Wednesday, May 30, 2012
Buddy DeFranco Meets Martin Taylor
Buddy DeFranco Meets Martin Taylor
Buddy DeFranco/Martin Taylor / CD / 1984
Wines of Northern Italy
Wines of Northern Italy
Wines of Northern Italy offers a tour of various vineyards and wineries, offering information as well on the history of wine making in these areas. ~ Perry Seibert, Rovi
Thursday, November 10, 2011
The Nashville Sessions
The Nashville Sessions (770867)
Those who don't pay attention to the jam band underground may be excused for wondering why such luminaries as Del and Ronnie McCoury, Taj Mahal, B? la Fleck, Sam Bush, Jo-El Sonnier, Jerry Douglas, Lucinda Williams, and Waylon Jennings appear on an album by Leftover Salmon, but those in the know will be aware of the Colorado act's burgeoning reputation. Throughout the '90s, the group quietly built up a following with a series of solid records and constant touring. By the end of the decade, they had become a popular cult band and were on a major label, which gave them the opportunity to record the star-studded Nashville Sessions. Every song on the album features a duet of some sort, and producer Randy Scruggs was able to secure the big names, which certainly gives the album character. Still, the set wouldn't be much more than glorified stunt casting if it didn't give Leftover Salmon an opportunity to flex their muscles, to illustrate how far they've come over the years. Not only are they working with strong material (something that hasn't always happened on their previous albums), but Scruggs keeps things clean and simple, putting the spotlight on the music itself. Throughout it all, Leftover Salmon successfully keep pace with their heavyweight guests and, in the process, they turn in the most charming album of their career to date. ~ Stephen Thomas Erlewine, Rovi
Those who don't pay attention to the jam band underground may be excused for wondering why such luminaries as Del and Ronnie McCoury, Taj Mahal, B? la Fleck, Sam Bush, Jo-El Sonnier, Jerry Douglas, Lucinda Williams, and Waylon Jennings appear on an album by Leftover Salmon, but those in the know will be aware of the Colorado act's burgeoning reputation. Throughout the '90s, the group quietly built up a following with a series of solid records and constant touring. By the end of the decade, they had become a popular cult band and were on a major label, which gave them the opportunity to record the star-studded Nashville Sessions. Every song on the album features a duet of some sort, and producer Randy Scruggs was able to secure the big names, which certainly gives the album character. Still, the set wouldn't be much more than glorified stunt casting if it didn't give Leftover Salmon an opportunity to flex their muscles, to illustrate how far they've come over the years. Not only are they working with strong material (something that hasn't always happened on their previous albums), but Scruggs keeps things clean and simple, putting the spotlight on the music itself. Throughout it all, Leftover Salmon successfully keep pace with their heavyweight guests and, in the process, they turn in the most charming album of their career to date. ~ Stephen Thomas Erlewine, Rovi
James Dean: The First American Teenager
James Dean: The First American Teenager (71785287)
In this documentary, narrated by Stacy Keach, the tragic screen-icon James Dean is remembered. Footage from early television appearances, stills from his life, and clips from his three Warner Brothers films are interwoven with interviews with his co-workers. The soundtrack includes music from Elton John, David Bowie, and the Eagles. ~ Clarke Fountain, Rovi
In this documentary, narrated by Stacy Keach, the tragic screen-icon James Dean is remembered. Footage from early television appearances, stills from his life, and clips from his three Warner Brothers films are interwoven with interviews with his co-workers. The soundtrack includes music from Elton John, David Bowie, and the Eagles. ~ Clarke Fountain, Rovi
Girls Gone Wild: Hottest Texas Coeds [Blu-ray]
Girls Gone Wild: Hottest Texas [Blu-ray] (69304459)
This installment in the Girls Gone Wild franchise features several female attendees of various Texas area universities and technical colleges, performing nude and semi-nude antics at a number of parties and bar events. ~ Cammila Albertson, Rovi
