Ellen M. Wilson

Destiny’s Alone is a track that will immediately bring listeners on board with Ellen M. Wilson. This track needs little more than vocals and a piano to shine; the resulting track uses the interplay of human and instrumental efforts to draw listeners into the fold. Shelter Me possesses a foreboding feel to the track that ties together equal amounts Nightwish and Evanescence with Switchblade Symphony. Each element of Wilson’s band is brilliant here, while the production allows for considerable delineation of each element. This results in a much more clear effort than many we have heard. I Will Try is a track that feels destined for Broadway; the soaring vocals present here are endearing, while the softly-spoken piano matches up perfectly. Hints of Tori Amos can be heard here, while Wilson’s overall effort could easily make it up adult contemporary charts.

It’s Alright is a track that works perfectly, no matter what sorts of music that a listener may dig. This is because the composition is buttery smooth, with the instrumental arrangement providing the perfect highlighting for Wilson’s vocals. Destiny is the perfect closing track for the titular album; I feel it touches just as much as what was captured during Destiny’s runtime as what will be explored by Wilson in the future. A second set of vocals pushes the track to an entirely new plateau, and gives listeners more than enough reason to stick around for the second half of Destiny. Make sure to see Wilson on a set of tour dates in New Mexico and Texas in the next month, and check her website out for more information about the woman and her music.

Top Tracks: Shelter Me, I Will Try

Rating: 8.6/10 - NeuFutur Magazine

Ellen M. Wilson's music is a mixture of pop, easy listening, and piano rock. Her album, "Destiny," combines thoughtful songwriting with stellar production. "Someday" is a piano rock song with positive lyrics, a nice full arrangement, and a ripping guitar solo. "Alone" has a longing melody and piano accompaniment with heart-wrenching lyrics about loneliness. "Shelter Me" is very dramatic. It reminds one of a song in a rock opera. In fact, Ellen's voice would be well-suited for a rock opera. Ellen shows off her vocal range during a musical breakdown on "I Will Try," a tune with self-affirming lyrics about not giving up. "For You" is an emotional piece with an interesting choral introduction and a driving guitar riff. There is some excellent technical guitar work on "Rise," and the title track "Destiny" has a wonderful pop beat. Good first effort!

Joel McDowell
- Songs Alive

Ellen M. Wilson's music is a mixture of pop, easy listening, and piano rock. Her album, "Destiny," combines thoughtful songwriting with stellar production. "Someday" is a piano rock song with positive lyrics, a nice full arrangement, and a ripping guitar solo. "Alone" has a longing melody and piano accompaniment with heart-wrenching lyrics about loneliness. "Shelter Me" is very dramatic. It reminds one of a song in a rock opera. In fact, Ellen's voice would be well-suited for a rock opera. Ellen shows off her vocal range during a musical breakdown on "I Will Try," a tune with self-affirming lyrics about not giving up. "For You" is an emotional piece with an interesting choral introduction and a driving guitar riff. There is some excellent technical guitar work on "Rise," and the title track "Destiny" has a wonderful pop beat. Good first effort!

Joel McDowell
- Songs Alive

El Paso
vocalist/songwriter Ellen Wilson’s newest
offering is another example of her ability to
mesh segments of faith and inspiration with
clean, clear vocals and flowing melody.
More pop/rock-infused than her earlier
disc, “Songs of Ascent,” Wilson’s sound is still
very familiar.
The album starts out strong with the
world-uniting invitation, “Someday,” and it
continues to flow smoothly throughout. A
standout for me was “For You,” featuring a
rock anthem-inspired intro and motivating
rhythm. These two selections alone are
worth giving the CD a listen, but that’s not
to say Wilson doesn’t deliver a satisfying
musical experience altogether. This is one of
those rare albums with no “skip over” songs
or low points.
Although “Destiny” demonstrates and
Wilson’s ability to experiment and evolve as
a musician, fans of her work won’t be disappointed
with the results. Likewise, those just
discovering her music should find this album
enjoyable enough to want to delve back into
her earlier work.
“Destiny” is simply a beautiful listen from
beginning to end, and it’s refreshing to see a
local talent who can not only grow as a performer,
but also remain true to herself in the
process.
— Lisa Kay Tate - El Paso Scene

