The common denominator of these…is American-born lutenist and composer Lee Santana (b. 1959). Over the years, I’ve seen his name listed on the rosters of period ensembles such as La Capella Ducale, the Harp Consort and Los Otros, but this is the first chance I’ve had to hear his solo work—or his compositions, for that matter. The impression that I’ve garnered from these…CDs is one of an unfettered, highly imaginative musician who doesn’t fit the traditional mold of an early-music specialist. Likewise, his CDs are somewhat outside of the box, no more so than the first one, which, in addition to late 16th- and early 17th-century vocal works from Italy and Germany, includes original compositions by Santana and Michel Goddard, who is billed as a tuba and jazz serpent player (no kidding). Goddard’s Improvisation on De profundis clamavi and D’Araignée are very dense and somber pieces that feature microtonal improvisations on serpent. His Magnificat, at six minutes the most extended piece on the program, is likewise dark, but breaks into an improvised jazzy section in the middle, complete with background scat singing. All the vocal work is rendered by the excellent Tre Bassi, an ensemble of (what else?) three bass singers, Alain Buet, Paul Willenbrock, and Phillipe Roche. Santana and his colleagues have done remarkable work in unearthing original 16th- and 17th-century works for three equal bass voices with instruments. The most outstanding of these is undoubtedly Grandi’s Deus misereatur nostri, but the bouncy Factum est silentium in coelo by the totally obscure Alberik Mazák (1609–61) is an important discovery, too. Santana’s three compositions on this CD, Island on an Island, Mr Ed and This Time the Last, defy description, but there are elements of pop music, jazz, madrigal harmony, and folk music in a highly eclectic and unpredictable mix. A most unusual disc that grew on me—recommended.

Anthony Holborne (c.1545–1602) was one of the greatest lights of the Elizabethan era; in modern times his consort music has attracted all manner of ensemble, from recorder groups to the Canadian Brass to guitar and saxophone quartets. It’s a shame that Holborne’s solo lute music has been so little recorded—it ranks in quality, if not in quantity, with that of Holborne’s close friend John Dowland. Enter Lee Santana, who has made the first CD devoted entirely to Holborne’s lute (and cittern and bandora) music in recent memory. It’s certainly the only one currently in the catalog. When I first read the table of contents, certain titles more....

Review By Ardella Crawford,American Record Guide,January 2011

In his notes Mr Santana characterizes Holborne’s music as “benevolent” and “possessed of a sort of gentle, amiable warmth”. It also lacks the relentless melancholy of Dowland’s work, so it is perhaps a little less reflective.