| 1. Heartbreaker |
| 2. Sweetest Lie |
| 3. Free Spirit |
| 4. Arejar |
| 5. Rio Angeles |
| 6. Colazione Da Tiffany |
| 7. Hanging About |
| 8. So Far Away |
| 9. Some Kind Of Nostalgia |
| 10. Promendade Sur La Lune |
| 11. En La Piel |
Editorial Reviews
Product Description
Three Years after "love Unlimited" and Two after the Drum and Bass Concept Album "space Odyssey", Created with the Stage Name Cosmorama, this is the New S–tone Inc. Project which Does Not Betray the Atmospheres and the Variety of the First. "free Spirit" is Not a Soul Album in the Sense the Word is Used, but Soul is the Key to Read Each Track Though Other Influences, from Bossa Nova to Trip Hop to Name but Two, Blend Together to Create the Distinctive "s–tone Inc." Sound. The New Songs Feature the Collaboration of Singers, Like the Soulful Angie Brown and the Sensual Manuela Ravaglioli, Both on the Previous Album, to the Smooth D.d. Klein and the Harsh Dany Rando. A Step Forward from the Precedent Album is the Extensive Use of Real Guitars Paired with Vintage Keyboards Adding Further Depth to the Already Rich Sound.
In his liner notes, Gary Giddins predicts that this won't be the last Abbey Lincoln tribute album, but will be the standard by which future ones will be measured. I don't disagree, but I'd put it this way: this album is to Abbey Lincoln like Carmen McRae's "Sings 'Lover Man' and Other Songs of Billie Holiday" is to Lady Day. Both are albums which match up very favorably to the best albums of the tributee--and that's saying one hell of a lot.
What makes this album, consisting of difficult yet accessible, heavily African-influenced, music so good is the musicianship of the 7 musicians. Check out the raw emotion on "The World Is Falling Down", a 9-11 memorial, for example, or the sensitive interplay among the musicians on "Down Here Below." "World" just chokes me up, every time I hear it.
Kendra Shank sounds great, to be sure. She has a clarion, bell-ringing timbre to her voice; but rarely has a singer sounded more musical than here. Her intonation (for the most part), her diction, her phrasing, her emotion, her breath control (check out her last notes on "I Got Thunder" and "Being Me"--wow!!) and her sound are just spot on, consistently. Whether the rhythms are tricky ("I Got Thunder" or "The Music is the Magic") or the chord changes are difficult ("Bird Alone"), she knocks it all out like nothing could be easier. She is not merely a "singer with the band"; she is a musician.
And what musicians she has to play with! Her usual quartet with Frank Kimbrough (p.--one of the finest in the business), Dean Johnson (bs--probably the most-featured non-singing musician here, if there is one) and Tony Moreno (drums) are joined by Ben Monder (g.--also one of the finest around), Billy Drewes (saxes and bass clarinet), and Gary Versace (acc.--including a very charming duet with Ms. Shank, "Natas"). The musicianship of these 7 is stunning. Let me give you but two examples:
Ben Monder is capable of blowing anybody off the bandstand with his playing. But on "The Music Is the Magic", he plays his intricate, note-filled lines so softly that you have to listen carefully to hear him. Like the others, he is going for the gestalt, which is an African sound. The idea is to sublimate the ego and let the sound enhance what everyone else is doing. He does so.
And on "Throw It Away", Kimbrough dampens the strings on his piano so that the instrument sounds like a marimba--because the sound of a marimba better works with the sound the musicians are trying to create for this song than the sound of a piano. But then he plays the piano like Bobby Hutcherson or David Samuels, for example, might play the marimba. Again, the idea is to sublimate the ego and go for the gestalt.
The only thing that bothers me about this exquisite album has nothing to do with the album itself. These musicians recorded this album in early January of 2005. Kendra Shank co-produced it, and I suspect shopped it to a whole bunch of labels, not having the resources to distribute it herself, before the tiny label of "Challenge Records" bit in 2006. And even then, Challenge didn't release it until about 3 weeks ago.
It makes you wonder: how many other "unreleasable gems" like this are out there? This is true art; and if the public at large never gets the opportunity to hear it, where does that leave us as a society? I guess I should just count our blessings that this got released at all. It is truly Grammy-worthy material. RC
"Ave Maria" sounds heavenly no matter which way you slice it, and as for "I Wonder As I Wander," it brings tears to your eyes. If you have a heart that's beating you will be moved by this rendition. "Ein feste Burg" is pretty strong, but Price seems more comfortable with the traditional spirituals, though perhaps it is the slightly off-kilter sounds of the Ambrosian Singers (what a name) who back her up on many of these tracks, that detract slightly from the experience. Compare "Lead Kindly Light" for a clear sense of what constitutes authority vs. what is a wee bit overproduced. If you had this compilation, and perhaps one of Leontyne Price's Christmas albums, you could attain nirvana any time you wanted to, just flip a switch and close your eyes, let her lift you up on wings of song.
