| 1. DJ Mars of the Supafriends Intro |
| 2. Handcuff Yo Girl |
| 3. Formula |
| 4. Candy Girl |
| 5. Radio |
| 6. Throwback |
| 7. Radio Remix |
Editorial Reviews
Product Description
Early in his artistic development, Jarvis teamed with multi-platinum producer Sean “The Hitmaker†Hall. Hall is famed with songwriting and music production for artists like Pink, Tyrese, and 3LW. Jarvis made the grade by co-writing his Tricycle Music single “Radioâ€. This CD includes it as well as featured artist Fro. Jarvis is committed to create the hottest album on the shelves. Track for track, it is sure to make everyone feel good.
I own all four albums, and as avid a fan as I am of John Williams, I would have to say "The Goblet of Fire" rates up there with "The Philosopher's Stone" (which really did set the standard for the rest of the following albums). In fact, I would have to say that "The Goblet of Fire" is my favourite. The music is quite simply beautiful and atmospheric. Standouts are "Harry In Winter" (this particular track I can't help but have on repeat mode in the car), "Death of Cedric" and "Foreign Visitors Arrive". "The Quidditch Cup" makes me want to catch the next plane to Ireland! And call me old-fashioned, but "Neville's Waltz" and "Potter Waltz" are pleasant and lovely to the ear.
As for the rock songs at the end, I usually bypass them. Some complain about the jarring disconnect between the orchestral aspect of the soundtrack and the loud rock of the end - well, at least they're at the end and not in the middle! And let's face it. How many people would have grumbled that those songs that featured at the Winter Ball were left out?
I've always loved the work of Patrick Doyle (e.g. "Sense and Sensibility" and "Much Ado About Nothing"), and this soundtrack is no exception. He didn't 'fill' John Williams' shoes on this score. He pretty much created a new pair. Harry's story and personality have shifted on. It would be remiss of us to think the music wouldn't evolve as well.
So has this soundtrack lost that feeling of magic? I would have to say a resounding 'no'. It's certainly a lot more listener-friendly than "Chamber of Secrets"!
so, in lieu of a proper pulp album, we are lucky enough to get a jarvis cocker solo album, which, truth be told, isn't that far from a proper pulp album. if i had 'jarvis' without the benefit of knowing it was a solo album, i would've sworn it was a new pulp album. this is both a blessing and a curse. a blessing because it reiterates how blindingly good jarvis cocker is as a songerwriter, performer, and frontman. he's second to no one in lyrical ability. really, dood's tremendous. he touches those subjects no one will walk within a mile of. he's not afraid to skewer anyone and everyone. but he's also not above making himself vulnerable and speak to matters of the heart. it's a curse (though not in the purest sense of the word) too, because as good as 'jarvis' is, i get the feeling jarvis is much better served when he's standing in front the sizable musical talents of candida doyle, mark webber, nick mackey, and nick banks. i get the impression jarvis works best in the band setting--when he has people to lead, to guide, and to provide the backdrop for his scathing, witty, humorous, and aticulate lyrics. the songs are great, but they drama and tension inherent to so many of pulp's best songs. could it be age has mellowed jarvis cocker, even just a bit? maybe. probably. i don't know.
on its own terms, which is how it should be judged, it's a great album (i know it's really unfair to reference pulp in a jarvis solo album review. i realize it and readily admit it). even if you've never listened to pulp, 'jarvis' still comes highly recommended. 'black magic,' 'fat children,' 'big julie,' and 'don't let him waste your time' are all terrific pop songs. jarvis has lost none of his insight and cleverness.
hopefully this is a welcomed (and worthy) stop-gap between 'we love life' and the new pulp album. i can hope, can't i? and if not, the hopefully jarvis will see fit to bless the world with another solo record.
It's difficult to pick a favorite track. Today, it's "Big Julie"...tomorrow it might be "Black Magic" or "Fat Children." The songs on Jarvis are all outstanding in their own way.
God, I love this album.
Which brings us to Jarvis. Mr. Cocker's first full album of material since the days of Pulp. I wasn't hesitant to buy it as soon as it became available domestically in the States simply because of the amount of time I was sure he had put into it. My only wish was that he would be an artist of 43 and put out an album that reflects his age and songcraft up to this point yet not try to recapture the the mood or tempo of Class in some sad attempt to please a mass market. I wasn't disappointed at all. Quite simply put, this is a disc that any artist could release one day then get hit by a train the next with the knowledge that his or her vision and talents had been fully realized. Not only does Jarvis have the intelligence, wit and playful sarcasm of Class but it also has the emotional depth that made Hardcore so great. I was in no way prepared for how brilliantly he has been able to pour his entire career in music into one cd.
It's hard to pick one or two favorite tracks because they all have a feel of their own. Not every song will grab you on first take but once you let the album simmer a bit you'll be hard pressed to pass any up. Cocker has always been a brilliant lyricist and in many cases the lyrics drive the melody of the song. Whether its lamenting the plight of a teenage girl in Big Julie [She's by herself again\in the quiet secret night\Below the neighbour's window\Hands in pockets\head on one side] or pondering society's fate in From Auschwitz To Ipswich [Evil comes\I know from not where\But if you look inside yourself\maybe you'll find some in there] Cocker has a way of being totally descriptive while still leaving a bit of interpretation up to the listener. This record may be his best effort yet with regards to lyrics.
Sonically the album sounds amazing. It was recorded at multiple studios and was produced by Graham Sutton, Sam Lockwood, John Watson and Jarvis himself. With so many hands in the pot and recording locations one might assume the album to be inconsistent with regards to sound, however, this is not the case. The album feels organic and direct with instrumentation that is never out of place. Let's hope this is only the start of Cocker's musical output in the coming years because though c**ts are still running the world, with Jarvis around to kick them in the rear it makes everything a little more bearable.
Note: If you buy the pre-packaged album instead of downloading you will find that Running The World is a hidden track that pops up after Quantum Theory with a 28 minute gap in between. It's a bit irritating so be prepared.
I won't belabor the song content or the production value. I think the most notable reviews have got that down pat, although I'm not marking down as far as they have because I'm giving points for originality being a fan of Spike Jones and some other truly demented people.
One thing to note: this is not a CD you'd buy if you were looking for something to amuse your kids. Some of the content is very bawdy and Mom and Dad would have some serious 'splaining to do to the little pirates. There's both some language and some situations that are more twisted than a Hangman's knot.
Hal Wilner should stick to whatever genre it is that made him know enough to be approached by labels, because he clearly has no understanding, and less enthusiasm for *this* genre.
If you love lively music from the maritime era, you can only be bitterly disappointed by this collection. Out of 43 tracks, I found 15 that were salvageable. Sort of.