The basic goal and the unerring quest of the Sufi poets—particularly of the Sufi mystics of the medieval era (Rumi, Hafiz, Omar Khayyam)—was to become one with their beloved. The beloved often being not merely an earthly, carnal version of someone they merely wanted to hook up with, but The Beloved: God, the Supreme Being, the Universe. These Sufi mystics aspired toward a Divine Love. They were seekers of Truth. And they wrote and sang about that love and those aspirations in a way that was sometimes direct, sometimes not, but always heartfelt and spiritual. The same can be said of Ellen M. Wilson. She sings sometimes directly, sometimes not, but always heartfelt and with spirituality and passion. And without being corny, obvious, or preachy. And the music backing her is neither maudlin nor treacly and thankfully never veers into the self-consciousness of a Lilith Fair princess.

Wilson bears no small resemblance to sinewy operatic rock bands like Evanescence and Flyleaf, which mix in tough crunchy guitars and soaring synthesizers beneath and sometimes over the ethereal and sometimes dreamy vocals of their frontwomen (Amy Lee of Evanescence and Lacey Sturm of Flyleaf). Wisely, or maybe fatefully, she chose as her producer T.L. Brown, a songwriter whose musical sensibilities seem to mesh perfectly with the potential and the range of Wilson’s formidable and sublime voice.

These songs—where Sufi meets soul but almost on every cut armed with either an awesome guitar riff or a soaring synthesizer—range from hard rock to country rock to dance club. “Someday” moves from a familiar country rock AM-station number to one where Wilson’s voice carries it to a higher level. Similarly, “Alone” recalls the piano work of Styx and the vocals of Pat Benatar, but the musicians, all from El Paso and all doing great work here—from guitarist Armin Harrison, bassist Dave Hamilton, drummers Danny Sullivan and Justin Conrow—and Brown’s piano-playing and arrangements complement Wilson’s emotionally poignant vocals in a way that’s not only supportive but true to the uplift of the lyrics.

“Shelter Me” and “For You” also kick ass—musically and vocally. They pack an emotional wallop. The guitars are big and gritty, the synthesizers equally large and lofty, and the arrangement always plays off the subtle spiritual mood that’s always there if you want it, but not overly present that it’s in your face.

On “I Will Try,” Wilson works her voice in a way that’s texturally distinct from her other songs. She somehow manages to sing—“I will try/learning along the way . . . I won’t give up/I will be whole someday,” lyrics about change and growth, or trying to change and grow—in a voice that’s younger, less mature, striving. Striving while retaining the strength underneath that’s identifiably Wilson’s.

“It’s Alright” opens with more of an easy-listening vibe. But it’s Culture Club laziness is deceptive, giving way halfway through to a more interesting tempo, a lift in spirit. Again, there’s an almost mystical quality to Wilson’s singing here, to the music and the words. She sings about lifting her eyes to the mountain—the way some of the great Sufi mystics sang of their experiences with the divine. And it can’t be a mere coincidence that Wilson lives in a desert as stark and unforbidding but as spiritually inspiring—yes, El Paso—as that inhabited by the medieval Persians.

“Rise” is particularly stirring. Wilson’s voice here is at its clearest and richest. And why wouldn’t it be? “I know from deep within that I was born to rise . . . in my hands my future lies.” How could she not sing with total clarity and purpose?

It’s on “Destiny,” though, where Wilson truly sings of praise and pursuit. Backed by a beat that’s more early Madonna or Sheena Easton (in her Prince days) than the CD’s more metal-driven tracks, “Destiny” finds Wilson singing of “The path we take creates the shape and form of the key.” And that “destiny’s visage is unique/it’s yours and yours alone.” Among the mystics, they often sang of visages and the awesomeness and wonder of God’s visage. They also sang of The One, just as Wilson does: “The pathway with our final goal: the One that’s always near.”

Wilson gives the impression—lyrically and musically—that she’s after something bigger and deeper than a mere Top 40 finish or a dance-club hit. She certainly has the voice to back it up.