The only song I could have gone without is Sexual Device but everything else on this cd is fabulous and the cd is a total must for every serious Bonnie Tyler Fan.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
As an overview of Zorn's work, this succeeds well. It also appears that another goal was to represent every volume, as at least one piece is drawn from each (volumes VI and VIII get two cuts, I and XII get three, and III and VII get four). Just about everything in Zorn's diverse catalog of film soundtracks is covered-- movies, documentaries, pornography, cartoons and commercials (certainly none I've seen!) are all represented with a suitably diverse array of pieces, from gamelan to string trios to surf rock, Zorn pretty much covers a wide array of sounds and moods-- if nothing else, the diversity of these 28 tracks is a testament to his vast skills to compose in virtually any environment. I could make a few arguments about what cuts I would have picked, but by-and-large, the compilation is a rather good and thorough overview, and the cast of performers is immense, with virtually all key players in the downtown scene involved to some extent or another.
Another notable point about this release is the artwork-- packed in a digipack with a pair of photos of Zorn (one from '86, one from '05) and stills from the various pieces littered throughout the liner notes, it certainly looks great. And speaking of the liner notes, Zorn offers a superb essay on film soundtrack composition and appreciations by musicians Marc Ribot, Anthony Coleman, Jamie Saft and Cyro Baptista (all of whom appear to some extent or another on the music) are included.
I've got currently about half of the filmworks series and I found value in this overview. Several of the individual pieces hold together far better than this recording does, but it certainly does a great job providing an impression of Zorn's diverse film scoring career.
The selections chosen for this disc make for an exhilarating listening experience from start to finish as the focus jumps from one musical genre to the next, from cartoon scores to punk rock to jazz and surf music. Most selections early on clock in at under 4 minutes, with many others zipping by under just one. All these various styles meld together so effortlessly that it's impressive it all comes from a single creative mind.
The packaging is also deserving of mention, as the CD is housed in a fold-out digipack case with two booklets attached inside. In one of these booklets Zorn describes his methods and self-imposed rules in creating music for film (as well as for dealing with snoopy film directors). The other booklet features short essays by a few of Zorn's collaborators on what the creative sessions were like. There are also many photos from the films the music accompanies. (So far the only films I've seen with Zorn's scores are "Trembling Before G-D" and "Protocols of Zion".)
Favorite tracks: "Surfing Samba", "Arsenal Dance Mix", "Shanghai", "Main Title (Invitation to a Suicide)"
Final Rating: 4.5 out of 5.
This music will likely never be on the radio, so you will need to check it out here. There's not a bad song on the CD, but if you want any recommendations, well...
"Guilty" has beautiful acapella harmonies
"Gentle Mind" is one of the "bigger"-sounding tunes, very nice
"Driving Towards The Moon" is perhaps my favorite - beauty and anguish collide in a delightful way
I guess that's enough for now. If you like excellent, passionate Country-tinged Blues, there's a very good chance that you will like "Grits-n-Pulp".
As one of the fifteen contestants on Rock Star: INXS, this summer's rock `n' roll reality show, Heather was sent home when illness weakened her performance. Heather released her new album while some of her former housemates were still competing for a place in INXS. That move in itself shows Heather's strength and determination-and after listening to her first post-Rock Star album, it's clear that that strength and determination are going to pay off for her in the end.
On Grits n' Pulp, Heather lets her real Southern-girl roots show. The album opens with a bluesy a cappella cover of Randy Newman's "Guilty" that gave me chills. And that's only the beginning. Throughout the rest of the album, Heather's powerful voice never falters, mixing the stripped-down folksiness of Ani Difranco with the strength and soul of old-time rhythm-and-blues. Here's one woman who doesn't need an overpowering band or a celebrity stylist to make her look good. Her voice sells itself. From rockin' and fun to soulful and contemplative, Heather's personality-as well as her amazing talent-always shines through.
Be sure to pick up your very own copy of the album. It's one you won't want to miss.