This installment in the Girls Gone Wild franchise features several female attendees of various Texas area universities and technical colleges, performing nude and semi-nude antics at a number of parties and bar events. ~ Cammila Albertson, Rovi
It's Bad for You But Buy It
It's Bad for You But Buy It (2834303)
The Ace of Cups never released a record, but this 73-minute CD was compiled from late-'60s "rehearsals, demos, TV soundstages, and in-concert tapes," according to the liner notes. (Unfortunately no dates are given for any of the tracks, except the 1966 Denise & Company single "Boy, What'll You Do Then," a garage rock rarity with future Ace of Cups member Denise Kaufman on lead vocals.) It might not be fair to judge a band on recordings that were not originally intended for wide circulation, and did not benefit from truly professional studio production (though the fidelity's fine). However, simply to judge the music that's here, it's frankly pretty erratic, and not a convincing argument that they might have developed into a first-rate band had they gotten a real record deal. Rawness is not always a bad thing, but at its most raw -- particularly on the bluesy garage rockers -- the group often teeter on the line of sloppy amateurism. There's some promise here in some of the unusual song construction -- "Glue" detours into a commercial satirizing consumerism mid-song, and other tunes unpredictably change tempo and stretch out into long instrumental sections -- and in some of the eerie harmonies and melodies, particularly on the fragile tunes like "Music," "Simplicity," and "Taste of One." There's also some plain-speaking toughness reflective of a middle-class generation starting to truly express what was on their mind in popular music, somewhat reminiscent of the most straightforward blues-rockers by a San Francisco band that slightly preceded them, the Great Society. There's also a cool if not quite totally polished rock vocal cover of Mongo Santamaria's jazz classic "Afro Blue," and some interesting gospel-rock fusion of sorts in the most mature-sounding compositions; it's easy to imagine that the group might have headed in that direction had they started to record around 1970. But much of this is interesting, with off-kilter ideas in search of some h...
The Ace of Cups never released a record, but this 73-minute CD was compiled from late-'60s "rehearsals, demos, TV soundstages, and in-concert tapes," according to the liner notes. (Unfortunately no dates are given for any of the tracks, except the 1966 Denise & Company single "Boy, What'll You Do Then," a garage rock rarity with future Ace of Cups member Denise Kaufman on lead vocals.) It might not be fair to judge a band on recordings that were not originally intended for wide circulation, and did not benefit from truly professional studio production (though the fidelity's fine). However, simply to judge the music that's here, it's frankly pretty erratic, and not a convincing argument that they might have developed into a first-rate band had they gotten a real record deal. Rawness is not always a bad thing, but at its most raw -- particularly on the bluesy garage rockers -- the group often teeter on the line of sloppy amateurism. There's some promise here in some of the unusual song construction -- "Glue" detours into a commercial satirizing consumerism mid-song, and other tunes unpredictably change tempo and stretch out into long instrumental sections -- and in some of the eerie harmonies and melodies, particularly on the fragile tunes like "Music," "Simplicity," and "Taste of One." There's also some plain-speaking toughness reflective of a middle-class generation starting to truly express what was on their mind in popular music, somewhat reminiscent of the most straightforward blues-rockers by a San Francisco band that slightly preceded them, the Great Society. There's also a cool if not quite totally polished rock vocal cover of Mongo Santamaria's jazz classic "Afro Blue," and some interesting gospel-rock fusion of sorts in the most mature-sounding compositions; it's easy to imagine that the group might have headed in that direction had they started to record around 1970. But much of this is interesting, with off-kilter ideas in search of some h...
