A Produce has been quietly making notable ambient works for quite some time. Inexplicably overlooked by all but the most hardcore ambient fans, considering the consistently high quality and accessible work created, A Produce seems perpetually poised to ascend to top-artist status alongside masters like Robert Rich, Steve Roach, Harold Budd, and others.

There has been no new solo work by A Produce since 2001's excellent Smile on the Void, and it seems his technique is to release works sparingly, often with vast gaps between albums. In the meantime, he's started a new CDR label, "Trance Port Special Editions," to function as a kind of archival series for compilations of rare or unreleased music that might not otherwise fit on an official A Produce record. The first in this series is Early Sessions 1991-1993, a well-sequenced collection of collaborations with ambient pianist Ruben Garcia, an artist frequently featured on A Produce's albums (not to mention his own noted solo work). Many tracks here will be familiar to those well acquainted with A Produce's work, though in the context of this collection they fit well with all the bonus unreleased material.

First up is "Clear Pools," previously appearing on Reflect Like a Mirror, Respond Like an Echo and White Sands. A lovely, child-like lullaby melody is deepened by synth sweeps and Garcia's shimmering, heavily reverbed piano playing. One can almost see the moonlight twinkle on the surface of the pool, and perhaps glimpse burgeoning, tiny life beneath the surface. Interesting Eno-esque noises in the background give this track an added flavor, and a reminder of the triumphant Ambient series. Natural elements always permeate A Produce's work--tracks are often meant to be sonic impressions of natural landscapes, and "La Selva (The Jungle)" provides an excellent example of this sonic characterization. The driving, conga beat here gives the impression of a journey through overgrown, hot terrain, in spite of Garcia's gentle, though dramatic, piano touches. The synthwork is equally driving, often soaring over the percussives, creating a tense jaunt through a jungle teeming with life; a sticky with sweat journey. "La Samba Electronica" features Garcia's playful piano meanderings over a largely static electronic groove which sounds somewhat dated (it was created in 1991). Synth ambience adds depth, but for the most part this track is held back by the jarringly mechanistic groove which seems out of place. "Last Chance" is more atmospheric with churning "glurp" noises and synth drone accompanied by Garcia's piano. This is nice stuff: entrancing and once more reminiscent of Budd and Eno collaborative material. "Reflect Like a Mirror, Respond Like an Echo" (from the album of the same name) is next, and is striking in its power, drama, and beauty. This track functions as a timeless and memorable statement by these two artists, simultaneously harking back to classic ambient of old, and a newer, more modern sensibility. The track (and the album it appears on) is one of the best examples of the talent A Produce and Garcia possess. Awe-inspiring. "Indian Spirit" is far quieter, featuring ominous pulsing and ambient drones that slither through speakers. Garcia's piano once again grounds the proceedings and lends a progressive, improvised beauty to the track. The next two tracks, "The Wall of Dali (take 5)" and "The Wall of Dali (take 6)" can be considered as one long song (another take of this track appeared on Land of a Thousand Trances). A subtle backdrop of ambient sonics are once again conjoined with Garcia's sparkling piano. Further shades of Budd and Eno in a modern context. "Intuition" has a wistful synth drone that reminds me of Ashra, again with Garcia's piano, though in a more melodic and plaintive mood. This may flirt too close to new age tropes for many ambient listeners, as the sound here is somewhat less droney than previous tracks on the disc. Finally "It Comes in Waves" (also from Land of a Thousand Trances) closes the collection with an extremely atmospheric tableau of treated piano, processed wind chimes, and unrecognizable synth noises. Once again, Garcia and A Produce describe musically just what is so special about their music together.

Early Sessions 1991-1993 offers a somewhat limited glimpse into the work of A Produce--each track with Ruben Garcia occupies a similar sonic terrain and mood. This in no way detracts from the supreme beauty of the material as a totality. This music has the feel of classic work from Budd and Eno, all with a sonic ingenuity and flavor that is solely attributable to A Produce and Ruben Garcia. Personally, I feel that Early Sessions 1991-1993 is of the most interest to those already acquainted with these two artists. The tracks here are all good, many excellent, but the best work of these two remains on the full A Produce albums. Neophytes will most certainly want to explore the lovely vistas of Reflect Like a Mirror, Respond Like an Echo first. However, once hooked on A Produce's sound, listeners will want to pick up everything they can get their hands on. I can't recommend this album to listeners who prefer darker zones of electronic ambience, as the material on Early Sessions is by and large airy, occasionally drifting into new age territory, though always deeply atmospheric and never sugary. Those who like their ambience diverse, somewhat melodic, and always fresh and interesting, however, are strongly urged to apply.

Released on Trance Port Special Editions.

since July 15, 2003