Three Years after "love Unlimited" and Two after the Drum and Bass Concept Album "space Odyssey", Created with the Stage Name Cosmorama, this is the New S–tone Inc. Project which Does Not Betray the Atmospheres and the Variety of the First. "free Spirit" is Not a Soul Album in the Sense the Word is Used, but Soul is the Key to Read Each Track Though Other Influences, from Bossa Nova to Trip Hop to Name but Two, Blend Together to Create the Distinctive "s–tone Inc." Sound. The New Songs Feature the Collaboration of Singers, Like the Soulful Angie Brown and the Sensual Manuela Ravaglioli, Both on the Previous Album, to the Smooth D.d. Klein and the Harsh Dany Rando. A Step Forward from the Precedent Album is the Extensive Use of Real Guitars Paired with Vintage Keyboards Adding Further Depth to the Already Rich Sound.
Free Spirit,S-Tone Inc,Milano,Dance
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El Espiritu Jibaro (The Jibaro Spirit)
Roswell Rudd & Yomo Toro Manufacturer: Sunny Side Records ProductGroup: Music Binding: Audio CD  General
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ASIN: B000QEILUG Release Date: 2007-06-26 |
Tracks:
- Pouchie & The Bird
- Tango For Chris
- Tres, Cuatro
- Preludio
- El Amor
- Bamako
- Loved By Love
- Inspiracion
- Mayor G
- Este Es Yomo Toro!
Product Description
It was Yomo Toro who brought the cuatro (a four string guitar) into the international arena the funky jibaro (whom Robert Palmer, writing in The New York Times, called the Puerto Rican Jimi Hendrix ) was a long time member of the Fania All Stars. When Roswell first heard Yomo he swooned, and they finally met in 2002 when Roswell sat in with Yomo at a concert in Haverstraw, NY. It was love at first sound and their collaboration had seeded. Following MaliCool and Blue Mongol, Roswell Rudd now collaborates with musicians of the Latin culture, and the fusion with his jazz idiom is perfect.
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A Spirit Free: Abbey Lincoln Songbook
Kendra Shank Manufacturer: Challenge ProductGroup: Music Binding: Audio CD General
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ASIN: B000MEWOX0 Release Date: 2007-02-13 |
Tracks:
- The Music Is The Magic
- I Got Thunder (And It Rings)
- Not To Worry
- Down Here Below
- A Cirlce Of Love
- Incantation/Throw It Away
- Bird Alone
- The World Is Falling Down
- Wholly Earth
- Natas (A/K/A Playmate)
- Being Me
Album Description
"Shank is supremely talented, innovative and at the same time readily accessible ... there's no one else quite like her." -- VILLAGE VOICE"A striking presence ... her musicianship is powerful." -- WALL STREET JOURNAL
"A superbly skilled vocalist, Ms. Shank interprets jazz and pop liberally, but with an abiding respect for melody." -- NEW YORK TIMES
"Shank's delectable voice--warm-toned, fine-grained, quietly sexy--sets her well apart from the crowd." -- TIME
"Shank sounds like sunlight shining through a stained-glass window, her crystalline tone illuminating each song. ... she's definitely an original." -- JAZZTIMES
First authorized album ever by another singer devoted to the songbook of legendary jazz singer-songwriter Abbey Lincoln. Kendra Shank is one of today's most gifted and appreciated jazz singers. Her three previous CDs charted on jazz radio and received accolades in Time, L.A. Times, Village Voice, Down Beat, JazzTimes, Wall Street Journal, and Washington Post, with Top 10 of the Year awards in Boston Globe, Newsday, and Jazziz. Shank makes these songs her own, with creative arrangements that combine folk, country, and world music influences within the jazz context. It will appeal to both vocal and instrumental fans. Liner notes by award-winning author Gary Giddins.
Customer Reviews:
Abbey Lincoln as only Kendra Shank could cover her.......2007-04-10
The Underrrated Extolling the Underrated.......2007-03-08
In his liner notes, Gary Giddins predicts that this won't be the last Abbey Lincoln tribute album, but will be the standard by which future ones will be measured. I don't disagree, but I'd put it this way: this album is to Abbey Lincoln like Carmen McRae's "Sings 'Lover Man' and Other Songs of Billie Holiday" is to Lady Day. Both are albums which match up very favorably to the best albums of the tributee--and that's saying one hell of a lot.
What makes this album, consisting of difficult yet accessible, heavily African-influenced, music so good is the musicianship of the 7 musicians. Check out the raw emotion on "The World Is Falling Down", a 9-11 memorial, for example, or the sensitive interplay among the musicians on "Down Here Below." "World" just chokes me up, every time I hear it.