Beethoven: Septet in E flat, Op. 20; Serenade in D, Op. 25
Beethoven: Septet in E flat, Op. 20; Serenade in D, Op. 25 (88442333)
Though the music on this disc may not fit the stereotypical vision of Ludwig van Beethoven as a heaven-storming Prometheus, it may be all the more appropriate for casual listeners exactly because of that. Played with supple virtuosity and evident delight by the English chamber group Ensemble 360, the German master's Septet for winds and strings and Serenade for violin, viola, and flute have rarely been performed with such charm and style. Nothing here is especially deep; even the septet's Adagio cantabile and the serenade's Andante con Variazioni, as lyrically effusive as they are, do not touch the profundities of the composer's piano sonatas and string quartets of the same period. But with Ensemble 360's effortless technique and sympathetic interplay, the pieces emerge as beguiling as any of Mozart's lighter work, though with the rougher accent and more robust sense of humor for which Beethoven was known. Captured in clean but evocative sound, this disc will likely please longtime fans of the composer, as well as listeners who only know his greatest hits but are looking for something more. ~ James Leonard, Rovi
Though the music on this disc may not fit the stereotypical vision of Ludwig van Beethoven as a heaven-storming Prometheus, it may be all the more appropriate for casual listeners exactly because of that. Played with supple virtuosity and evident delight by the English chamber group Ensemble 360, the German master's Septet for winds and strings and Serenade for violin, viola, and flute have rarely been performed with such charm and style. Nothing here is especially deep; even the septet's Adagio cantabile and the serenade's Andante con Variazioni, as lyrically effusive as they are, do not touch the profundities of the composer's piano sonatas and string quartets of the same period. But with Ensemble 360's effortless technique and sympathetic interplay, the pieces emerge as beguiling as any of Mozart's lighter work, though with the rougher accent and more robust sense of humor for which Beethoven was known. Captured in clean but evocative sound, this disc will likely please longtime fans of the composer, as well as listeners who only know his greatest hits but are looking for something more. ~ James Leonard, Rovi
Dixie Dregs: Live at Montreux 1978
Dixie Dregs: Live at Montreux 1978 (8860750)
This program contains two live variety show performances by jazz fusion band Dixie Dregs. Both on Don Kirshner's Rock Concert and Dick Clark's American Bandstand, the band plays to enthusiastic audiences. ~ Cammila Albertson, Rovi
This program contains two live variety show performances by jazz fusion band Dixie Dregs. Both on Don Kirshner's Rock Concert and Dick Clark's American Bandstand, the band plays to enthusiastic audiences. ~ Cammila Albertson, Rovi
Beat Route: Around the World With Jools Holland
Beat Route: Around the World With Jools Holland (7981171)
Follow host Jools Holland as he embarks on a whirlwind tour of major cities all across the globe to put a finger on the pulse of contemporary culture while showing viewers just what life is like in such places as Dublin, Chicago, Budapest, Havana, Beirut, and Seville. Additional interviews with such internationally-known figures as Van Morrison, Ruben Gonz? lez, and The Chieftains offer an artistic perspective on day to day life in these world class locales as well. ~ Jason Buchanan, Rovi
Follow host Jools Holland as he embarks on a whirlwind tour of major cities all across the globe to put a finger on the pulse of contemporary culture while showing viewers just what life is like in such places as Dublin, Chicago, Budapest, Havana, Beirut, and Seville. Additional interviews with such internationally-known figures as Van Morrison, Ruben Gonz? lez, and The Chieftains offer an artistic perspective on day to day life in these world class locales as well. ~ Jason Buchanan, Rovi
Cinderella
Cinderella (79539570)
The Opera Australia mounted this production of Gioachino Rossini's 1817 Cinderella (aka La Cenerentola), in 1987. Though the opera itself generally follows the dramatic arc of the original Cinderella story, Rossini distinguished himself via his insistence on omitting fantasy elements and thus creating a more plausible tale. This particular version stars Bernadette Cullen, Anne-Maree McDonald, Suzanne Johnston and Gary Bennett. The Australian Opera Chorus and The Elizabethan Sydney Orchestra provided added musical accompaniment. ~ Nathan Southern, Rovi
