Live at the Grand [Live]

Live at the Grand [Live]

Track Listings

1. Things I Love

2. She Holds My Heart Out in The Wind

3. Let It All Go

4. Shattered Horizons

5. I-90

6. Inside Emotion

7. Me and Steve

8. Take My Hand

9. Crescent Moon

10. Whippoorwill

11. Missouri River

12. Pancho and Lefty

13. Within

Editorial Reviews
About the Artist
Storyhill was an acoustic modern folk duo composed of singer-songwriters Chris Cunningham and Johnny Hermanson. They began playing together in junior high, and released their first CD while they were in college in 1991. Over their 6-year professional career, they independently released a total of nine albums, which have sold, to date, roughly 35,000 pieces total. They were known as Chris & Johnny for several years, until they changed their name to Storyhill in 1996. They played roughly 100 shows a year for several years, mostly at colleges and coffeehouses around the Midwest and Pacific Northwest. In June 1997, they played their final concert as a duo, in their hometown of Bozeman, Montana. Intricate and intertwining vocal harmonies and acoustic guitar parts defined the Storyhill sound.

Band members: Chris Cunningham - vocals, guitar, harmonica
Johnny Hermanson - vocals, guitar, harmonica

Product Description
Live at the Grand was the first live recording released by Storyhill / Chris & Johnny. It was recorded in 1992 at their sold-out shows at Northfield, Minnesota's Grand Theater, and includes several songs not available on any other Storyhill / Chris & Johnny CD.

Tracks:

Bulls On Parade
Bullet In The Head
Born Of A Broken Man
Killing In The Name
Calm Like A Bomb
Testify
Bombtrack
War Within A Breath
I'm Housin'
Sleep Now In The Fire
People Of The Sun
Guerrilla Radio
Kick Out The Jams
Know Your Enemy
No Shelter
Freedom

Customer Reviews:

Sometimes good sometimes great..........2006-03-02

but never bad. Buy it just to play loud and feel like you're not really a complete sell-out (even though you are).

Great CD.......2005-11-09

I loved Rage Against the Machine before this album, but this album made them my favorite band ever. It blew me away right from the start with "bulls on parade". The intro to that song works perfectly with the bass that would later start it off. This album might have been the worst thing that has happened to Rage. Because after listening to all those songs live, it made their studio versions sound quieter and not as energetic and fun. Especially songs like "born of a broken man" and "know your enemy". Most of the songs were nailed perfectly like "killing in the name", "calm like a bomb", and "testify". I think that is just a tribute to the band and shows how talented they are. Zack is very explosive and i love how he changes his singing styles. I could just feel all of his emotion in "FREEDOM!"
The one song that I did not think was too good was "kick out the jams" i thought his singing was way faster than the music and sounded sloppy.
I also recommend the DVD, so you can see their performance at the 2000 Democratic National Convention.

(4.5 stars) Not a Greatest Hits album--better!.......2005-11-05

A couple of years ago, I was beginning to wonder if Rage Against the Machine were ever going to release a Greatest Hits album. After all, they were a very popular and influential and innovative group, and I'm sure Zach de la Rocha misses the income (no matter how much he is against money/greed/wealth).

Well, only a short while before these political rap-rockers disbanded (because Zach left), Rage were busy touring in support of their latest album, 2000's covers disc, "Renegades." While touring, they made a stop over in their hometown (Los Angeles) and played a show which was actually recorded and was to be released as a live album which wouldn't see the light of day for three years.

Unless the record label decides to cash in and releases a Greatest Hits album for Rage's anniversary, "Live At The Grand Olympic Auditorium" is as close to being a greatest hits album that you're going to get. But, at the same time, this live C.D. is much better than a Greatest Hits release. Why? Well, RATM's live shows were quite powerful, energizing, and inspirational. Thus, some of the songs on here are so intense, they actually make the studio versions sound calm and restrained (for proof, see "Bulls on Parade" and "Testify")!

The rhythm section (composed of Tom Morello, Tim Cummerford, and Brad Wilk), coupled with Zach's angry vocals and inspired lyrics, makes every one of these songs detonate like a grenade. Tom, not surprisingly, pulls off a flawless performance. As "Testify," and the aforementioned "Bulls On Parade" show, he makes noises on the guitar that I couldn't even make with my mouth! His guitar swoops, beeps, punches, crunches, chugs, creaks, wails, and about everything in between. Also, Tim's bass (which hums, grumbles, and makes a wah-wah sound) is a lot more audible, here, than originally. Finally, drummer Brad Wilk fills in the remaining gaps and anchors the songs, making them as solid and impenetrable as a brick wall.