Kendra Shank sounds great, to be sure. She has a clarion, bell-ringing timbre to her voice; but rarely has a singer sounded more musical than here. Her intonation (for the most part), her diction, her phrasing, her emotion, her breath control (check out her last notes on "I Got Thunder" and "Being Me"--wow!!) and her sound are just spot on, consistently. Whether the rhythms are tricky ("I Got Thunder" or "The Music is the Magic") or the chord changes are difficult ("Bird Alone"), she knocks it all out like nothing could be easier. She is not merely a "singer with the band"; she is a musician.
And what musicians she has to play with! Her usual quartet with Frank Kimbrough (p.--one of the finest in the business), Dean Johnson (bs--probably the most-featured non-singing musician here, if there is one) and Tony Moreno (drums) are joined by Ben Monder (g.--also one of the finest around), Billy Drewes (saxes and bass clarinet), and Gary Versace (acc.--including a very charming duet with Ms. Shank, "Natas"). The musicianship of these 7 is stunning. Let me give you but two examples:
Ben Monder is capable of blowing anybody off the bandstand with his playing. But on "The Music Is the Magic", he plays his intricate, note-filled lines so softly that you have to listen carefully to hear him. Like the others, he is going for the gestalt, which is an African sound. The idea is to sublimate the ego and let the sound enhance what everyone else is doing. He does so.
And on "Throw It Away", Kimbrough dampens the strings on his piano so that the instrument sounds like a marimba--because the sound of a marimba better works with the sound the musicians are trying to create for this song than the sound of a piano. But then he plays the piano like Bobby Hutcherson or David Samuels, for example, might play the marimba. Again, the idea is to sublimate the ego and go for the gestalt.
The only thing that bothers me about this exquisite album has nothing to do with the album itself. These musicians recorded this album in early January of 2005. Kendra Shank co-produced it, and I suspect shopped it to a whole bunch of labels, not having the resources to distribute it herself, before the tiny label of "Challenge Records" bit in 2006. And even then, Challenge didn't release it until about 3 weeks ago.
It makes you wonder: how many other "unreleasable gems" like this are out there? This is true art; and if the public at large never gets the opportunity to hear it, where does that leave us as a society? I guess I should just count our blessings that this got released at all. It is truly Grammy-worthy material. RC
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The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs
Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Gershwin
| Gershwin, George
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ASIN: B000003FWE Release Date: 1997-01-14 |
Tracks:
- Ev'ry Time I Feel The Spirit - Various Artists
- Let Us Break Bread Together On Our Knees - Various Artists
- His Name So Sweet - Various Artists
- 'Roun' About The Mountain - Various Artists
- Swing Low , Sweet Chariot - Various Artists
- Sit Down, Servant - Various Artists
- Were You There - Various Artists
- He's Got The Whole World In His Hands - Various Artists
- Deep River - Various Artists
- Honor! Honor! - Various Artists
- My Soul's Been Anchored In De Lord - Various Artists
- On Ma Journey - Various Artists
- A City Called Heaven - Various Artists
- Ride On, King Jesus - Various Artists
- I Wish I Knew How It Would Feel To Be Free - Various Artists
- Sinner, Please Don't Let This Harvest Pass - Various Artists
- Sweet Little Jesus Boy - Various Artists
- There Is A Balm In Gilead - Various Artists
- Let Us Cheer The Weary Traveler - Various Artists
- Ev'ry Time I Feel The Spirit - Various Artists
- My Way Is Cloudy - Various Artists
- Nobody Knows The Touble I've Seen - Various Artists
- I Couldn't Hear Nobody Pray - Various Artists
Tracks:
- Holy, Holy, Holy - Leontyne Price
- Lead, Kindly Light - Leontyne Price
- Blessed Assurance - Leontyne Price
- Ave Maria - Leontyne Price
- What A Friend We Have In Jesus - Leontyne Price
- Amazing Grace - Leontyne Price
- The Lord's Prayer - Leontyne Price
- Pass Me Not, O Gentle Savior - Leontyne Price
- The Church's One Foundation - Leontyne Price
- Bless This House - Leontyne Price
- I Need Thee Every Hour - Leontyne Price
- Schlesische Volkslieder: Fairest Lord Jesus - Leontyne Price
- I Wonder As I Wander - Leontyne Price
- Ave Maria - Leontyne Price
- Porgy And Bess: Summertime - Leontyne Price
- America The Beautiful - Leontyne Price
- Lift Ev'ry Voice And Sing - Leontyne Price
- A Mighty Fortress Is Our God - Leontyne Price
- Battle Hymn Of The Republic - Leontyne Price
Customer Reviews:
The Price Club.......2005-04-28
"Ave Maria" sounds heavenly no matter which way you slice it, and as for "I Wonder As I Wander," it brings tears to your eyes. If you have a heart that's beating you will be moved by this rendition. "Ein feste Burg" is pretty strong, but Price seems more comfortable with the traditional spirituals, though perhaps it is the slightly off-kilter sounds of the Ambrosian Singers (what a name) who back her up on many of these tracks, that detract slightly from the experience. Compare "Lead Kindly Light" for a clear sense of what constitutes authority vs. what is a wee bit overproduced. If you had this compilation, and perhaps one of Leontyne Price's Christmas albums, you could attain nirvana any time you wanted to, just flip a switch and close your eyes, let her lift you up on wings of song.