The Opera Australia mounted this production of Gioachino Rossini's 1817 Cinderella (aka La Cenerentola), in 1987. Though the opera itself generally follows the dramatic arc of the original Cinderella story, Rossini distinguished himself via his insistence on omitting fantasy elements and thus creating a more plausible tale. This particular version stars Bernadette Cullen, Anne-Maree McDonald, Suzanne Johnston and Gary Bennett. The Australian Opera Chorus and The Elizabethan Sydney Orchestra provided added musical accompaniment. ~ Nathan Southern, Rovi
Voila [Bonus Disc]
Voila [Bonus Disc] (7955100)
Belinda Carlisle's career has had several twists and turns, but none has been quite as interesting as her 2007 album Voila, a collection of luxurious covers of classic French pop tunes, all sung in French. Certainly, the very concept of the former new wave queen singing French pop qualifies as one of the more intriguing projects in her solo career, but it's also interesting that she's chosen this idea for her first solo album in ten years. Given that long gap between new albums, it's clear that Voila is no stunt or novelty, it's a passion project for Carlisle and it plays that way: it has the complexity and richness of a labor of love. Which doesn't necessarily mean that this album is filled with surprises, apart from its very existence. Brian Eno may contribute keyboards, but that doesn't mean that these are radical reinterpretations, nor are the selections necessarily left-field: there are a pair of Serge Gainsbourg songs, a Jacques Brel, and a few other songs that should be familiar to rock and pop listeners with a fairly deep grasp of '60s and '70s pop. Those listeners who were raised on punk, new wave, and alt-rock, but with a deep love of the '60s, are clearly the target audience for Voila, and the best thing about the album is that it will not disappoint. This is an elegant, stylish collection of adult pop, gliding by on its sleek synth textures and cabaret atmosphere. Even when it dips into Eurodisco -- as it does on occasion, as on Edith Piaf's "La Vie en Rose" -- it does so gracefully, and there's an appealing sly decadence to the feel of Voila; it may be a decadence sculpted out of films, LPs, and old photos, one that's knowing but affectionate, but that doesn't mean it's not an alluring, effective mood for the album, particularly because Carlisle sustains it from beginning to end, a problem that she didn't manage to conquer on her big hits of the late '80s. That is a change for her, but the true revelation of Voila is her singing: it's relaxed, assu...
Belinda Carlisle's career has had several twists and turns, but none has been quite as interesting as her 2007 album Voila, a collection of luxurious covers of classic French pop tunes, all sung in French. Certainly, the very concept of the former new wave queen singing French pop qualifies as one of the more intriguing projects in her solo career, but it's also interesting that she's chosen this idea for her first solo album in ten years. Given that long gap between new albums, it's clear that Voila is no stunt or novelty, it's a passion project for Carlisle and it plays that way: it has the complexity and richness of a labor of love. Which doesn't necessarily mean that this album is filled with surprises, apart from its very existence. Brian Eno may contribute keyboards, but that doesn't mean that these are radical reinterpretations, nor are the selections necessarily left-field: there are a pair of Serge Gainsbourg songs, a Jacques Brel, and a few other songs that should be familiar to rock and pop listeners with a fairly deep grasp of '60s and '70s pop. Those listeners who were raised on punk, new wave, and alt-rock, but with a deep love of the '60s, are clearly the target audience for Voila, and the best thing about the album is that it will not disappoint. This is an elegant, stylish collection of adult pop, gliding by on its sleek synth textures and cabaret atmosphere. Even when it dips into Eurodisco -- as it does on occasion, as on Edith Piaf's "La Vie en Rose" -- it does so gracefully, and there's an appealing sly decadence to the feel of Voila; it may be a decadence sculpted out of films, LPs, and old photos, one that's knowing but affectionate, but that doesn't mean it's not an alluring, effective mood for the album, particularly because Carlisle sustains it from beginning to end, a problem that she didn't manage to conquer on her big hits of the late '80s. That is a change for her, but the true revelation of Voila is her singing: it's relaxed, assu...