I've already tossed this onto the pile to go to the resale shop. It wasn't worthy the cost of shipping.
I appreciate what was attempted here (contemporary artists paying homage to sea chanteys in the spirit of our romanticized version of the pirate era) but it just doesn't really work. The effect is similar to what would be achieved if the London Philharmonic Orchestra attempted to play rap "music" with Luciano Pavarotti rhymin' while flashing gang signs.
It is VERY sad that these same titles, could not have been produced for quality. They sound like a nightmare.
beautifully, even the vocal piece by James Taylor. The album is almost too good to be called Heartland, every piece is a class act. Bravo!
For anyone who was expecting it to be an extension to Pulp's discography, you're kidding yourself. Don't get this expecting that. But for music lovers, I highly recommend it.
The observations Cocker is lauded for could be written by any 15 yr old public school boy who has watched Coronation Street or The Royle Family on UK TV--possibly more authentically and possibly better. Musically it's pretty much the same deal. You feel like asking him "what do you listen to for pleasure, Jarvis? It certainly can't be hackneyed crap like this." The whole thing sounds like early Scott Walker trying to do a number on a modern northern city...pretending, sub Joyce, that he casting it into an immortal and tragic frame. The problem is that Jarvis has no muse. There is certainly no Bloom to lift the themes and you're left with a sense of dull ideas penned on the back of write-up from Q magazine.
I'm sure this CD will appeal to someone somewhere. Good luck to them and bon voyage. Perhaps I'm just too bored with mediocre efforts to lift my attention and join the party. Jo Whiley can probably fill-in for me while I'm away doing something more interesting.
As if that wasn't enough, I'm not even a Pulp purist: I was aware of them when they were signed to (The Great) Fire (of London) records, and while I adored some of their lyrical qualities ("Little girl with blue eyes/there's a hole in your heart/and one between your legs/guess which one they are going to fill"), I owned maybe a couple of their albums at most. I really only picked up on them with the release of "Different Class," with it's perfect blend of smart, sinful and sarcastic in a pop music masterpiece. Following D.C., I did go back and buy up the back catalogue, but still, some albums just didn't work for me. Too complex maybe? Too difficult? It's clear (and became more so on "This is Hardcore") that Pulp was not interested in being anyone else's idea of what a band should be.
But again, this brings to mind the question why make a solo album: it seems like the band makes a perfectly good vehicle. Hell, if a new band was called for, pulling a Mark E. Smith number and replacing the entire backing group would have worked.
So, like I said, trepidation.
I deliberately avoided pre-reviews, interviews, press releases--anything that I thought would possibly color my interpretation of the work--trying to find a moment of purity, a solid foundation.
The album opens slyly: the first track "The Loss Adjuster (Part One)" runs for 27 instrumental seconds--heavy, dirgeful piano. The theme is picked up by the real opener: "Don't Let Him Waste Your Time." It's almost impossible not to hear Jarvis's unique voice and think of Pulp. It's true he's not a great "pure" vocal talent, but he is instantly recognizable and well suited to his material. "Don't..." is a nice opener, although it's maybe a little too much of an album track. Lyrically, filthy. Musically, a few different instruments (horns of some type? synth?) from the usual lineup.
"Black Magic" takes more of a psycho-pop tone than the rockier opener. Sparse, almost lo-fi, basic... Again, some new instruments show up (tubular bells, Foetus style guitar). The vocal structure is once again simple, repetitive. I'd have cut the final 45 seconds or so, as the tail end is just played out a little too far to no real purpose. At this point, it's difficult to know what to expect next, there's no sign of a deliberate flow to the pieces. "Heavy Weather" opens with thunder storm sound effects, and migrates into another lo-fi almost-love-song before hitting it's pace and picking up tempo. This helix of fast to slow repeats; the lyric sticks true to the title (cold fronts, storms coming through, no cliche left unturned)--a little more juvenile poetry than usual, but not strictly bad or twee. I can see this being a great live track.
Titles alone point to a not very happy album--"I Will Kill Again," for example, doesn't sound like a great dance track. And it's not. It's almost a torch song, with Jarvis playing the part of either a serial killer or perhaps reaching for a less literal reading of relationships and their inevitable endings ... wishing for a world in which no-one dies, or if they do they die, to do so from boredom. Of the tracks thus far, this one is a standout in terms of lyric, pacing and fit to the voice. Ah, but it's a sad song and who isn't a sucker for one of those?
"Baby's Coming Back To Me" hints at maybe a happier note in name at least, and indeed carries forward much of the same longing and emotion as "I Will...". Another sparse instrumental, simple drum rhythm, some xylophone, some reed instrument (I'm not good at picking up what is what). Overall, the song reports as much on the down aspects of a return, making no progress, retreading old ground. Not so much with the clever in the lyric this time, and better for it.
Back to a more rock feel for "Fat Children," and back also to a more whimsical lyric, bemoaning the ugly aspects of parenthood, and a stream of consciousness rant that makes as much sense as most any pop record. Probably the lead single. Again, there's a portion in the middle third that is unnecessary and would have hit the editing floor had I been involved. But I wasn't, so blah.
If there's an underlying theme to "Why this is not a Pulp album" it would be that the musical arrangements are very much simple, almost background. Even on the rockier/poppier tunes, there's a slight muffling of music compared to voice. It's unusual, but effective. "From Auschwitz to Ipswich" is a brave title, and the theme of the song is bleak. For all that modern life has to offer, it's basically rubbish and we fill our time with pointless activities. Jarvis out-sads the Mozfather easily. The segue to the follow-up track "Disney Time" is obvious, and indeed many of the same concepts are explored in this lyric. Over the top string arrangements emphasis that perhaps some of this is tongue in cheek, but it's nicely vague on that point.
"Tonite" picks up lyrically from "Sorted for E's and Whiz" (Different Class) as a love song to drugs and sex and boredom. "Somebody falls in love; somebody falls from a windowsill." Wistful, ironic, derisive, and haunting all at once. A fine tune, good for the last dance of the evening if you are hoping to get your end away.
"Big Julie" opens with a rather pointless spoken word introduction, then develops into a precise character study. You can replace "Big Julie" with "Fat Jerry" and the song still works. Like so many of his observed subjects, Julie envisages a better, brighter future--albeit an impossible one.
"The Loss Adjuster (Part Two) ends the song cycle for the album proper, and opens space for the experimental "Quantum Theory"--which reads like nothing less than a Cocker summoning of Carl Sagan. Blending subtle guitar work, sparse echo, whispered background vocals, approaching an ethereal mood. Ending on an eternal moment of hope "Everything is going to be alright" at 4:40 in, you wonder what the next 30 minutes of the track will be: turns out to be the far too often used gimmick of silence, at least until the last 4:20 which kicks in the rejoinder "[ex-del] are still running the world"--the only really political song on the album, it's vitriol sung prettily to a jazzy background. It's a great end to the album (or it would be, if it wasn't for that perverse 25 minutes of nothing).