A living legend.......2005-03-10
not your daddy's old timey spiritual.......2004-06-23
Immaculate Vocals of Leontyne Price.......2003-12-31
Great Gospel Stuff.......2001-04-12
Average customer rating:
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Sousa Marches Played by the Sousa Band: The Complete Commercial Recordings 1897-1930
Manufacturer: Crystal Records ProductGroup: Music Binding: Audio CD All Works by Sousa
| Sousa, John Philip
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ASIN: B00004SDBT Release Date: 1997-09-30 |
Tracks:
- Introductary Speech By John Philip Sousa - John Philip Sousa
- The Stars And Stripes Forever - The Sousa Band/John Philip Sousa
- The Honored Dead - The Sousa Band/Arthur Pryor
- The Mikado March - The Sousa Band/Arthur Pryor
- Mother Hubbard - The Sousa Band/Arthur Pryor
- The Gladiator - The Sousa Band/Henry Higgins
- Semper Fidelis - The Sousa Band/Walter B. Rogers
- The Picador - The Sousa Band
- The Thunderer - The Sousa Band/Walter B. Rogers
- The Washington Post - The Sousa Band/Arthur Pryor
- Corcoran Cadets - The Sousa Band
- The High School Cadets - The Sousa Band/Nathaniel Shilkret
- The Beau Ideal - The Sousa Band
- The Liberty Bell - The Sousa Band/Arthur Pryor
- Manhattan Beach - The Sousa Band/Walter B. Rogers
- The Directorate - The Sousa Band/Arthur Pryor
- King Cotton - The Sousa Band/Arthur Pryor
- El Capitan - The Sousa Band/Arthur Pryor
- The Bride Elect - The Sousa Band/Henry Higgins
- March From 'The Charlatan' - The Sousa Band/Arthur Pryor
- Hands Across The Sea - The Sousa Band/Rosario Bourdon
- Hail To The Spirit Of Liberty - The Sousa Band/Herbert L. Clarke
- The Man Behind The Gun - The Sousa Band/Walter B. Rogers
- The Invincible Eagle - The Sousa Band/Walter B. Rogers
- The Stars And Stripes Forever - The Sousa Band/Arthur Pryor
Tracks:
- Imperial Edward Coronation March - The Sousa Band/Herbert L. Clarke
- Jack Tar - The Sousa Band/Arthur Pryor
- The Diplomat - The Sousa Band/Herbert L. Clarke
- The Free Lance - The Sousa Band/Herbert L. Clarke
- Powhatan's Daughter - The Sousa Band
- The Fairest Of The Fair - The Sousa Band/Arthur Pryor
- The Glory Of The Yankee Navy - The Sousa Band/Walter Rogers
- The Federal - The Sousa Band/Edwin G. Clarke
- The Stars And Stripes Forever - The Sousa Band/Arthur Pryor
- The Lambs' March - The Sousa Band/Herbert L. Clarke
- New York Hippodrome - The Sousa Band/Herbert L. Clarke
- The Pathfinder Of Panama - The Sousa Band/Herbert L. Clarke
- Liberty Loan - The Sousa Band/John Philip Sousa
- U.S. Field Artillery - The Sousa Band/John Philip Sousa
- Bullets And Bayonets - The Sousa Band/Joseph Pasternack
- The Chantyman's March - The Sousa Band/Nathaniel Shilkret
- Sabre And Spurs - The Sousa Band/John Philip Sousa
- Solid Men To The Front - The Sousa Band/John Philip Sousa
- Wedding March - The Sousa Band/Arthur Pryor
Tracks:
- The Golden Star - The Sousa Band/Joseph Pasternack
- Comrades Of The Legion - The Sousa Band/Joseph Pasternack
- On The Campus - The Sousa Band/Joseph Pasternack
- Who's Who In Navy Blue - The Sousa Band/Joseph Pasternack
- Keeping Step With The Union - The Sousa Band/Joseph Pasternack
- The Dauntless Battalion - The Sousa Band/John Philip Sousa
- The Gallant Seventh - The Sousa Band/Joseph Pasternack
- Nobles Of The Mystic Shrine - The Sousa Band/John Philip Sousa
- Ancient And Honorable Artillery Company - The Sousa Band/Nathaniel Shilkret
- The Black Horse Troop - The Sousa Band/Joseph Pasternack
- The National Game - The Sousa Band/Joseph Pasternack
- The Gridiron Club - The Sousa Band/Arthur Pryor
- The Pride Of The Wolverines - The Sousa Band/Arthur Pryor
- The Sesquicentennial Exposition March - The Sousa Band/Arthur Pryor
- Riders For (Of) The Flag - The Sousa Band/Rosario Bourdon
- Golden Jubilee - The Sousa Band/Rosario Bourdon
- The Harmonica Wizard - The Sousa Band/Rosario Bourdon
- The Royal Welch Fusiliers (No.2) - The Sousa Band/Rosario Bourdon