Van Gogh: A Museum for Vincent
Van Gogh: A Museum for Vincent (7981218)
The post-impressionist Dutch painter whose remarkable life would have a lasting impact on the world of art is profiled in a visually arresting documentary showcasing the world class collection of the Rijks Museum Vincent Van Gogh in Amsterdam. ~ Jason Buchanan, Rovi
The post-impressionist Dutch painter whose remarkable life would have a lasting impact on the world of art is profiled in a visually arresting documentary showcasing the world class collection of the Rijks Museum Vincent Van Gogh in Amsterdam. ~ Jason Buchanan, Rovi
Ask the Night
Ask the Night (81845927)
When Azure Ray disbanded in 2004, Orenda Fink had little trouble regaining her balance. The songwriter had already juggled multiple bands during her golden years with Maria Taylor, and she continued bouncing from project to project after the split, exploring Haitian music with her 2005 solo debut and wrapping herself in lush pop arrangements during her lone album with Art in Manila. Released several years later, Ask the Night finds Fink in a rare state: restful, leisurely, and unadorned. This is a stripped-down album, devoid of computers and electronics of any kind, and Fink uses the opportunity to flex her muscles as a competent Southern Gothic-styled songwriter. Flanked by little more than her guitar, vocal harmonies, and a sparse Appalachian string band, she steers her voice through tales of Greyhound bus rides, the South, and swampy landscapes. The mood is hushed throughout, although songs like "The Mural" build up to towering climaxes before resuming their serene, earthy pitch. All of this is a far cry from Azure Ray's work, perhaps, but Ask the Night is often gorgeous in its simplicity. Consider this the intimate, moody cousin to Maria Taylor's LadyLuck, an equally endearing (but wildly dissimilar) solo album that came out several months prior. ~ Andrew Leahey, Rovi
When Azure Ray disbanded in 2004, Orenda Fink had little trouble regaining her balance. The songwriter had already juggled multiple bands during her golden years with Maria Taylor, and she continued bouncing from project to project after the split, exploring Haitian music with her 2005 solo debut and wrapping herself in lush pop arrangements during her lone album with Art in Manila. Released several years later, Ask the Night finds Fink in a rare state: restful, leisurely, and unadorned. This is a stripped-down album, devoid of computers and electronics of any kind, and Fink uses the opportunity to flex her muscles as a competent Southern Gothic-styled songwriter. Flanked by little more than her guitar, vocal harmonies, and a sparse Appalachian string band, she steers her voice through tales of Greyhound bus rides, the South, and swampy landscapes. The mood is hushed throughout, although songs like "The Mural" build up to towering climaxes before resuming their serene, earthy pitch. All of this is a far cry from Azure Ray's work, perhaps, but Ask the Night is often gorgeous in its simplicity. Consider this the intimate, moody cousin to Maria Taylor's LadyLuck, an equally endearing (but wildly dissimilar) solo album that came out several months prior. ~ Andrew Leahey, Rovi
We Hear You
We Hear You (79879203)
Luke Vibert, as experimental techno's most reliable veteran, probably doesn't have a singer/songwriter record in him anymore, not after close to 20 years of acid-tinged hip-hop under a garden variety of aliases. His third record for Mike Paradinas' Planet Mu imprint is a Luke Vibert solo record, which usually means cleaner, academic acid techno (at least compared to his deeply stoned Wagon Christ material). The production is spot-on as usual, if less surprising in 2009, with musical references to acid and drum'n'bass as well as straight-up IDM, and vocal samples lifted from golden age hip-hop, horror films, and monster movies alike. ~ John Bush, Rovi
Luke Vibert, as experimental techno's most reliable veteran, probably doesn't have a singer/songwriter record in him anymore, not after close to 20 years of acid-tinged hip-hop under a garden variety of aliases. His third record for Mike Paradinas' Planet Mu imprint is a Luke Vibert solo record, which usually means cleaner, academic acid techno (at least compared to his deeply stoned Wagon Christ material). The production is spot-on as usual, if less surprising in 2009, with musical references to acid and drum'n'bass as well as straight-up IDM, and vocal samples lifted from golden age hip-hop, horror films, and monster movies alike. ~ John Bush, Rovi
801 Live: Collectors Edition
801 Live: Collectors Edition (82054870)
801 provided Roxy Music guitarist Phil Manzanera with one of his most intriguing side projects. Although the band only played three gigs in August and September 1976, this album captures a night when everything fell right into place musically. That should only be expected with names like Eno and Simon Phillips in the lineup. (Still, the lesser-known players -- bassist Bill MacCormick, keyboardist Francis Monkman, and slide guitarist Lloyd Watson -- are in exemplary form, too.) The repertoire is boldly diverse, opening with "Lagrima," a crunchy solo guitar piece from Manzanera. Then the band undertakes a spacy but smoldering version of "Tomorrow Never Knows"; it's definitely among the cleverest of Beatles covers. Then it's on to crisp jazz-rock ("East of Asteroid"), atmospheric psychedelic pop ("Rongwrong"), and Eno's tape manipulation showcase "Sombre Reptiles." And that's only the first five songs. The rest of the gig is no less audacious, with no less than three Eno songs -- including a frenetic "Baby's on Fire," "Third Uncle," and "Miss Shapiro"'s dense, syllable-packed verbal gymnastics. There's an unlikely cover of the Kinks' "You Really Got Me," while Manzanera turns in another typically gutsy instrumental performance on "Diamond Head." This album marks probably one of the last times that Eno rocked out in such an unselfconsciously fun fashion, but that's not the only reason to buy it: 801 Live is a cohesive document of an unlikely crew who had fun and took chances. Listeners will never know what else they might have done if their schedules had been less crowded, but this album's a good reminder. Later reissues of 801 Live added two more Eno songs as bonus tracks, "Golden Hours" and "The Fat Lady of Limbourg," tilting the album more toward the singer/synthesizer player. In 2009, MacCormick unearthed a tape of an 801 band rehearsal at Shepperton Studios 11 days before the show heard on 801 Live, and the recording was reissued yet agai...