In summary: it's a fine work. It's short (in terms of number of tracks), and overall consistent. It does focus mainly on highlighting the vocal skills (and limitations) of Jarvis, and yes it is a love it or hate it voice. It's also clearly a progression from the later Pulp albums which had lost some cohesion and drive. Well worth a listen, breaking the mold of bad solo albums with style and panache. Now, to edit out that damn silence...
* * *
Update: I was going to post a link to Amazon so you could buy it and hear little samples, only to find out it's an import and will set you back almost $30.00. It's still a fine album, so if you do have spare cash to spend there's no reason not to. Also, the "gap" in the final track is to "hide" the previous myspace ditty "Rule the world"--while that makes sense, it's still just nasty and tacky and unnecessary.
I first became familiar with Marin Alsop, the emerging superstar conductor when she was on the podium with the Eugene Symphony Orchestra. Her insight, instinct, intuition and interpretation of the music resulted in O'Connor calling her "the best friend to an American composer." Mark's collaboration with Nadja has spanned about six years, and he considers her to be "one the greatest violinists of not only our time but of all time." A diverse musician who has made a considerable name for himself in many walks of life, O'Connor has a down-to-earth style which is impeccable. Salerno-Sonnenberg's second violin is played with a more regimented classical approach. However, both have excellent command of the techniques to impressively play difficult passages and responses that complement each other. There are occasional flurries of notes and rapid-fire commentary, but the two indefatigable maestros fully understand each other. (Joe Ross, Roseburg, OR.)
Specifically, that high-power assistance belongs to Nadja Salerno-Sonnenberg, one of the greatest classical violinists this nation has ever produced. Both her and O'Connor take up O'Connor's own Double Violin Concerto, which takes on elements of blues and jazz music, as well as his Appalachia Waltz, which he had previously recorded with bassist Edgar Meyer and cello virtuoso extraordinnaire Yo-Yo Ma. On the "Johnny Appleseed Suite", which O'Connor composed for a Grammy-nominated children's recording in the early 1990s, the composer is joined by good friends John Jarvis and Bryan Sutton in one of the truest expressions of Classical Americana since Aaron Copland's glory years. This recording ends with O'Connor's fine rendition of the ultimate American spiritual "Amazing Grace."
Best of all, there is great support to be had on this recording from the Colorado Symphony Orchestra and its Conductor Laureate Marin Alsop, one of the great conductors around today, female or otherwise. One could not have asked for better accompaniment than from this largely unknown orchestra or its fine conductor. And O'Connor, Salerno-Sonnenberg, and company are brilliant in their roles as well. A great recording to look out for, especially if one appreciates the heart and soul of America in classical form with some unique twists.
Early in his artistic development, Jarvis teamed with multi-platinum producer Sean “The Hitmaker†Hall. Hall is famed with songwriting and music production for artists like Pink, Tyrese, and 3LW. Jarvis made the grade by co-writing his Tricycle Music single “Radioâ€. This CD includes it as well as featured artist Fro. Jarvis is committed to create the hottest album on the shelves. Track for track, it is sure to make everyone feel good.
Jarvis,Jarvis,Tricycle Music,Pop,R&B,Rap,Rap & Hip-Hop
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Harry Potter & the Goblet of Fire
Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD  Movie Scores
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ASIN: B000BGH22W Release Date: 2005-11-15 |
Tracks:
- Story Continues
- Frank Dies
- Quidditch World Cup
- Dark Mark
- Foreign Visitors Arrive
- Goblet of Fire
- Rita Skeeter
- Sirius Fire
- Harry Sees Dragons
- Golden Egg
- Neville's Waltz
- Harry in Winter
- Potter Waltz
- Underwater Secrets
- Black Lake
- Hogwarts' March
- Maze
- Voldemort
- Death of Cedric
- Another Year Ends
- Hogwarts Hymn
- Do the Hippogriff
- This Is The Night
- Magic Works
Amazon.com
Big news on the Harry Potter musical front: After scoring the first three installments in the series, John Williams has been replaced by Patrick Doyle. Still, Williams never feels far away. His main theme pops up here and there, and a track like "Voldemort," which eloquently illustrates the soul of a blacker-than-black wizard with thunderous cymbal crashes, shrieking horns, tumultuous strings, and a stately finish, firmly belongs in the Williams mode. Overall, Doyle acquits himself well. He can do light when needed ("The Quidditch World Cup," which starts out like some kind of jig), but mostly he's required to be ominous ("The Quidditch World Cup," which ends in martial war chants). Among the highlights are the aforementioned "Voldemort," but also the frantic, overpowering "The Dark Mark." Note that the CD concludes on a jarringly different note with three songs by the Weird Sisters, the group that performs at Hogwarts' Yule Ball. Led by Pulp frontman Jarvis Cocker, the ad hoc band also includes members of Radiohead and Cocker's side project Relaxed Muscle. "Do the Hippogriff" is a fast-paced rocker that somehow comes across like a grungy hybrid of Billy Idol's "White Wedding" and "Dancing with Myself." The other two songs--"This Is the Night" and "Magic Works"--are less obvious, and much better. Still, the contrast between these tracks and the instrumental score that precedes them may not be to everybody's taste. --Elisabeth VincentelliAlbum Description
Harry Potter and the Goblet of Fire, the fourth film (and soundtrack album) in the massively successful Harry Potter franchise-nearly $1 billion in U.S. box office alone-features a score by Academy Award-nominated composer Patrick Doyle and three songs written by modern rocker Jarvis Cocker, and performed by Cocker, Jonny Greenwood, Phil Selway, Steve Claydon and Jason Buckle-with all these musicians also appearing in the movie.Customer Reviews:
A must have..........2007-07-30
Harry Potter moves on.. and so does the music.......2007-05-23
I own all four albums, and as avid a fan as I am of John Williams, I would have to say "The Goblet of Fire" rates up there with "The Philosopher's Stone" (which really did set the standard for the rest of the following albums). In fact, I would have to say that "The Goblet of Fire" is my favourite. The music is quite simply beautiful and atmospheric. Standouts are "Harry In Winter" (this particular track I can't help but have on repeat mode in the car), "Death of Cedric" and "Foreign Visitors Arrive". "The Quidditch Cup" makes me want to catch the next plane to Ireland! And call me old-fashioned, but "Neville's Waltz" and "Potter Waltz" are pleasant and lovely to the ear.