- The Salvation Army - The Sousa Band/Rosario Bourdon
- Sabre And Spurs - The Sousa Band/Arthur Pryor
- Solid Men To The Front - The Sousa Band/Arthur Pryor
- The Stars And Stripes Forever - The Sousa Band/Arthur Pryor
Customer Reviews:
Something very precious.......2004-11-16
Great historical resource.......2000-08-24
However, these recordings are an invaluable resourse for students, performers, and teachers. Even with the limitations of early recording devices, there is no better demonstration of the style and nuance of the "March King" than these performances under his own baton. Also, the chance to actually hear Sousa's voice as he introduces the great "Stars and Stripes Forever" is to step into the past.
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Free Spirit
Bonnie Tyler Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD Britain
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| Pop
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ASIN: B000002J7W Release Date: 1996-03-26 |
Tracks:
- Nothing To Do With Love
- You're The One
- Making Love (Out Of Nothing At All)
- Given It All
- What You Got
- Bridge Over Troubled Water
- Time Mends A Broken Heart
- Driving Me Wild
- Sexual Device
- Make It Right Tonight
- All Night To Know You
- Forget Her
- Two Out Of Three Ain't Bad
- Sexual Device (The Vari Mix)
Customer Reviews:
free sprirt.......2006-08-27
raspy vocal.......2004-11-14
A great attempt to a US comeback.......2003-01-19
Jim Steinman's other protegee.......2002-11-21
Sure, this one wasn't one of her massive hit albums. But it still rules. I can't get enough of this one. What I really love is how there's so many different styles of music on this album. From pop ("Making Love," "Nothing to Do With Love") to elegant Broadway-ish ballads ("Forget Her") to straight-ahead, hard-charging metal ("Driving Me Wild") to disco (her cover of Meat Loaf's "Two Out of Three Ain't Bad"). Yet, somehow, despite this all-over-the-map approach, "Free Spirit" never once sounds like a mishmash. Everything's well done and every song fits. I'd almost go so far as to call this a perfect album.
What a great cd from The Godess Of Rock.......2001-09-01
The only song I could have gone without is Sexual Device but everything else on this cd is fabulous and the cd is a total must for every serious Bonnie Tyler Fan.
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Forever Free
The Spirit Girls Manufacturer: Phantom Domestic ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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ASIN: B000MTDQRS Release Date: 2007-02-06 |
Tracks:
- Anthem for Ophelia
- Milk Maid
- Hunted Little Green Grass Girl
- Comforting the Bears
- Small Town
- Airstream Dream
- Haunted Horse
- Graveyard Song
- Song for the Spirit Girls
- Ship Song
Album Description
Forever Free is the debut album by LA's favorite avant-rockers The Spirit Girls. The band has an interesting origin - it grew out of "The Spirit Girls: Songs that Never Die," a rock opera created by noted LA artist Marnie Weber. As an original member of LA's legendary '80s band The Party Boys, Marnie had little trouble recruiting the musicians she needed. Such notable musicians as Dani Tull (Polar Bear), Tamara Sussman (Bertha Mason and The Polio Kids), Tanya Haden (Silver Sun Pickups & the Haden Three) and Debbie Spinelli (Rad Waste, 17 Pygmies) all signed on as active members of the Spirit Girls. The opera follows a group of ghost girls on a fairytale-like journey as they search for a place to perform their songs and tell their stories. Forever Free chronicles the lives and deaths of the Spirit Girls through expressive, multi-dimensional vocals, powerful, melodic guitars, thick psychedelic synths, and mournful cello riffs. The Spirit Girls' sound has been described as something of a cross between Sonic Youth, King Crimson and 17th Century French Romantic paintings.