801 provided Roxy Music guitarist Phil Manzanera with one of his most intriguing side projects. Although the band only played three gigs in August and September 1976, this album captures a night when everything fell right into place musically. That should only be expected with names like Eno and Simon Phillips in the lineup. (Still, the lesser-known players -- bassist Bill MacCormick, keyboardist Francis Monkman, and slide guitarist Lloyd Watson -- are in exemplary form, too.) The repertoire is boldly diverse, opening with "Lagrima," a crunchy solo guitar piece from Manzanera. Then the band undertakes a spacy but smoldering version of "Tomorrow Never Knows"; it's definitely among the cleverest of Beatles covers. Then it's on to crisp jazz-rock ("East of Asteroid"), atmospheric psychedelic pop ("Rongwrong"), and Eno's tape manipulation showcase "Sombre Reptiles." And that's only the first five songs. The rest of the gig is no less audacious, with no less than three Eno songs -- including a frenetic "Baby's on Fire," "Third Uncle," and "Miss Shapiro"'s dense, syllable-packed verbal gymnastics. There's an unlikely cover of the Kinks' "You Really Got Me," while Manzanera turns in another typically gutsy instrumental performance on "Diamond Head." This album marks probably one of the last times that Eno rocked out in such an unselfconsciously fun fashion, but that's not the only reason to buy it: 801 Live is a cohesive document of an unlikely crew who had fun and took chances. Listeners will never know what else they might have done if their schedules had been less crowded, but this album's a good reminder. Later reissues of 801 Live added two more Eno songs as bonus tracks, "Golden Hours" and "The Fat Lady of Limbourg," tilting the album more toward the singer/synthesizer player. In 2009, MacCormick unearthed a tape of an 801 band rehearsal at Shepperton Studios 11 days before the show heard on 801 Live, and the recording was reissued yet agai...
Twelve Pieces
Twelve Pieces (8709090)
Mike McClure's music isn't easy to pin down. He composes singer/songwriter lyrics like "the hotel band played 'Hotel California'" in "Hotel Band," but kicks out the jams like a '70s rocker on "In My Ears." "Haunt Me No More" begins like a classic folk song and then, following the first verse, adds drums and bass. Like folk, McClure's songs carry a message, but like country, he praises the simple things in life. To top all of this off, the closing song, "Between Two Thieves," adds a Christian point of view. While the sum of these many parts may sound disparate, McClure's raspy vocals and songwriting bring all the parts together to form a satisfying whole. On the opening number and "World Go Round," McClure decries the fast pace of contemporary life. The narrator of "Haunt Me No More" advises one to "go make some changes, this is your canvas to paint/and don't let nobody, try to tell you that you can't." In "World Go Round," the singer recalls a simpler life without answering machines and e-mail. He's joined by vocalist Susan Gibson for nice duets on "Wicked Game of Hearts" and "Harder to Ignore." Twelve Pieces achieves a good sound with basic arrangements and McClure's music will appeal to anyone who enjoys a good Texas-style singer/songwriter. ~ Ronnie D. Lankford, Jr., Rovi
Mike McClure's music isn't easy to pin down. He composes singer/songwriter lyrics like "the hotel band played 'Hotel California'" in "Hotel Band," but kicks out the jams like a '70s rocker on "In My Ears." "Haunt Me No More" begins like a classic folk song and then, following the first verse, adds drums and bass. Like folk, McClure's songs carry a message, but like country, he praises the simple things in life. To top all of this off, the closing song, "Between Two Thieves," adds a Christian point of view. While the sum of these many parts may sound disparate, McClure's raspy vocals and songwriting bring all the parts together to form a satisfying whole. On the opening number and "World Go Round," McClure decries the fast pace of contemporary life. The narrator of "Haunt Me No More" advises one to "go make some changes, this is your canvas to paint/and don't let nobody, try to tell you that you can't." In "World Go Round," the singer recalls a simpler life without answering machines and e-mail. He's joined by vocalist Susan Gibson for nice duets on "Wicked Game of Hearts" and "Harder to Ignore." Twelve Pieces achieves a good sound with basic arrangements and McClure's music will appeal to anyone who enjoys a good Texas-style singer/songwriter. ~ Ronnie D. Lankford, Jr., Rovi