As for the rock songs at the end, I usually bypass them. Some complain about the jarring disconnect between the orchestral aspect of the soundtrack and the loud rock of the end - well, at least they're at the end and not in the middle! And let's face it. How many people would have grumbled that those songs that featured at the Winter Ball were left out?
I've always loved the work of Patrick Doyle (e.g. "Sense and Sensibility" and "Much Ado About Nothing"), and this soundtrack is no exception. He didn't 'fill' John Williams' shoes on this score. He pretty much created a new pair. Harry's story and personality have shifted on. It would be remiss of us to think the music wouldn't evolve as well.
So has this soundtrack lost that feeling of magic? I would have to say a resounding 'no'. It's certainly a lot more listener-friendly than "Chamber of Secrets"!
The Magic is Gone.......2007-05-10
Atmospheric...But That's About All.......2007-03-31
Musically Spellbinding.......2007-01-09
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Jarvis
Jarvis Cocker Manufacturer: Rough Trade ProductGroup: Music Binding: Audio CD General
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ASIN: B000NVHWIO Release Date: 2007-04-03 |
Tracks:
- Loss Adjuster
- Don't Let Him Waste Your Time
- Black Magic
- Heavy Weather
- I Will Kill Again
- Baby's Coming Back To Me
- Fat Children
- From A To I
- Disney Time
- Tonite
- Big Julie
- Loss Adjuster
- Quantum Theory
Customer Reviews:
the world is a better place because of jarvis cocker.......2007-06-08
so, in lieu of a proper pulp album, we are lucky enough to get a jarvis cocker solo album, which, truth be told, isn't that far from a proper pulp album. if i had 'jarvis' without the benefit of knowing it was a solo album, i would've sworn it was a new pulp album. this is both a blessing and a curse. a blessing because it reiterates how blindingly good jarvis cocker is as a songerwriter, performer, and frontman. he's second to no one in lyrical ability. really, dood's tremendous. he touches those subjects no one will walk within a mile of. he's not afraid to skewer anyone and everyone. but he's also not above making himself vulnerable and speak to matters of the heart. it's a curse (though not in the purest sense of the word) too, because as good as 'jarvis' is, i get the feeling jarvis is much better served when he's standing in front the sizable musical talents of candida doyle, mark webber, nick mackey, and nick banks. i get the impression jarvis works best in the band setting--when he has people to lead, to guide, and to provide the backdrop for his scathing, witty, humorous, and aticulate lyrics. the songs are great, but they drama and tension inherent to so many of pulp's best songs. could it be age has mellowed jarvis cocker, even just a bit? maybe. probably. i don't know.
on its own terms, which is how it should be judged, it's a great album (i know it's really unfair to reference pulp in a jarvis solo album review. i realize it and readily admit it). even if you've never listened to pulp, 'jarvis' still comes highly recommended. 'black magic,' 'fat children,' 'big julie,' and 'don't let him waste your time' are all terrific pop songs. jarvis has lost none of his insight and cleverness.
hopefully this is a welcomed (and worthy) stop-gap between 'we love life' and the new pulp album. i can hope, can't i? and if not, the hopefully jarvis will see fit to bless the world with another solo record.
Jarvis is back and sharper than ever.......2007-05-19
Album of the Year.......2007-05-06
It's difficult to pick a favorite track. Today, it's "Big Julie"...tomorrow it might be "Black Magic" or "Fat Children." The songs on Jarvis are all outstanding in their own way.
God, I love this album.
Jarvis Won't Waste Your Time.......2007-04-19
Which brings us to Jarvis. Mr. Cocker's first full album of material since the days of Pulp. I wasn't hesitant to buy it as soon as it became available domestically in the States simply because of the amount of time I was sure he had put into it. My only wish was that he would be an artist of 43 and put out an album that reflects his age and songcraft up to this point yet not try to recapture the the mood or tempo of Class in some sad attempt to please a mass market. I wasn't disappointed at all. Quite simply put, this is a disc that any artist could release one day then get hit by a train the next with the knowledge that his or her vision and talents had been fully realized. Not only does Jarvis have the intelligence, wit and playful sarcasm of Class but it also has the emotional depth that made Hardcore so great. I was in no way prepared for how brilliantly he has been able to pour his entire career in music into one cd.
It's hard to pick one or two favorite tracks because they all have a feel of their own. Not every song will grab you on first take but once you let the album simmer a bit you'll be hard pressed to pass any up. Cocker has always been a brilliant lyricist and in many cases the lyrics drive the melody of the song. Whether its lamenting the plight of a teenage girl in Big Julie [She's by herself again\in the quiet secret night\Below the neighbour's window\Hands in pockets\head on one side] or pondering society's fate in From Auschwitz To Ipswich [Evil comes\I know from not where\But if you look inside yourself\maybe you'll find some in there] Cocker has a way of being totally descriptive while still leaving a bit of interpretation up to the listener. This record may be his best effort yet with regards to lyrics.
Sonically the album sounds amazing. It was recorded at multiple studios and was produced by Graham Sutton, Sam Lockwood, John Watson and Jarvis himself. With so many hands in the pot and recording locations one might assume the album to be inconsistent with regards to sound, however, this is not the case. The album feels organic and direct with instrumentation that is never out of place. Let's hope this is only the start of Cocker's musical output in the coming years because though c**ts are still running the world, with Jarvis around to kick them in the rear it makes everything a little more bearable.
Note: If you buy the pre-packaged album instead of downloading you will find that Running The World is a hidden track that pops up after Quantum Theory with a 28 minute gap in between. It's a bit irritating so be prepared.