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A Box of Sousa
Manufacturer: Altissimo Records ProductGroup: Music Binding: Audio CD All Works by Sousa
| Sousa, John Philip
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ASIN: B00005Y7U0 Release Date: 2001-10-16 |
Tracks:
- Semper Fidelis
- Presidential Polonaise
- Manhattan Beach March
- Comrades of the Legion March
- Saber and Spurs March
- Gridiron Club March
- King Cotton March
- Easter Monday on the White House Lawn
- Who's Who in Navy Blue March
- Invincible Eagle March
- Excerpts from Mars and Venus
- Washington Post March (1890)
- Washington Post March (1988)
- Stars and Stripes Forever [Live]
- Man Behind the Gun
- Selections from the Operetta, the Bride Elect
- Reine de la Mer
- Sound Off
- Royal Welch Fusiliers
- By the Light of the Polar Star
- Beneath the Southern Cross
- Mars and Venus
- Gallant Seventh
- Thunderer March [Historic 1896 Recording]
- Fairest of the Fair
- Hands Across the Sea
- Diplomat
- Rifle Regiment
- Occidental
- Riders for the Flag
- Hail to the Spirit of Liberty
- High School Cadets
- Boy Scouts of America
- Picador
- Directorate
- Black Horse Troop
- Nobles of the Mystic Shrine
- Beau Ideal
- Belle of Chicago
- Corcoran Cadets
- National Game
- Loyal Legion
- Liberty Bell
- Liberty Bell [Historic 1894 Recording]
- Century of Progress
- Atlantic City Pageant
- Free Lance
- Glory of the Yankee Navy
- March of the Mitten Men
- Minnesota March
- Northern Pines
- Our Flirtations
- Pride of the Wolverines
- Solid Men to the Front
- White Rose
- Bullets and Bayonets
- In the Land of the Golden Fleece
- Pathfinder of Panama
- Liberty Loan
- Peaches and Cream
- National Fencibles [Historic 1890 Recording]
Album Description
Box Set of 4 CDs by The United States Marine Band.Customer Reviews:
A Box Of Brilliance.......2004-01-13
Average customer rating: 
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Wagner: The Rhinegold
English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
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ASIN: B00005B550 Release Date: 2001-05-22 |
Customer Reviews:
A Rose By Any Other Name..........2007-07-02
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Free at last!.......2004-09-18
I Love This Recording.......2002-04-05
What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.
I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!
The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08
As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).
Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.
Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.
For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
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The Best of Film Works: 20 Years of Soundtrack Music
Manufacturer: Tzadik ProductGroup: Music Binding: Audio CD General Modern
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ASIN: B000A0GPJU Release Date: 2005-08-23 |
Tracks:
- Main Title
- End Titles
- Yakisoba
- Punk Rock Hero
- Through The Night
- Surfing Samba
- Fanfare/Theme
- France
- Sweden
- Arsenal Dance Mix
- Main Title
- Wheelchair Racers
- Pueblo
- Lituus
- Fireworks
- End Titles
- Deseo
- Shanghai
- Trembling Before G-d
- Filming
- Shabbos Noir
- Chippy Charm
- Vocal Phase
- Shaolin Spirit
- Main Title
- Sekhel (Vocal Version)
- Protocols Of Zion
- Indonesia
Customer Reviews:
A good overview of Zorn's soundtrack compositions........2005-10-24
As an overview of Zorn's work, this succeeds well. It also appears that another goal was to represent every volume, as at least one piece is drawn from each (volumes VI and VIII get two cuts, I and XII get three, and III and VII get four). Just about everything in Zorn's diverse catalog of film soundtracks is covered-- movies, documentaries, pornography, cartoons and commercials (certainly none I've seen!) are all represented with a suitably diverse array of pieces, from gamelan to string trios to surf rock, Zorn pretty much covers a wide array of sounds and moods-- if nothing else, the diversity of these 28 tracks is a testament to his vast skills to compose in virtually any environment. I could make a few arguments about what cuts I would have picked, but by-and-large, the compilation is a rather good and thorough overview, and the cast of performers is immense, with virtually all key players in the downtown scene involved to some extent or another.
Another notable point about this release is the artwork-- packed in a digipack with a pair of photos of Zorn (one from '86, one from '05) and stills from the various pieces littered throughout the liner notes, it certainly looks great. And speaking of the liner notes, Zorn offers a superb essay on film soundtrack composition and appreciations by musicians Marc Ribot, Anthony Coleman, Jamie Saft and Cyro Baptista (all of whom appear to some extent or another on the music) are included.