Brahms: Symphony in Cm No1, Op68; Academic Festival Overture in Cm Op80
Brahms: Symphony in Cm No1, Op68; Academic Festival Overture in Cm Op80 (9314785)
Arte Nova's reissues of its recordings from the 1990s may not be for the connoisseurs who bypassed them the first time out, but others may find that many of these CDs offer perfectly fine performances and that they are quite suitable for building a classical library at a reasonable cost. Of course, there are many excellent versions of Johannes Brahms' Symphony No. 1 in C minor, Op. 68, and anyone who cares to compare classic and modern interpretations can choose from a long list, from historic 78s to contemporary digital discs, by practically any famous conductor and orchestra you can name. But this 1996 performance by Cristian Mandeal and the "George Enescu" Bucharest Philharmonic Orchestra is a good choice for listeners who aren't put off by unfamiliar names and who merely want a performance that is intelligently conducted, solidly played, cleanly recorded, and affordably priced. Everything in the score is audible in this polished studio session, and the orchestra is big hearted in expression, warmly Romantic in tone, and glorious in sonority. Mandeal and his musicians deliver a mainstream interpretation that would be hard to distinguish from any of the prominent recordings of the late twentieth century, and their grand presentation of the Academic Festival Overture, Op. 80, gives added value to the package, so at half the cost of any major label's release, this budget disc is a real bargain. These performances are also available in Mandeal's box set of Brahms' complete symphonies and other orchestral works, released by Arte Nova in 2001. ~ Blair Sanderson, Rovi
Arte Nova's reissues of its recordings from the 1990s may not be for the connoisseurs who bypassed them the first time out, but others may find that many of these CDs offer perfectly fine performances and that they are quite suitable for building a classical library at a reasonable cost. Of course, there are many excellent versions of Johannes Brahms' Symphony No. 1 in C minor, Op. 68, and anyone who cares to compare classic and modern interpretations can choose from a long list, from historic 78s to contemporary digital discs, by practically any famous conductor and orchestra you can name. But this 1996 performance by Cristian Mandeal and the "George Enescu" Bucharest Philharmonic Orchestra is a good choice for listeners who aren't put off by unfamiliar names and who merely want a performance that is intelligently conducted, solidly played, cleanly recorded, and affordably priced. Everything in the score is audible in this polished studio session, and the orchestra is big hearted in expression, warmly Romantic in tone, and glorious in sonority. Mandeal and his musicians deliver a mainstream interpretation that would be hard to distinguish from any of the prominent recordings of the late twentieth century, and their grand presentation of the Academic Festival Overture, Op. 80, gives added value to the package, so at half the cost of any major label's release, this budget disc is a real bargain. These performances are also available in Mandeal's box set of Brahms' complete symphonies and other orchestral works, released by Arte Nova in 2001. ~ Blair Sanderson, Rovi
Paganini: 24 Caprices
Paganini: 24 Caprices (88386212)
While many violinists have made recordings of the venerable 24 Caprices of Paganini, far fewer have recorded the set more than once. Albanian-born violinist Tedi Papavrami is truly unique, then, with his 2009 Aeon release that includes two complete recordings of the caprices on a two-disc set. The 1997 studio recording, which was previously released on the Pan Classics label, is accompanied by a live performance given in Tokyo in 2001. At first, it may seem a bit redundant or even narcissistic to produce such a release, but on closer examination it really offers a unique opportunity to hear the differences inherent between studio and live performances. Both versions represent the most musical playing of the caprices in memory, focusing more on making an earnest musical statement than merely demonstrating pyrotechnical abilities. It is not surprising that the studio version is the most polished and free of errors; Papavrami discusses the use of multiple takes and splices in studio recordings. The live Tokyo version, by contrast, finds Papavrami having noticeable difficulties with intonation when playing extended octave sessions. Overall, though, the live version features a great deal more spontaneity and freedom. In either case, Papavrami's uniquely musical interpretation of the caprices makes for a welcome addition to any collection. ~ Mike D. Brownell, Rovi