-Devon Jackson - Devon Jackson

Several years ago I was lucky enough to watch Ben Folds play with the Houston Symphony Orchestra. During the concert he explained how much he loved playing with orchestras because while making an album he felt like he was constantly dumbing down his ideas in order to make the album sound consistent with the live sound and not to go too crazy in the studio. After hearing how fantastic he sounded with a full orchestra I was disappointed in listening to his albums because I knew it wasn’t the full potential of what he had in mind when writing the songs. In Ellen M. Wilson’s November 2012 release “Destiny,” Wilson doesn’t back down from the daunting task of incorporating numerous elements into her work and it pays off.
After a couple of listens to the album I was not surprised to learn that Wilson was a rocker in her teen years and then studied classical music through college. With a background of rock and classical music and a fearless approach to writing Ellen Wilson has created an album that is all her own. There are elements of prog rock, rock opera, and folk music that are tied together by Wilson’s strong vocal performance and a lyrical theme. While there are religious themes lyrically, I would probably consider the album to be more of a spiritual album as it deals with finding peace and happiness in the world. There is a heavy use of synth and keys throughout the album that really give it that rock opera feel. Harmonies are used consistently in the album but not to a point that they are overdone. To combat overuse there are male vocals used in the harmonies sparingly that keeps the songs (and album as a whole) fresh.

My favorite track of the album would have to be “For You.” The song opens up with a minute and a half of synth, leading into some crunchy guitar work, and then percussion (including the ringing of bells) setting an intense, ethereal tone for the song. This song is heavily prog rock influenced and would stand up against The Transiberian Orchestra’s work. The song speaks to our inability to understand all of the mysteries that go on around us to make the world the way it is. Wilson has chosen such a hard hitting eerie sound for this song that matches its subject matter perfectly.

Other stand out tracks for me include “Alone” and “Shelter Me.” These two songs are 2nd and 3rd on the album and really start the rock opera sound that I love so much. To compare this album to what’s out currently is tough to do but due to the vocal work in these two songs there will be comparisons to Wilson and Amy Lee of Evanescence. “Alone” is a much slower pace than the aforementioned “For You” but is intense in its own right as Wilson sings about moving out of a tribulation while staying positive and never feeling alone in the process. “Shelter Me” builds on the pace of “Alone” and really shows off Wilson’s vocal talent. It becomes evident how much power she has in her pipes as her voice soars two minutes into this song as the album comes to a crescendo it has been building since the first note of the opening track.

Wilson’s “Destiny” is full of little surprises and rewards. “Rise” concludes with some enormous percussion capping off the growing energy of the song. “Its Alright” has a jazzy feel to it that isn’t really given on other tracks. “Someday” has a breakdown that builds into a smooth guitar solo. The biggest reward to the album however has to be the vocal performance by Wilson whose voice sounds just as good in the valleys of songs as in the peaks.

“Destiny” is masterfully done. The uplifting, heartfelt album focuses on the journey we all are going through in this world. Wilson is providing reassurance not only of her ability to end up where she is supposed to in this world but that the world will end up as it should as well. Wilson is confident that she will find her destiny but it’s apparent she has found her voice in “Destiny”.

Buy this album if you like: Epica, Evanescence, The Carpenters, Prog Rock and Rock Opera.


--Joel McDowell, handsoffpromotions.com - Hands off Promotions

Several years ago I was lucky enough to watch Ben Folds play with the Houston Symphony Orchestra. During the concert he explained how much he loved playing with orchestras because while making an album he felt like he was constantly dumbing down his ideas in order to make the album sound consistent with the live sound and not to go too crazy in the studio. After hearing how fantastic he sounded with a full orchestra I was disappointed in listening to his albums because I knew it wasn’t the full potential of what he had in mind when writing the songs. In Ellen M. Wilson’s November 2012 release “Destiny,” Wilson doesn’t back down from the daunting task of incorporating numerous elements into her work and it pays off.
After a couple of listens to the album I was not surprised to learn that Wilson was a rocker in her teen years and then studied classical music through college. With a background of rock and classical music and a fearless approach to writing Ellen Wilson has created an album that is all her own. There are elements of prog rock, rock opera, and folk music that are tied together by Wilson’s strong vocal performance and a lyrical theme. While there are religious themes lyrically, I would probably consider the album to be more of a spiritual album as it deals with finding peace and happiness in the world. There is a heavy use of synth and keys throughout the album that really give it that rock opera feel. Harmonies are used consistently in the album but not to a point that they are overdone. To combat overuse there are male vocals used in the harmonies sparingly that keeps the songs (and album as a whole) fresh.