I've got currently about half of the filmworks series and I found value in this overview. Several of the individual pieces hold together far better than this recording does, but it certainly does a great job providing an impression of Zorn's diverse film scoring career.
Curious about Zorn?.......2005-10-23
The selections chosen for this disc make for an exhilarating listening experience from start to finish as the focus jumps from one musical genre to the next, from cartoon scores to punk rock to jazz and surf music. Most selections early on clock in at under 4 minutes, with many others zipping by under just one. All these various styles meld together so effortlessly that it's impressive it all comes from a single creative mind.
The packaging is also deserving of mention, as the CD is housed in a fold-out digipack case with two booklets attached inside. In one of these booklets Zorn describes his methods and self-imposed rules in creating music for film (as well as for dealing with snoopy film directors). The other booklet features short essays by a few of Zorn's collaborators on what the creative sessions were like. There are also many photos from the films the music accompanies. (So far the only films I've seen with Zorn's scores are "Trembling Before G-D" and "Protocols of Zion".)
Favorite tracks: "Surfing Samba", "Arsenal Dance Mix", "Shanghai", "Main Title (Invitation to a Suicide)"
Final Rating: 4.5 out of 5.
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Grits n' Pulp
Heather Luttrell , and Heather Luttrell Manufacturer: 185cool Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000ALMSMC Release Date: 2005-01-04 |
Tracks:
- Guilty
- Wild Women Don't Get the Blues (they just get drunk)
- Gentle Mind
- Driving Towards the Moon
- intro
- Sweet Girl
- Love This Way
- Anything But Me
- With Love, Your Wife the Drunk
Album Description
…the 3rd release from Atlanta based singer/songwriter Heather Luttrell. From the front porch to the front of the stage, Grits n' Pulp captures Heather's mixture of soulful southern blues with her full band ensemble. In her own words, she's finally recorded the blues album that she has always been wanting to make, one that captures her at her rawest and at her most dynamic.Produced by Heather Luttrell and Bruce Butkovich Engineered and Mixed by Bruce Butkovich "Gentle Mind" and "Anything But Me" Mixed by Vic Stafford Additional Engineering by Vic Stafford Studios: Spaceland Sounds, Exocet Studios and Sweat Lodge Studios; ATL GA Mastered by Alex Lowe for Red Tuxedo ATL GA FEATURING: Heather Luttrell - Vocals, Guitars, Piano and Handrums Walter Hinton - Harmonica, Violin, Mandolin, Guitar and Vocals Eric Young - Drums Bruce Butkovich - Bass and Guitar Ralph Luttrell - Resonator Guitar Calli McGregor - Vocals Maria Gabriella - Vocals
Customer Reviews:
not stunning.......2007-04-01
Rock Star INXS' Butterfly Girl shines on solo CD.......2006-02-06
Heather Luttrell - not roit for INXS, but just fine on her own.......2006-01-24
This music will likely never be on the radio, so you will need to check it out here. There's not a bad song on the CD, but if you want any recommendations, well...
"Guilty" has beautiful acapella harmonies
"Gentle Mind" is one of the "bigger"-sounding tunes, very nice
"Driving Towards The Moon" is perhaps my favorite - beauty and anguish collide in a delightful way
I guess that's enough for now. If you like excellent, passionate Country-tinged Blues, there's a very good chance that you will like "Grits-n-Pulp".
Did I get sent the wrong CD?.......2005-12-06
It's just the beginning for Heather Luttrell.......2005-10-20
As one of the fifteen contestants on Rock Star: INXS, this summer's rock `n' roll reality show, Heather was sent home when illness weakened her performance. Heather released her new album while some of her former housemates were still competing for a place in INXS. That move in itself shows Heather's strength and determination-and after listening to her first post-Rock Star album, it's clear that that strength and determination are going to pay off for her in the end.
On Grits n' Pulp, Heather lets her real Southern-girl roots show. The album opens with a bluesy a cappella cover of Randy Newman's "Guilty" that gave me chills. And that's only the beginning. Throughout the rest of the album, Heather's powerful voice never falters, mixing the stripped-down folksiness of Ani Difranco with the strength and soul of old-time rhythm-and-blues. Here's one woman who doesn't need an overpowering band or a celebrity stylist to make her look good. Her voice sells itself. From rockin' and fun to soulful and contemplative, Heather's personality-as well as her amazing talent-always shines through.
Be sure to pick up your very own copy of the album. It's one you won't want to miss.
Album Review:
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