Remember When We Were Old which holds a charming and nostalgic energy, whilst An Unclaimed Piece of Land showcases drama in line with the activism-laced title of the track.
Strange Behaviour is an evocative number, and allows the more subversive nature of the composer to come through, we appreciate the melancholia and the journey that Cameron Mizell takes us on feels dynamic and dimensional.
We then experience Light, Trapped Under Clouds which has the hairs on our arms standing on edge, as we are immersed in an almost psychedelic soundscape. Air Leaving Water provides a respite from the drama, tapping into a meditative energy which feels serene and connected.
The final track is And Nothing Was Lost In Exchange, which serves as an emotive conclusion for the expansive record that has taken us on a poetic trip through the mind and spirit of the composer. The cello performance is particularly beautiful and as the title of the song shows us, we have only gained from the sonic experience that is The Tree On Saffron Path.
Cameron Mizell cites Bill Frisell, Philip Glass, and Daniel Lanois as influences, which we can feel come through in his work, although there is no doubt that the composer is creating a universe of his own.
The composer views The Tree on Saffron Path as a natural evolution from his previous solo release, The Order of Things, as he confesses, “I recorded The Order of Things as a way to cope with the uncertainty and anxiety caused by the lockdown. My process was to create long, ambient loops with my electric guitar and then improvise melodies and solos on acoustic guitar. I was composing in real time, one layer at a time, with the melody being the final piece of the puzzle. For The Tree on Saffron Path I reversed that process, started with melodies or tunes, and wanted to create some sort of ambient background to accompany the pieces.”