In My Time is the ninth studio album by Greek keyboardist and composer Yanni, released on the Private Music label in 1993. This album is a gentler collection of piano-focused pieces. The album attained Platinum status and was the second Grammy nomination for Yanni.[1] It peaked at #1 on "Billboard's "Top New Age Albums" chart and at #24 on the "Billboard 200" chart in the same year.[2]
The corresponding concert tour for the year was Yanni Live, The Symphony Concerts 1993.
"This was the kind of album I've been wanting to make for years," Yanni says, "a clear and honest album that would be consistent in its mood. I wanted the audience to feel the human being behind the music. One human being to another. For that reason, I intentionally kept the background instrumentation and production at a minimum."[3]
In a review by Backroads Music/Heartbeats, "Yanni's latest is another extension of his creative spirit and stirring passion for life. Focusing on piano as his primary instrument, Yanni infuses his "signature" style with timeless, eloquent themes and plenty of romantic energy. No longer are rhythm and dynamic currents as vital to his sound, since he seems to have stopped fueling his music with 'rocket power'. His romantic outpourings lend a personal nature to In My Time, and this new effort should be received with enthusiasm far and wide. Yanni is uniquely expressive, and this new music is deeply touching on many levels."[5]
All tracks are new to this album with the exception of "In the Mirror" and "Felitsa", both of which can be found on the previous album, "Dare to Dream" (1992).
Yanni's music follows through on that premise. A typical composition has the sound and form of an instrumental theme for a televised sports event, soap opera or newscast divested of melody and padded out to four or five minutes. Playing a battery of electronic instruments, he and the two other keyboardists in his band (Julie Homi and Bradley Joseph) insert motifs that evoke the hoariest Hollywood cliches of Middle Eastern, Far Eastern and other regional styles. The largely shapeless pieces huff and puff with a galloping energy that suggests an action-movie soundtrack. Although there are meditative moments, the mood is predominantly upbeat, with vigorous rock drums and percussion continually spurring things on and introducing crescendos that go nowhere. Yanni's seven-member band is augmented by a 50-piece orchestra, with the ensemble amplified to a volume that borders on the shrill.[8]
