October 2006 Manager’s Pick - “Wow! Murray's second album, 3000 Days, is incredible. I am an eclectic so when something comes along like Murray's music that's unique, intriguing, very well composed and beautiful I am captivated and will listen to this CD over and over. I definitely recommend this album to everyone. Go take a listen for yourself at Murray's website and pick up a copy for yourself today. It's outstanding!”” - Jon Nipp

Spirit WIthin Music, Lubbock TX

May 2007 Murray Grant’s film music and progressive rock background shines through nicely on his second release of Eastern sound and thought embraced with Western arrangements and instrumentation. “3000 Days” is the follow-up to “House Of Mirrors”, his successful collection of New Age instrumentals, each exquisitely arranged, recorded, and mixed in the studios of Rooftop Records (Vancouver, British Columbia) Masterfully performed live yanqin (hammered Chinese dulcimer) and erhu amid shakuhachi, dumbek and electric guitar add an unmistakably Chinese mood to the opening track, “The Big Dream.” The song is nestled atop Grant’s great Western synth/beats programming and sparkling drum kit, the latter his main instrument. The mystical yanqin of Vivian Xia shines throughout the CD, perhaps most notably in “Waiting,” where it effortlessly dances between the beautiful, breathy vocals of Debbie Ekman, which weave in unison with Ji Rong Huang’s haunting Chinese erhu. Other voicings featured on the disc include sitar, tabla, dumbek, and West African and Native American vocals. Somewhat reminiscent of early Shadowfax, “3000 Days” is a sophisticated, very accessible mix of East-meets-West music suitable for bodywork, yoga, slow movement and dancing, or a long drive through the Canadian Rockies.” - Randy Alberts

— New Age Retailer, Bellingham, WA

April 2007 In "3000 Days" we have a refreshing collection of compositions we could label within the genre of Romantic Instrumental Music, including elements that range from Atmospheric Pop to New Age to World Music, as well as some subtle elements of Jazz. The arrangements, and in general the staging of every track, boost the emotional nature of this work, although without causing an excess of sentimentalism. In short, a nice work for listeners who love melodic instrumental music.” - Sarah Tomblin

Amazing Sounds, Barcelona, Spain

Murray Grant's music is the perfect balance. His songs are strong and determined with a gentle ribbon of grace running through all of them. I love the music he is creating. Is it Eastern music with a Western influence or Western music with an Eastern influence? (It doesn't matter because) It is the perfect balance!” - Mary Bartlein

— WMSE Milwaukee, Wisconsin

This is a stellar first recording by composer/drummer Murray Grant of Vancouver, B.C. In these days of inexpensive sound samples, Grant chose to record the album using an ensemble of 13 live musicians, some playing Chinese instruments. The album begins with 'Drive'; its heavy drum/rhythm bass line determines the strength of the piece, but this is tempered by solos and pizzicato by two violins. A pinging sound gives the impression of overhead wires. 'Things Are Going To Get Better' also flows along on a rhythm groove, but it is more leisurely. Here, the Indian bamboo flute, played by Cameron Hood, gives the piece its Eastern temperance. One of the most distinctive sounds on the album is the 'erhu' Chinese violin played by Ji Rong Huang; the instrument adds a sentimental, bittersweet feeling to 'Somebody's Child.' Some of the most moving pieces on the album are 'We Are As One', a gentle yet broad lullaby, and '1World', with its tapestry of syncopated rhythms that race ahead of a spinning universe. Celso Machado sings a passionate Latin-African vocalise. Throughout, Grant has hit upon a world fusion mixture that really works. None of the exotic instruments are trivialised or taken for granted, and the pieces are balanced between memorable melodies and intriguing unfolding of rhythm patterns. You'll discover new layers with each listening.” - Carol Wright

— All Music Guide, USA

Murray Grant has put together a very interesting and beautiful piece of work. It is basically an instrumental mixture of New Age/Relaxation/World with an interesting twist: it was written and performed principally by a drummer. This gives the music a great percussive base which is often missing in this type of music. Grant has also brought in a large number of guest performers playing such diverse instruments as the erhu, berimbau, fon tom from, cello, violin, dumbek and Chinese dulcimer. Co-producers Grant and Andrew Duncan show how different sonic textures can be woven together to make a tapestry of music with a truly world-wide appeal.” - Bob D'eith

— The Voice Magazine, Vancouver

Colourful instrumental debut by a Surrey, B.C. keyboardist and a baker's dozen of fine local players. With full bodied compositions and textured arrangements, Grant's work sits comfortably between Windham Hill accessibility and higher-brow art music. The shimmering Asian feel of tracks like Somebody's Child has helped secure distribution in Hong Kong, Taiwan and China.” - Jeff Bateman

— The Record Magazine, Canada

The far East moves West with this 100 per cent MAPL album of B.C.-based Murray Grant's compositions in the mode and presentation of the Orient. Now, right up front, this reviewer admits that he's not completely enough versed in the form to make a statement of authenticity. We are prepared, however, to state that it's most enjoyable to the ear and relaxing to the psyche. Too often, the music of the East lacks the melody expected by a Western ear. Not so here. The music flows with a gentle yet urgent tintinnabulation -- rather like the exotica of Martin Denny -- that's quite entrancing. More please.” - Bill Watt

— RPM Magazine, Canada

Grant, a Vancouver drummer, has written and co-produced, with Euphoria's Andrew Duncan, an insightful CD beautifully blending instruments from around the world. Warning to music-listening drivers: The Indian bamboo flute played by Cameron Hood on Things Are Going To Get Better makes you want to close your eyes and experience it inside. Gutsy percussion that punctuates soft, sweet songs such as Solitaire and Into The Dream helps give the new-age album an edge” - Lorne Mallin

— The Province Newspaper, Vancouver

This is sort of a magical album for me. Usually when I listen to something, I listen to every track off the album, and try to give every artist the benefit of the doubt. The second I listened to this album, I loved it.” - John Beaudin

— QMFM Radio, Vancouver

Dec06/Jan07 Murray Grant's 3000 Days epitomizes a sound that has sometimes put New Age music in a small box. Here you can get out of the box because the music does not have a contained feeling. Soft and mellow, flowing and melodic. The sound is very thematic. In other words, very consistent, as if a soundtrack to a movie or travel documentary. What gives it a unique character is the outstanding instrumentation. There's quite a list. Erhu, Shakuhachi, Yanqin, Electric Guitars, Bass, Berimbau, Dumbek, Shakers, Acoustic Guitars, Drums, Keyboards, Programming, Sisha, Wind Chimes, Dizi, Djembe, Moroccan drums, Tablas, Udu, Bang Di, Kpanlogo, Sisha, Obsidian Chimes, Tube, Sitar, Indian Bells, Tambourine, Kanjira, and vocals. I've never heard of many of these instruments. Murray Grant, known as a drummer, also plays keyboards, chimes, and programming. There are 14 other musicians involved in this project. 3000 Days will be of particular interest to those of you intrigued by the variety of instruments listed above. It is easy to hear the ebbs, flows, and layers of music. 3000 Days has a Japanese and oriental sound partly due to the instruments played and because new age music seems to have a kinship with modern-classical Japanese expression.” - Ron Rudin

Inner Change Magazine