The Sunflower And The Dragonfly

I've used fewer tracks, and replaced with more melodic development this time..  It's sort of EZ listening. I don't know how to really define this genre.  It's got a bit of several aspects in it.  I continue to explore the vein of music for aging Flower Children. Think of it as Jefferson Airplane, 50 years later, minus Grace Slick, and a guitar, replaced with a couple of traditional woodwinds. There's still one or two imaginary 'synthesizer' instruments, along with musical sound EFX..  

The last couple of pieces have taken significantly longer to compose.. Because I listen many, many times, and refine a part, or toss it out. I was originally somewhat bothered the composition process is so long.  But when I finally get the 'part right' - it really feels right to me.  Using untraditional instrument libraries, I find sometimes, if I select a new patch for a particular previously finished track, (The scratchy almost pan flute), I feel that changes to the notes, rhythm, etc, make it better, or more meaningful.  Sometimes when I add an additional part, I have to go back and rewrite, some previous (keeper) tracks, to make everything 'fit' better. 

@markstyles

I think that if they rescored the scene they present the bath house in Spirited Away this track could fit.

It's calm and nice but isn't exactly... well it's a bit odd in a way.

I don't really see any flaws here, sounds complete.

Keep up the good work.

Wonderful! Your music is always a "painting" of sounds. For example when the trumpet enters here (I didn't expect that). No wonder you spend lot of time working on this kind of pieces. It's a sort of orchestration. Everyghing fits and is carefully written. In some way it reminds me some kind of music Prince used to write (instrumental), full of color.

This track didn't speak to me as well as your others for some reason... the countermelodies at the beginning were a bit to pinpointable to a level where they didn't blend as much. 
At :30, you have a guitar part that's either trying to play the major 7th of Eb, or the major 3rd of Bb (dominant), but both of these are over an Eb minor chord with the tonic in the melody, which clashes quite strangely compared to everything else. This repeats in the second time it happens. Same kind of thing a few measures later with a subdominant chord over a dominant chord with odd voice leading.
The thing where you go back and forth from pointillism to your typical style didn't make a whole lot of sense to me, since they seemed to be fragments of their own thing that were arguing for development.
Your layering of melodies is always an ambitious task and it's done quite well for the most part. Chord changes the same way. It just seemed a little bit less coherent overall to me.
Good job.