Album Review: Jonathan Douglas’s Time and Again

The late former RTHK broadcaster Jonathan Douglas recorded his 13 original piano solo pieces in early 2022. His family recently released this album Time and Again after his passing last September.

The pieces were composed over a large span of time, some can even date back to his twenties. Douglas seems to be particularly fond of the key of D and E as 9 out of the 13 pieces were in these keys.

There is a theory that each key is associated with different emotions. D major is the key of triumph, suitable for holiday songs and victorious music, while E major is a joyful, boisterous key that links to incomplete pleasure. I personally believe that Douglas didn’t choose the key with that theory in mind, but it may give us a hint of his character.

Throughout the album, the clicking sound from the action can be clearly heard. It is very likely that he recorded the music with the cover of the piano removed and placed the microphones closed to the action. It is a fashionable way to produce an intimate ambience. Many pianists also recorded their music that way, such as Ólafur Arnalds (We Contain Multitudes), Víkingur Ólafsson (Ave Maria) and Joep Beving (Last Dance).

The album starts with E Major Echo i. The opening session is played at a walking pace that feel like someone is wandering around while hesitating about which way to go. It gives a sense of the beginning of a journey which is a very good pick to start the album.

The following three jazzy pieces showed the free-spirited side of Douglas. Yet the manner of the playing is a bit self-contained and deliberately avoids a big climax. It reflects the gentlemanship, elegance and calmness of the player.

Bitter Counterpoint is in classic ABA form, but the unsteady tempo and the abrupt phrasing gave it an interesting character. The sudden rewinds and repeats remind ones about music learning and piano practising.

The seventh and the centre piece of the album Untitled is the longest. It echoes the first work in its wandering nature. It stands out from the album by venturing into minor key in the middle section, which adds a dark colour and ominous feeling. Yet it ends with a peaceful ascending passage that suggests an ethereal eternity.

Sad Waltz in E is quite a misleading title, as most of the music isn’t a waltz, except the beginning and the ending. And the sadness isn’t as poignant as the title suggested. Conversely, the simple melody is reminiscent of the childlike innocence of the music of Joe Hisaishi.

The album closes with Rebirth. It is self-evident to place such tranquil music at the end, a piece full of hope carrying the audience to a beautiful place. The raise in key (not surprisingly, from D to E) towards the end enhances the joyous mood, leave the listener with positive energy.

The voice of Douglas is captured in two pieces which bring back precious memory to many who are familiar with his soothing voice.

The works in this album may not have top-of-class compositions or playing, but it is a perfect gift left to us in remembrance of a man who deeply loved music.