Brilliant.......2007-04-16
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Rogue's Gallery: Pirate Ballads, Sea Songs, and Chanteys
Various Artists Manufacturer: Anti ProductGroup: Music Binding: Audio CD General
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ASIN: B000GGSMD0 Release Date: 2006-08-22 |
Tracks:
- Cape Cod Girls - Baby Gramps
- Mingulay Boat Song - Richard Thompson
- My Son John - John C. Reilly
- Fire Down Below - Nick Cave
- Turkish Revelry - Loudon Wainwright III
- Bully In The Alley - The Old Prunes
- The Cruel Ship's Captain - Bryan Ferry
- Dead Horse - Robin Holcomb
- Spansih Ladies - Bill Frisell
- High Barbary - Joseph Arthur
- Haul Away Joe - Mark Anthony Thompson
- Dan Dan - David Thomas
- Blood Red Roses - Sting
- Sally Brown - Teddy Thompson
- Lowlands Away - Rufus Wainwright & Kate McGarrigle
- Baltimore Whores - Gavin Friday
- Rolling Sea - Eliza McCarthy
- Haul On The Bowline - Bob Neuwirth
- Dying Sailor to His Shipmates - Bono
- Bonnie Portmore - Lucinda Williams
- The Mermaid - Martin Carthy & the UK Group
- Shenandoah - Richard Greene & Jack Shit
- The Cry Of Man - Mary Margaret O'Hara
Tracks:
- Boney - Jack Shit
- Good Ship Venus - Loudon Wainwright III
- Long Time Ago -White Magic
- Pinery Boy - Nick Cave
- Lowlands Low - Bryan Ferry w/Antony
- One Spring Morning - Akron/Family
- Hog Eye Man - Martin Carthy & Family
- The Fiddler/A Drop Of Nelson's Blood - Ricky Jay & Richard Greene
- Caroline and Her Young Sailor Bold - Andrea Corr
- Fathom The Bowl - John C. Reilly
- Drunken Sailor - Dave Thomas
- Farewell Nancy - Ed Harcourt
- Hanging Johnny - Stan Ridgway
- Old Man of The Sea - Baby Gramps
- Greenland Whale Fisheries - Van Dyke Parks
- Shallow Brown - Sting
- The Grey Funnel Line - Jolie Holland
- A Drop of Nelson's Blood - Jarvis Cocker
- Leave Her Johnny - Lou Reed
- Little Boy Billy - Ralph Steadman
Amazon.com
Johnny Depp and director Gore Verbinski hatched the idea for Rogue's Gallery while filming "Pirates of the Caribbean: Dead Man's Chest"--that idea being to cast genteel rock superstars like Bono, Lou Reed, Bryan Ferry, Andre Corr, and Sting to reinterpret gritty seafaring standards for an exhaustive 43-track double-disc set produced by Hal Wilner. Throw in a bunch of credible folk stars (Loudon Wainwright III, Richard Thompson), their offspring (Rufus, Teddy) and a string of other curious characters (Jarvis Cocker, Antony) and what results is one of the strangest compilations in recent memory, if not exactly the most historically authentic or, well, digestible. Nick Cave embraces the role just a little too hard on "Fire Down Below," while Ferry can't help but sound like he's singing for the cast of "The Love Boat," but cut through the chaff and there is some real bootie here: Bono's "Dying Sailor to His Shipmates," Jolie Holland's "The Grey Funnel Line" and "Boney" by a mysterious tramp called Jack Sh**, which must be some kind of anagram for Johnny Depp. --Aidin VaziriAlbum Description
While working on the two "Pirates Of The Carribean" films, Johnny Depp and director Gore Verbinski became fascinated with the lore and fable of the pirates and sailors who ran the high seas. Enter legendary producer Hal Wilner, who brings his knack for matching maverick musicians with extraordinary material. Artists on this double disc set include Bono, Sting, Nick Cave, Bryan Ferry, Lou Reed, Richard Thompson, Lucinda Williams, Jarvis Cocker of Pulp, and many more. "Rogue's Gallery" offers a look at the hardships, the horrors, the lusts and lurid depths, and the crystal beauty that led men to the sea in ships for hundreds of years.Customer Reviews:
Fun--but not great.......2007-07-03
I won't belabor the song content or the production value. I think the most notable reviews have got that down pat, although I'm not marking down as far as they have because I'm giving points for originality being a fan of Spike Jones and some other truly demented people.
One thing to note: this is not a CD you'd buy if you were looking for something to amuse your kids. Some of the content is very bawdy and Mom and Dad would have some serious 'splaining to do to the little pirates. There's both some language and some situations that are more twisted than a Hangman's knot.
aaaaaaaaaaarrrrrrrrghhhhhhhhhhhhh!.......2007-06-09
Disappointment would be an understatement.......2007-06-04
Hal Wilner should stick to whatever genre it is that made him know enough to be approached by labels, because he clearly has no understanding, and less enthusiasm for *this* genre.
If you love lively music from the maritime era, you can only be bitterly disappointed by this collection. Out of 43 tracks, I found 15 that were salvageable. Sort of.
I've already tossed this onto the pile to go to the resale shop. It wasn't worthy the cost of shipping.
Zzz..........2007-04-04
I appreciate what was attempted here (contemporary artists paying homage to sea chanteys in the spirit of our romanticized version of the pirate era) but it just doesn't really work. The effect is similar to what would be achieved if the London Philharmonic Orchestra attempted to play rap "music" with Luciano Pavarotti rhymin' while flashing gang signs.
another set of hopes are smashed.......2007-03-29
It is VERY sad that these same titles, could not have been produced for quality. They sound like a nightmare.
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Heartland: An Appalachian Anthology
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ASIN: B00005KIZP Release Date: 2001-07-03 |
Tracks:
- Short Trip Home
- Johnny Has Gone For A Soldier
- 1B
- Appalachia Waltz
- Soldier's Joy
- Sliding Down
- BT
- Butterfly's Day Out
- College Hornpipe
- Fancy Stops and Goes
- Old Tyme
- Emily's Reel
- Slumber My Darling
- Death by Triple Fiddle
- Amazing Grace
- Song of the Liberty Bell (folk version)
Amazon.com
The likes of Yo-Yo Ma, Sam Bush, Edgar Meyer, Joshua Bell, and Mark O'Connor can be heard on Heartland, a compilation featuring the best tracks from Sony's ongoing Appalachian-themed series of CDs. Individually, these folk and classical stars have little in common, but when they meet to play these new bluegrass-meets-chamber-music arrangements, the results are pure magic. It's hard to pinpoint these Americana-tinged tunes--they could fit in either Carnegie Hall or a grange hall--but they're all great; this is as much Aaron Copland's version of roots music as it is Bill Monroe's. Whether on fast-and-furious breakdowns such as "Death by Triple Fiddle" or on mellow, almost New Agey instrumentals such as "Sliding Down" (featuring Bela Fleck on the banjo), these musicians excel. Guest vocals by James Taylor and Alison Krauss break up the instrumentals, though instrumental virtuosity is the real highlight of this disc. If you like what you hear on this sampler, check out the Grammy Award-winning Appalachian Journey next. --Jason VerlindeCustomer Reviews:
A piece of heaven.......2006-02-01
Great CD.......2004-03-16
A bit of a yawn-er.......2003-04-22
Exquisitely good music!.......2002-05-04
beautifully, even the vocal piece by James Taylor. The album is almost too good to be called Heartland, every piece is a class act. Bravo!