My favorite track of the album would have to be “For You.” The song opens up with a minute and a half of synth, leading into some crunchy guitar work, and then percussion (including the ringing of bells) setting an intense, ethereal tone for the song. This song is heavily prog rock influenced and would stand up against The Transiberian Orchestra’s work. The song speaks to our inability to understand all of the mysteries that go on around us to make the world the way it is. Wilson has chosen such a hard hitting eerie sound for this song that matches its subject matter perfectly.

Other stand out tracks for me include “Alone” and “Shelter Me.” These two songs are 2nd and 3rd on the album and really start the rock opera sound that I love so much. To compare this album to what’s out currently is tough to do but due to the vocal work in these two songs there will be comparisons to Wilson and Amy Lee of Evanescence. “Alone” is a much slower pace than the aforementioned “For You” but is intense in its own right as Wilson sings about moving out of a tribulation while staying positive and never feeling alone in the process. “Shelter Me” builds on the pace of “Alone” and really shows off Wilson’s vocal talent. It becomes evident how much power she has in her pipes as her voice soars two minutes into this song as the album comes to a crescendo it has been building since the first note of the opening track.

Wilson’s “Destiny” is full of little surprises and rewards. “Rise” concludes with some enormous percussion capping off the growing energy of the song. “Its Alright” has a jazzy feel to it that isn’t really given on other tracks. “Someday” has a breakdown that builds into a smooth guitar solo. The biggest reward to the album however has to be the vocal performance by Wilson whose voice sounds just as good in the valleys of songs as in the peaks.

“Destiny” is masterfully done. The uplifting, heartfelt album focuses on the journey we all are going through in this world. Wilson is providing reassurance not only of her ability to end up where she is supposed to in this world but that the world will end up as it should as well. Wilson is confident that she will find her destiny but it’s apparent she has found her voice in “Destiny”.

Buy this album if you like: Epica, Evanescence, The Carpenters, Prog Rock and Rock Opera.


--Joel McDowell, handsoffpromotions.com - Hands off Promotions

Treat your nerves to a vacation. Ellen M. Wilson’s Songs of Ascent is the perfect album for tense listeners in tense times. If you are frayed by looming debt, housing concerns, healthcare inadequacies, by any or all of the plagues of our times, Songs of Ascent is a balm that rarely comes packaged in CD form. The compositions are all based on Jewish liturgy, but the arrangements and message transcend religious affiliation.

Songs of Ascent opens with “Modeh Ani,” a grace said upon awakening. Wilson infuses the melody with haunting Middle Eastern tones reminiscent of the muezzin’s call to prayer. The second song’s lyrics, “Eil Na R’fa Na Lah,” are composed of Moses’ prayer for his sister Miriam’s healing. Wilson’s simple yet soaring melody feels as if it actually could have healing properties. In fact, the same can be said of the entire album.

I have seen Songs of Ascent labeled as “new age”, but I disagree. Rather than 'new', Wilson’s arrangements and heavenly voice seem ancient in the best sense of the word. The music and words are delivered with quiet passion as one imagines they were originally intended back in the day when religion was more universally viewed as a source of strength and communion. For example, anyone who has ever been to a synagogue service has heard “Oseh Shalom,” but not like this. This prayer, asking God to bestow peace on the world, has never been so wistful, so heartfelt and so, well, harmonically catchy. I now find this tune running through my head like a reflexive and soothing mantra. And unlike most “ear-worms,” which tend to be as pernicious as the “Meow Mix” song, I welcome this one. It is flat out gorgeous.