While many violinists have made recordings of the venerable 24 Caprices of Paganini, far fewer have recorded the set more than once. Albanian-born violinist Tedi Papavrami is truly unique, then, with his 2009 Aeon release that includes two complete recordings of the caprices on a two-disc set. The 1997 studio recording, which was previously released on the Pan Classics label, is accompanied by a live performance given in Tokyo in 2001. At first, it may seem a bit redundant or even narcissistic to produce such a release, but on closer examination it really offers a unique opportunity to hear the differences inherent between studio and live performances. Both versions represent the most musical playing of the caprices in memory, focusing more on making an earnest musical statement than merely demonstrating pyrotechnical abilities. It is not surprising that the studio version is the most polished and free of errors; Papavrami discusses the use of multiple takes and splices in studio recordings. The live Tokyo version, by contrast, finds Papavrami having noticeable difficulties with intonation when playing extended octave sessions. Overall, though, the live version features a great deal more spontaneity and freedom. In either case, Papavrami's uniquely musical interpretation of the caprices makes for a welcome addition to any collection. ~ Mike D. Brownell, Rovi
Rachmaninov: Symphonic Dances; The Isle of the Dead; The Rock
Rachmaninov: Symphonic Dances; The Isle of the Dead; The Rock (90570272)
These may not be the greatest performances of these three Rachmaninov works ever recorded, but they are very close. Some might point to Eugene Ormandy's smoothly seductive recording of the Symphonic Dances, or Fritz Reiner's soul-smashing recording of The Isle of the Dead, or Evgeny Svetlanov's heartbreaking recording of The Rock. Nonetheless, Vasily Petrenko and the Royal Liverpool Philharmonic deliver extremely well-played performances of extraordinary energy, soul, and dedication. Though not the best orchestra in England, the Liverpool orchestra is still quite fine, and more than up to the demands of these works both individually -- for example, the saxophone solo in the central portion of the first Symphonic Dance or the flute solo that opens The Rock -- and collectively -- the surging rhythms and gargantuan chords at the climax of The Isle of the Dead, for instance. While Petrenko is not yet an Ormandy, Reiner, or Svetlanov, he is well on his way, with confidently assured readings that bring out the power and pathos of these works without succumbing to either brutality or bathos. Avie's digital sound, though clear enough, doesn't have sufficient impact, but the performances almost overcome that deficiency. ~ James Leonard, Rovi
These may not be the greatest performances of these three Rachmaninov works ever recorded, but they are very close. Some might point to Eugene Ormandy's smoothly seductive recording of the Symphonic Dances, or Fritz Reiner's soul-smashing recording of The Isle of the Dead, or Evgeny Svetlanov's heartbreaking recording of The Rock. Nonetheless, Vasily Petrenko and the Royal Liverpool Philharmonic deliver extremely well-played performances of extraordinary energy, soul, and dedication. Though not the best orchestra in England, the Liverpool orchestra is still quite fine, and more than up to the demands of these works both individually -- for example, the saxophone solo in the central portion of the first Symphonic Dance or the flute solo that opens The Rock -- and collectively -- the surging rhythms and gargantuan chords at the climax of The Isle of the Dead, for instance. While Petrenko is not yet an Ormandy, Reiner, or Svetlanov, he is well on his way, with confidently assured readings that bring out the power and pathos of these works without succumbing to either brutality or bathos. Avie's digital sound, though clear enough, doesn't have sufficient impact, but the performances almost overcome that deficiency. ~ James Leonard, Rovi
Subscribe to:
Posts (Atom)