Great Music!.......2001-11-09
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Liberty! (1997 Television Mini-series)
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ASIN: B0000029YF Release Date: 1997-10-28 |
Tracks:
- Song Of The Liberty Bell
- Johnny Has Gone For A Soldier
- Surrender The Sword
- Soldier's Joy
- When Bidden To The Wake Or Fair
- The World Turned Upside Down
- Bunker Hill
- Freedom
- The Flowers Of Edinburgh
- Brave Wolfe
- Devil's Dream
- Song Of The Liberty Bell
Customer Reviews:
OK.......2005-03-17
Great Music.......2004-02-27
GREAT SOUNDTRACK!.......2003-07-04
Finest Music Ever Heard.......2002-03-27
Stirring Americana.......2001-11-10
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Jarvis
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ASIN: B000JMKCU2 Release Date: 2006-11-20 |
Tracks:
- Loss Adjuster (Excerpt, Pt. 1)
- Don't Let Him Waste Your Time
- Black Magic
- Heavy Weather
- I Will Kill Again
- Baby's Coming Back to Me
- Fat Children
- From Auschwitz to Ipswich
- Disney Time
- Tonite
- Big Julie
- Loss Adjuster (Excerpt, Pt. 2)
- Quantum Theory
- Don't Let Him Waste Your Time [*][Multimedia Track]
Album Details
It's What We've all Been Waiting For; Jarvis Cocker is Back. Jarvis' First Solo Album Follows on from his Controversial Online Only Single 'running the World', which was First Unleashed on the Public Via Myspace.com/Jarvspace To Coincide with the First Anniversary of Live-8.Customer Reviews:
Wonderful........2007-06-11
For anyone who was expecting it to be an extension to Pulp's discography, you're kidding yourself. Don't get this expecting that. But for music lovers, I highly recommend it.
i didn't believe a word of it...hated the `tunes'...was thoroughly bored.......2007-03-13
The observations Cocker is lauded for could be written by any 15 yr old public school boy who has watched Coronation Street or The Royle Family on UK TV--possibly more authentically and possibly better. Musically it's pretty much the same deal. You feel like asking him "what do you listen to for pleasure, Jarvis? It certainly can't be hackneyed crap like this." The whole thing sounds like early Scott Walker trying to do a number on a modern northern city...pretending, sub Joyce, that he casting it into an immortal and tragic frame. The problem is that Jarvis has no muse. There is certainly no Bloom to lift the themes and you're left with a sense of dull ideas penned on the back of write-up from Q magazine.
I'm sure this CD will appeal to someone somewhere. Good luck to them and bon voyage. Perhaps I'm just too bored with mediocre efforts to lift my attention and join the party. Jo Whiley can probably fill-in for me while I'm away doing something more interesting.
The uncursed solo album.......2006-12-07
As if that wasn't enough, I'm not even a Pulp purist: I was aware of them when they were signed to (The Great) Fire (of London) records, and while I adored some of their lyrical qualities ("Little girl with blue eyes/there's a hole in your heart/and one between your legs/guess which one they are going to fill"), I owned maybe a couple of their albums at most. I really only picked up on them with the release of "Different Class," with it's perfect blend of smart, sinful and sarcastic in a pop music masterpiece. Following D.C., I did go back and buy up the back catalogue, but still, some albums just didn't work for me. Too complex maybe? Too difficult? It's clear (and became more so on "This is Hardcore") that Pulp was not interested in being anyone else's idea of what a band should be.
But again, this brings to mind the question why make a solo album: it seems like the band makes a perfectly good vehicle. Hell, if a new band was called for, pulling a Mark E. Smith number and replacing the entire backing group would have worked.
So, like I said, trepidation.
I deliberately avoided pre-reviews, interviews, press releases--anything that I thought would possibly color my interpretation of the work--trying to find a moment of purity, a solid foundation.
The album opens slyly: the first track "The Loss Adjuster (Part One)" runs for 27 instrumental seconds--heavy, dirgeful piano. The theme is picked up by the real opener: "Don't Let Him Waste Your Time." It's almost impossible not to hear Jarvis's unique voice and think of Pulp. It's true he's not a great "pure" vocal talent, but he is instantly recognizable and well suited to his material. "Don't..." is a nice opener, although it's maybe a little too much of an album track. Lyrically, filthy. Musically, a few different instruments (horns of some type? synth?) from the usual lineup.
"Black Magic" takes more of a psycho-pop tone than the rockier opener. Sparse, almost lo-fi, basic... Again, some new instruments show up (tubular bells, Foetus style guitar). The vocal structure is once again simple, repetitive. I'd have cut the final 45 seconds or so, as the tail end is just played out a little too far to no real purpose. At this point, it's difficult to know what to expect next, there's no sign of a deliberate flow to the pieces. "Heavy Weather" opens with thunder storm sound effects, and migrates into another lo-fi almost-love-song before hitting it's pace and picking up tempo. This helix of fast to slow repeats; the lyric sticks true to the title (cold fronts, storms coming through, no cliche left unturned)--a little more juvenile poetry than usual, but not strictly bad or twee. I can see this being a great live track.
Titles alone point to a not very happy album--"I Will Kill Again," for example, doesn't sound like a great dance track. And it's not. It's almost a torch song, with Jarvis playing the part of either a serial killer or perhaps reaching for a less literal reading of relationships and their inevitable endings ... wishing for a world in which no-one dies, or if they do they die, to do so from boredom. Of the tracks thus far, this one is a standout in terms of lyric, pacing and fit to the voice. Ah, but it's a sad song and who isn't a sucker for one of those?
"Baby's Coming Back To Me" hints at maybe a happier note in name at least, and indeed carries forward much of the same longing and emotion as "I Will...". Another sparse instrumental, simple drum rhythm, some xylophone, some reed instrument (I'm not good at picking up what is what). Overall, the song reports as much on the down aspects of a return, making no progress, retreading old ground. Not so much with the clever in the lyric this time, and better for it.
Back to a more rock feel for "Fat Children," and back also to a more whimsical lyric, bemoaning the ugly aspects of parenthood, and a stream of consciousness rant that makes as much sense as most any pop record. Probably the lead single. Again, there's a portion in the middle third that is unnecessary and would have hit the editing floor had I been involved. But I wasn't, so blah.
If there's an underlying theme to "Why this is not a Pulp album" it would be that the musical arrangements are very much simple, almost background. Even on the rockier/poppier tunes, there's a slight muffling of music compared to voice. It's unusual, but effective. "From Auschwitz to Ipswich" is a brave title, and the theme of the song is bleak. For all that modern life has to offer, it's basically rubbish and we fill our time with pointless activities. Jarvis out-sads the Mozfather easily. The segue to the follow-up track "Disney Time" is obvious, and indeed many of the same concepts are explored in this lyric. Over the top string arrangements emphasis that perhaps some of this is tongue in cheek, but it's nicely vague on that point.