Last year at this time, I was exhausting my iPod battery with Sarah McLachlan’s Christmas album, Wintersong, alternately wishing there were a Jewish equivalent and also not caring if there was because while listening to the music my spirit rose and cartwheeled, no religious affiliation necessary. Yet this year I got my wish. Ellen M. Wilson’s sound is much like McLachan’s and with just as broad an appeal. Wilson’s voice is truly ethereal. She could sing programming code and still induce a Zen-like well-being in the listener. “Pitchu Li,” a request for justice, demonstrates this remarkable vocal ability, gliding from Mariah Carey highs to Pink-like contralto.


Songs of Ascent is a blend of Middle Eastern melody, traditional Jewish liturgy, impossibly beautiful harmonies, and a bit of jazz and soul. Since most cantorial albums feature men, it is an added joy to have this work by a female artist. In a world where more and more of us are reverberating from the harsh echoes of economic crises, violence, and fears for the future, one may wonder: is life still worth celebrating? Songs of Ascent answers this question in the affirmative, and in doing so, truly lives up to its name.
- T. Tamara Weinstein

“Songs of Ascent” starts out with “Modah Ani”, a track that has a contemporary sound, albeit one that is tinted with a Middle Eastern flow. When Wilson’s vocals begin, they operate more as an additional instrument instead of going forth and furthering a narrative. This shift in the role of the vocals represents just one of many things that Wilson changes and does differently on “Songs of Ascent”, an album that stands out due to the uniqueness of its character. “Eil Na R’fa Na Lah” has a heavy flute and piano presence to its opening, before Wilson’s vocals give listeners something more tangible with which to grip on. Wilson’s heavenly vocals have a classic feel to them: one, after listening to the track, could easily envision Wilson singing in 1608 as much as she fits singing in 2008.

Where there seems to be a division made with current artists between the vocal and the instrumental, Wilson’s blending of the two distinct segments creates something that is fresh and exciting. There may not be a driving drum beat or guitars shredding their way through the tracks on “Songs of Ascent”, but the intricate vocal arrangements that are par for the course on “Songs of Ascent” will get listeners excited and eagerly anticipating the next track. “Pitchu Li” opens up with a piano line that sets the mode for the track, leading in to Wilson’s vocals. The vocals and piano walk hand in hand, each bolstering the other to a higher level than would normally occur.

Where a number of the tracks on “Songs of Ascent” have a 17th-century feel to them, “Pitchu Li” elicits comparisons to the Renaissance period. The piano line expands upon that sound, adding a pinch of Tori Amos influence to the overall composition, creating yet another reason for listeners to pick up “Songs of Ascent”. “Songs of Ascent” touch upon the past, present, and even future in music, with each subsequent track on the album adding to the rich tapestry that Wilson and her band began with “Modah Ani”. If you are a fan of classical music, make it a point to pick up “Songs of Ascent” when it is released; if you are in the El Paso area, check her web site to see if you can attend any of her live performances. - NeuFutur Magazine

Beautiful, swirling awakening of transcendent vocals spanning the ages. From giving thanks, to healing, to ending war; Songs of Ascent, is a moving collection of what are obviously songs of divine inspiration, culturally folk, and mythically tuned.

Whatever your faith, Wilson’s tribute to ancient verse and prayer may just awaken the age-old soul within, enticing ancestral memories to rise and lead you on your very own soul-ful journey to the wisdom that guides us all. Wherever you are spiritually, Songs of Ascent will take you higher.

Modah Ani to Ellen M. Wilson.
- Cheryl Bruedigam

Wilson's collection of Hebrew and English language songs, mainly inspired by verses from the Psalms and other books, sounds at home in the Southwest as it would in the mountainous Middle East. The easy-going instrumentals range from solemn piano and flute to jazzier saxophone, all accompanied by Wilson's clear, silky voice (with accompaniment by guest Cantor Robbi Sherwin) to give an ethereal appeal. It would be hard not to sit through flowing melodies such as "Shir Chadash (A New Song)" or the closer "Oseh Shalom (Grant Peace)" and not feel at peace. It would too easy to compare Wilson's sound to that of the Celtic-based vocalists such an Enya or Loreena McKennitt, but Wilson adds a touch of the desert and her own, rich Jewish heritage to the mix giving Songs of Ascent both regional and global appeal. - Lisa Kay Tate

EL PASO -- Ellen M. Wilson is Jewish, and most of her new CD, "Songs of Ascent," is sung in Hebrew. But don't for a minute think its familiar, Psalm-based songs and messages of healing and spiritual transcendence are just preaching to the converted.


