Acclaimed British composer and multi-instrumentalist Michael J McEvoy has taken this reviewer on a transcendent and meditative journey with his new album, Terra Cognita. The record was actually created as a musical tribute to the awe-inspiring power and beauty of the natural world. Here, Michael replicates this by weaving together elements of the contemporary jazz scene with ambient classical soundscapes and a selection of other intriguing world music traditions.
By Jane Howkins
Terra Cognita also features an extraordinary roster of famous guest musicians, such as cellist Jane Fenton, flautist Jan Hendrickse and legendary Brazilian percussionist Airto Moreira. Elsewhere, McEvoy showcases his multi-instrumental mastery by playing instruments such as the guitar, bass, piano and viola, resulting in a layered and atmospheric recording that really captivates the senses.
No Other World is a wonderful opener that starts Terra Cognita off on a poignant note – the sweeping strings and piano work exceedingly well together, introducing a jazzy piano melody that acts as a gentle reminder of the fragility of the planet. The energy is lifted further on Rise, which builds up slowly over the groovy rhythm section, with the musical interplay mimicking the feeling of dawn breaking or life emerging, creating a boundless sense of optimism. Every instrument is used perfectly here and it’s a real testament to Michael’s skills as a composer.
Sol Lamente is the song that really made me fall in love with Terra Cognita. It’s much more melancholy than the previous pieces, leaning into a latin-infused jazz motif at times. The acoustic guitar is used to subtle effect against the layers of strings, offering a serene and reflective moment for the listener to nourish their soul. Winter Meditation could be said to be the album’s meditative centre, as it’s one of the longest tracks here, spanning over seven minutes in total. It’s absolutely beautiful though, using a simple yet haunting piano melody to create an evocative vibe that is strikingly beautiful throughout.
The curiously titled Breathe – Into Blue takes things in a slightly different direction, moving away from the blue sounds of the previous two numbers. Lush string and woodwind elements wash over the piece almost like the tide washing against the shore, making for an extremely immersive experience altogether. Forgotten Children has a certain sense of gravitas to it, centred around a set of pretty jazz piano chords, showing Michael’s talent for telling profound stories without using even a single vocal line.
Oceanna is the longest song on Terra Cognita (it’s almost nine minutes long), yet ever second seems precious. It’s a grand composition, and one that is highly reminiscent of the movement of open waters, seeing Michael use a series of shifting time signatures and expressive solos to mark a real high point for the album. New Life, New Day closes things with a slightly lighter sound, bringing more of a melodic quality to the tempo. It’s another relaxing piece of music, inviting a feeling of renewal for the listener at the end of their journey through this record.
I really enjoyed Terra Cognita – understandably, it won’t be for everyone, but it’s clear to me that this album is a masterclass in atmospheric composition. Michael J McEvoy has assembled a stunning suite of music that feels both timeless and urgently resonant, inspired by a genuine love for the planet and a lifetime of powerful songwriting. I would recommend listening through the record a few times over, as it’s an album that seems to reward attentive listening – it’s also surprising accessible for this style of music too.
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