"Tonite" picks up lyrically from "Sorted for E's and Whiz" (Different Class) as a love song to drugs and sex and boredom. "Somebody falls in love; somebody falls from a windowsill." Wistful, ironic, derisive, and haunting all at once. A fine tune, good for the last dance of the evening if you are hoping to get your end away.
"Big Julie" opens with a rather pointless spoken word introduction, then develops into a precise character study. You can replace "Big Julie" with "Fat Jerry" and the song still works. Like so many of his observed subjects, Julie envisages a better, brighter future--albeit an impossible one.
"The Loss Adjuster (Part Two) ends the song cycle for the album proper, and opens space for the experimental "Quantum Theory"--which reads like nothing less than a Cocker summoning of Carl Sagan. Blending subtle guitar work, sparse echo, whispered background vocals, approaching an ethereal mood. Ending on an eternal moment of hope "Everything is going to be alright" at 4:40 in, you wonder what the next 30 minutes of the track will be: turns out to be the far too often used gimmick of silence, at least until the last 4:20 which kicks in the rejoinder "[ex-del] are still running the world"--the only really political song on the album, it's vitriol sung prettily to a jazzy background. It's a great end to the album (or it would be, if it wasn't for that perverse 25 minutes of nothing).
In summary: it's a fine work. It's short (in terms of number of tracks), and overall consistent. It does focus mainly on highlighting the vocal skills (and limitations) of Jarvis, and yes it is a love it or hate it voice. It's also clearly a progression from the later Pulp albums which had lost some cohesion and drive. Well worth a listen, breaking the mold of bad solo albums with style and panache. Now, to edit out that damn silence...
* * *
Update: I was going to post a link to Amazon so you could buy it and hear little samples, only to find out it's an import and will set you back almost $30.00. It's still a fine album, so if you do have spare cash to spend there's no reason not to. Also, the "gap" in the final track is to "hide" the previous myspace ditty "Rule the world"--while that makes sense, it's still just nasty and tacky and unnecessary.
Yahoo!.......2006-11-21
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Double Violin Concerto
Manufacturer: Omac ProductGroup: Music Binding: Audio CD General
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ASIN: B0009R1THC Release Date: 2005-06-14 |
Tracks:
- Double Violin Concerto - featuring Mark O'Connor, violin;Nadja Salerno-Sonnenberg, violin; Colorado Symphony Orchestra.Swing (11:34)Midnight on the Dance Room Floor (8:56)Dixieland (11:40)
- Appalachia Waltz - (6:22) - Featuring Mark O'Connor, violin; Nadja Salerno-Sonnenberg, violin
- Johnny Appleseed Suite - Featuring Mark O'Connor, violin;John Jarvis, piano; Bryan Sutton, guitar; Colorado Symphony Orchestra Marching Along the Ohio Frontier (4:58)Johnny's Apple Pie (5:09)Three Angel Brides (4:59)The Life and Times of Johnny Appleseed (3:10)
- Amazing Grace (P.D. Arr. O'Connor/Meyer) (3:21)Featuring Mark O'Connor, violin; Colorado Symphony Orchestra
Album Description
Double Violin Concerto was written for and performed here with the fiery virtuoso Nadja Salerno-Sonnenberg and the acclaimed Colorado Symphony Orchestra is a stunning composition, intricate in it's construction and swinging in these magnificent performances that prompted the Rocky Mountain News to describe it as "...a work that leaps, sighs and bounces with unstoppable energy"Also on this disc, O'Connor's much beloved "Appalachia Waltz," a duet performed with Nadja Salerno-Sonnenberg, his "Johnny Appleseed Suite," (recorded for a Grammy-nominated children's album) and his own moving arrangement of "Amazing Grace."
Customer Reviews:
Fluid, lyrical, and emotional .......2005-10-26
I first became familiar with Marin Alsop, the emerging superstar conductor when she was on the podium with the Eugene Symphony Orchestra. Her insight, instinct, intuition and interpretation of the music resulted in O'Connor calling her "the best friend to an American composer." Mark's collaboration with Nadja has spanned about six years, and he considers her to be "one the greatest violinists of not only our time but of all time." A diverse musician who has made a considerable name for himself in many walks of life, O'Connor has a down-to-earth style which is impeccable. Salerno-Sonnenberg's second violin is played with a more regimented classical approach. However, both have excellent command of the techniques to impressively play difficult passages and responses that complement each other. There are occasional flurries of notes and rapid-fire commentary, but the two indefatigable maestros fully understand each other. (Joe Ross, Roseburg, OR.)
Expansive Americana.......2005-08-06
Specifically, that high-power assistance belongs to Nadja Salerno-Sonnenberg, one of the greatest classical violinists this nation has ever produced. Both her and O'Connor take up O'Connor's own Double Violin Concerto, which takes on elements of blues and jazz music, as well as his Appalachia Waltz, which he had previously recorded with bassist Edgar Meyer and cello virtuoso extraordinnaire Yo-Yo Ma. On the "Johnny Appleseed Suite", which O'Connor composed for a Grammy-nominated children's recording in the early 1990s, the composer is joined by good friends John Jarvis and Bryan Sutton in one of the truest expressions of Classical Americana since Aaron Copland's glory years. This recording ends with O'Connor's fine rendition of the ultimate American spiritual "Amazing Grace."
Best of all, there is great support to be had on this recording from the Colorado Symphony Orchestra and its Conductor Laureate Marin Alsop, one of the great conductors around today, female or otherwise. One could not have asked for better accompaniment than from this largely unknown orchestra or its fine conductor. And O'Connor, Salerno-Sonnenberg, and company are brilliant in their roles as well. A great recording to look out for, especially if one appreciates the heart and soul of America in classical form with some unique twists.
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Land of My Fathers: 100 Great Welsh Choir Favourites
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ASIN: B0009SOFXG Release Date: 2005-08-01 |
Tracks:
- Guide Me O Thou Great Redeemer (CWM Rhondda) - Caerphilly Make Voice Choir
- Land of My Fathers - Caerphilly Make Voice Choir
- Dies Irae
- Men of Harlech
- You'll Never Walk Alone
- Cadwyn O Emyn Donau Cymreig: Joanna (Trad./Elfion Wyn)/Crugybar (Trad.
- Old Folks at Home
- Il Liza Jane
- Faust/Soldier's Chorus - Caerphilly Make Voice Choir
- Vergine Degli Angeli
- Ballard of Rourke's Drift - Cwt-Y-Collen Choir
- My Hero
- God Bless the Prince of Wales - Caerphilly Make Voice Choir
- German Mass/Gloria
- German Mass/Sanctus
- Misbles/Master of the House/On My Own/Drink with Me/Empty Chairs at
- All Through the Night - Caerphilly Make Voice Choir
- Arwelfa
- Invictus
- Softly as I Leave You
Tracks:
- Diolch l'R L
- Hine E Hine (Maori Lullaby)
- Pererin Wyf (Amazing Grace)
- Tribute to the USA: America the Beautiful (Ward/Bates)/God Bless ...