"I didn't want it to be just about religion," Wilson said. "I wanted it to be very transcendent."

"Songs" may take its text from biblical Hebrew phrases and Jewish liturgy, but musically, it has an ethereal quality to it, with lush, layered harmonies contrasted by Wilson's soaring coloratura soprano.

It's a warm sound that recalls Enya's soothing Celtic incantations and Loreena McKennitt's haunting medieval resurrections. There's a little Tori Amos thrown in, plus touches of jazz, contemporary folk-pop and traditional Middle Eastern strains.

The CD came at a time of transition for Wilson, a voice lecturer at UTEP who grew up in Illinois and lived in North Carolina before moving to El Paso with husband Steve in 2001. Their son, Zach, was born a year later.

Wilson, who has a bachelor's in music from the University of Illinois and a master's from Meredith College in Raleigh, N.C., has sung in classical and musical theater settings in the past.

She's also a classically trained singer who has been a cantorial soloist at Temple Mount Sinai and in Across the Ages, a duo specializing in Baroque and Renaissance music.

But she longed to do something different musically. A variety of elements fell into place, some good, some heartbreaking.

Pivotal was her meeting with Scott Leader, a young up-and-comer in the Jewish rock music community who helped Temple Mount Sinai produce a CD.

"I loved what he did and ... you know how it is when you kind of click creatively with someone who is like-minded," she said. "All of the sudden, the potential for a really exciting project was there."

Leader said the Enya approach was by design. "Our original thought was to make something to show that she can take her classically trained opera voice and bring it down to a more folk level," Leader said by e-mail. "As we decided on which songs to do, I realized that they were all very well-known melodies. This brought up the thoughts on how to make this CD different than the 9,000 other versions of some of these songs out there."

While kicking around those ideas with her Phoenix-based producer, Wilson was moved by the movie "The Secret," TV veteran Rhonda Byrnes' inspirational message about how to tap into one's spirituality for self-improvement. Wilson had studied with the film's featured speaker, Bob Proctor.

"He encouraged the participants to ... create a really big goal," she said. "Just having met Scott, I began realizing that the next big project for me musically was to make this CD."

Wilson was also mourning the death of her father, Alex Pollak, a Holocaust survivor who died last year, soon after the recording of Wilson's five-song, Leader-produced CD, "T'filat Ha-Adam: Prayers of the Heart."

"That further spurred me on just to make something really special in this year of mourning," she said. "In Judaism, you mourn for a year for a parent, and a friend said I should distinguish this year in some way."

Rabbi Larry Bach of Temple Mount Sinai had encouraged her to branch out musically.

"He had me singing repertoire I hadn't sung before. I usually do a more classical repertoire. This was more poppy, contemporary stuff," she explained. "It made me feel as if I was coming full circle because in my high-school days and when I first went to college, I was in rock bands doing all kinds of naughty things sopranos aren't supposed to do."

She's referring to her voice.

For the Beatles-loving woman with the classically trained voice, it was the right time to make this record.

"I really felt -- and I know it sounds crazy -- that everything came together in my project, using the lyric approach, training in the classical lyric technique, in service of this music that felt really spiritual to me."

The CD is being promoted nationally. Wilson has a publicist in Boston. She's starting to get some airplay, including "The Jewish Show of Houston," which aired her version of the folk song "Lo Yisa Goy," prompting host Shawn Daniel to rave about her "amazing voice."

Reviews are starting to roll in as well, mostly from various music Web sites.

"Where there seems to be a division made with current artists between the vocal and the instrumental, Wilson's blending of the two distinct segments creates something that is fresh and exciting," wrote neufutur.com. "There may not be a driving drum beat or guitars shredding their way through the tracks on 'Songs of Ascent,' but the intricate vocal arrangements that are par for the course on 'Songs of Ascent' will get listeners excited and eagerly anticipating the next track."

A reviewer for the Folk & Acoustic Music Exchange (acousticmusic.com/fame) wasn't very enthusiastic about the religious and spiritual - El Paso Times

“Songs of Ascent” starts out with “Modah Ani”, a track that has a contemporary sound, albeit one that is tinted with a Middle Eastern flow. When Wilson’s vocals begin, they operate more as an additional instrument instead of going forth and furthering a narrative. This shift in the role of the vocals represents just one of many things that Wilson changes and does differently on “Songs of Ascent”, an album that stands out due to the uniqueness of its character. “Eil Na R’fa Na Lah” has a heavy flute and piano presence to its opening, before Wilson’s vocals give listeners something more tangible with which to grip on. Wilson’s heavenly vocals have a classic feel to them: one, after listening to the track, could easily envision Wilson singing in 1608 as much as she fits singing in 2008.

Where there seems to be a division made with current artists between the vocal and the instrumental, Wilson’s blending of the two distinct segments creates something that is fresh and exciting. There may not be a driving drum beat or guitars shredding their way through the tracks on “Songs of Ascent”, but the intricate vocal arrangements that are par for the course on “Songs of Ascent” will get listeners excited and eagerly anticipating the next track. “Pitchu Li” opens up with a piano line that sets the mode for the track, leading in to Wilson’s vocals. The vocals and piano walk hand in hand, each bolstering the other to a higher level than would normally occur.

Where a number of the tracks on “Songs of Ascent” have a 17th-century feel to them, “Pitchu Li” elicits comparisons to the Renaissance period. The piano line expands upon that sound, adding a pinch of Tori Amos influence to the overall composition, creating yet another reason for listeners to pick up “Songs of Ascent”. “Songs of Ascent” touch upon the past, present, and even future in music, with each subsequent track on the album adding to the rich tapestry that Wilson and her band began with “Modah Ani”. If you are a fan of classical music, make it a point to pick up “Songs of Ascent” when it is released; if you are in the El Paso area, check her web site to see if you can attend any of her live performances. - NeuFutur Magazine

This appears to be an exercise in tikkun, the Jewish mission to heal the wounds of the world. All lyrics are sung in Hebrew, and the sentiment is one of peace and reconciliation. I'm less than nuts about the Zionistic and chosenness themes underlaying several of the cuts, but that's religion and fairy tales for ya. The songs are very tuneful, keeping away from New Age-ry by virtue of a folkish and lightly classical resonance, and Wilson has a soothing, beautiful, and uplifting voice well backed by a number of accomplished instrumentalists. Tracks like Shir HaMa-alot swim in extremely catchy refrains, and Paul Anderson's saxwork modernizes a good deal of the atmospheres throughout, though there's much to be said of Michael Levin's cello and it's return to classical mid-East timbres. Songs of Ascent manages to blend religion with art and modernity in a way that neither trivializes nor slights any of the three, and that's not an easy thing to do.
- Mark S. Tucker

This appears to be an exercise in tikkun, the Jewish mission to heal the wounds of the world. All lyrics are sung in Hebrew, and the sentiment is one of peace and reconciliation. I'm less than nuts about the Zionistic and chosenness themes underlaying several of the cuts, but that's religion and fairy tales for ya. The songs are very tuneful, keeping away from New Age-ry by virtue of a folkish and lightly classical resonance, and Wilson has a soothing, beautiful, and uplifting voice well backed by a number of accomplished instrumentalists. Tracks like Shir HaMa-alot swim in extremely catchy refrains, and Paul Anderson's saxwork modernizes a good deal of the atmospheres throughout, though there's much to be said of Michael Levin's cello and it's return to classical mid-East timbres. Songs of Ascent manages to blend religion with art and modernity in a way that neither trivializes nor slights any of the three, and that's not an easy thing to do.
- Mark S. Tucker