- Memories of Martha
- I Lombardi/The Crusaders' Chorus - Treorchy Male Choir
- Myfanwy - Treorchy Male Choir
- Tales of Hoffman/Barcarolle
- Creation's Hymn
- In the Spirit!
- Shall We Gather at the River
- Nos a Bore
- Very Best Time of Year
- Soon Ah Will Be Done
- Thanks Be to God
- Flower That Shattered the Stone
- Rhys - Treorchy Male Choir
- Where Shall I Be?
- Bywyd y Bugail
- Lord's Prayer
Tracks:
- Ave Maria
- Pearl Fishers/Divine Brahma
- She Was Beautiful (Cavatina) - Treorchy Male Choir
- Cymru Fach
- Nidaros
- Jacob's Ladder - Treorchy Male Choir
- Watching the Wheat
- Pan Ddaw y Saint (When the Saints Go Marching In)
- Misbles/Stars
- Rachie
- Pirates of Penzance/With Cat-Like Tread - Treorchy Male Choir
- There Is a Balm in Gilead
- Rise Up Shepherd and Foller
- My Lord, What a Mornin'
- Bryn Myrddin
- Jesus Christ Superstar/Medley: Jesus Christ Superstar/Hosanna/The Last
- Finnish Forest (Suomen Salossa)
- Nabucco/The Glory of Israel
- Ride the Chariot
- Tydi a Roddaist - Treorchy Male Choir
Tracks:
- Y Nefoedd
- Phantom of the Opera/Think of Me
- Morte Christe (When I Survey the Wondrous Cross)
- By Babylon's Wave
- I'm Gonna Sing
- Where Could I Go But to the Lord?
- Holy City - Treorchy Male Choir
- Mefistofele: Ave Signor, Degli Angeli
- Senzenina (Zulu Chant)
- That's All I Want from You
- Deep Harmony - Treorchy Male Choir
- Give Me Jesus
- Just a Closer Walk with Thee
- My Wish for You
- Jeptha/Waft Her Angels
- Mose in Egitto/Prayer
- Be Still My Soul (Finlandia Hymn)
- God's Choir in the Sky
- Floral Dance - Treorchy Male Choir
- Smilin' Through
Tracks:
- Calon Lan
- True Love
- Mor Fawr Wyt Ti (How Great Thou Art)
- Aberystwyth
- Comrades in Arms
- Cats/Memory
- They Led My Lord Away
- State Fair/It's a Grand Night for Singing
- When I Fall in Love
- Let's Face the Music and Dance
- Windmills of Your Mind
- How Soon
- Non Nobis Domine
- Rhythm of Life
- Kalinka
- Sound an Alarm
- Neapolitan Trilogy: It's Now or Never (Di Capua/Schroeder/Gold)/Mo ...
- Turandot/Nessun Dorma
- Christus Redemptor
- Ann Evening's Pastorale
Album Details
Choirs Include the Morriston Orpheus Choir, the Pontadrddulais Male Voice Choir, the Caerphilly Male Voice Choir, the Cwrt-y-gollen Choir, the Treorchy Male Choir and the Lucknow Male Voice Choir.
Average customer rating:
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Planet Gap: Big Band
Gap Mangione Manufacturer: Pelican Sound ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Swing General
| Swing Jazz
| Jazz
| Styles
| Music
Classic Big Band
| Swing Jazz
| Jazz
| Styles
| Music
Contemporary Big Band
| Swing Jazz
| Jazz
| Styles
| Music
General
| Jazz
| Indie Music
| Stores
| Music
Swing Jazz
| Jazz
| Indie Music
| Stores
| Music
Similar Items:
ASIN: B000006C98 Release Date: 1998-04-14 |
Tracks:
- Take Me Out To The Ball Game
- Groovin' For Nat
- Bernie's Tune
- Coat Check Cathy
- My Favorite Dream
- Rochester, My Sweet Home
- Calypso For Janet
- 'Round Midnight
- Au Privave
- Orange Colored Sky
- Doodlin'
- The Gap Theme
Album Description
Pianist-arranger-composer Gap Mangione has just released Planet Gap, the debut CD of The Big Band, the seventh album under his name, but the first to feature the rousing, free-spirited jazz of his 14-piece band. With this album release, Gap will bring broader national attention to a talented, distinctively Mangione orchestra that's been a fixture in its upstate New York birthplace throughout the 1990's.On Planet Gap, Mangione brings together many of the musical ideas and infectious enthusiasm which have put him on the bandstand and on recordings with the likes of Dizzy Gillespie, Steve Gadd, Larry Carlton and, of course, his brother, Chuck Mangione, in a career spanning four decades.
Customer Reviews:
Gap Who??????????.......2004-07-06
Average customer rating:
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Bach: Forever By The Sea
Manufacturer: Solitudes ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Concertinos
| Concertos
| Forms & Genres
| Classical
| Styles
| Music
General
| Concertos
| Forms & Genres
| Classical
| Styles
| Music
Suites
| Forms & Genres
| Classical
| Styles
| Music
General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General
| Keyboard
| Instruments
| Classical
| Styles
| Music
Piano
| Keyboard
| Instruments
| Classical
| Styles
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| Strings
| Instruments
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
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Cantatas
| Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Cantatas
| Vocal Non-Opera
| Opera & Vocal
| Styles
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General
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| Vocal Non-Opera
| Opera & Vocal
| Styles
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Environmental
| New Age
| Styles
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General
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Similar Items:
ASIN: B00004RGTB Release Date: 1998-07-01 |
Tracks:
- Air from Orchestral Suite #3 in D (6:55)
- Sleepers Awake from Cantata #140 ((5:07)
- Forlane from Orchestral Suite #1 in C (5:05)
- Largo, Ma Non Tanto from Concerto in D Minor for Two Violins (6:53)
- Sheep may Safely Graze from Cantata #208 (4:57)
- Largo from Concerto #5 in F Minor for Harpsichord (4:50)
- Adagio from Concerto in C Minor for Oboe and Violin (5:36)
- Sarabande from Partita in D Minor (5:10)
- Bist Du Bei Mir from Clavierbuchlein fur Anna Magdalena Bach #2 (6:19)
- Jesu, Joy of Mans Desiring from Cantata #147 (6:06)
Album Description
The comforting sound of the sea and the enduring melodies of Johann Sebastian Bach create an ideal environment for peaceful repose.Customer Reviews:
Pretty, soft, and elegant.......2006-02-07
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