Even though the whole set is great, my personal favorite songs are "Bulls on Parade," "Bullet In The Head" (where Zach switches off vocal parts with the crowd), "Sleep Now In The Fire" (which also features some great bass riffs), the exciting, adrenaline-pumped and very catchy renditions of "Guerilla Radio" and "Kick Out The Jams," and the perfect album/concert closer, "Freedom" (which has a few impromptu, added lyrics).

Ultimately, it's just a hair away from being perfect. Zach can't complete the whole rendition of "Killing In The Name" without pausing to take a breath, and he forgets part of the ending to "Know Your Enemy." And, I, overall, prefer Rage's "Live and Rare" album to this. But, even still, "Live At The Grand Olympic Auditorium" is more than a welcome inclusion in your collection and a great snack if you're tired of listening to the same four Rage C.D.'s again and again.

potente pero con un sonido deficiente.......2005-09-29

El disco tiene fuerza pero le falla la calidad de grabación. es una pena

I'm dying 4 a R.A.T.M reunion.......2005-08-29

This band is obviously necessary these days considering who we
have for president for God's sake. Right now ever since rage broke up we've been left with cheap imitations of them like System Of A Down. This band needs to return so many more people can begin to analyze their situation and get the chance 2 see them live like I did. In conclusion rage is necessary so we don't have to be stuck with crap metal like Evanescence and once again be able to listen to relevant music

Average customer rating:

Wish I'd Been There
Concise,rich,warm

Live at the Grand Opera House Belfast
Van Morrison
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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A Sense of Wonder
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It's Too Late to Stop Now
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How Long Has This Been Going On

ASIN: B000001F5H
Release Date: 1994-06-14

Tracks:

Introduction: Into The Mystic (Instrumental)/Inarticulate Speech Of The Heart
Dweller On The Threshold
It's All In The Game/You Know What They're Writing About
She Gives Me Religion
Haunts Of Ancient Peace
Full Force Gale
Beautiful Vision
Vanlose Stairway
Rave On John Donne/Rave On Part Two
Northern Muse (Solid Ground)
Cleaning Windows

Customer Reviews:

Wish I'd Been There.......1998-12-25

It is very difficult (if not totally pointless) to choose a 'favorite' Van Morrison cd. The sheer volume of recorded work precludes such a choice. Also, works of art (and much of Morrison's recorded work is art) often defy such catagorization. That being said, I find myself returning again and again to this disc. The instrumental arrangements for the most part are spare yet the vocals very lush creating a sort of low-key ecstasy (if such a thing can be imagined) quite unlike almost any other of Morrison's recordings. The pairing of Van's voice with the synthesizers and trumpet of Mark Isham is inspired. These versions of 'She Gives Me Religion' and 'Vanlose Stairway' are absolutely inspired providing a thrilling emotional resonance rare even for Van. I never tire of this disc and recomend it highly.

Concise,rich,warm.......1998-08-21

This CD is a beauty. It's not quite the timeless classic that It's Too Late is... nor is it the sprawling (and hence, expensive) collection of live tunes that Night in San Francisco is. The Opera House show has certain concise, yet rich feel. It has been a favorite of mine for years and I highly recomend it!

Average customer rating:

A soulful performance
Good, not great, vocal performance by Van, unfortunately, the band rushes the tempos of some of Van's best songs
Rave On, Van!
"See the man with the stage fright..."
rave on john donne

Live at the Grand Opera House - Belfast
Van Morrison
Manufacturer: Polydor / Umgd
ProductGroup: Music
Binding: Audio CD

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A Night in San Francisco
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ASIN: B000009DDK
Release Date: 1998-07-14

Tracks:

Intro. Intro The Mystic (Insturmental)/Inarticulate Speech Of The Heart
Dweller On The Threshold
It's All In The Game/You Know What They're Writing About
She Gives Me Religion
Haunts Of Ancient Peace
Full Force Gale
Beautiful Vision
Vanlose Stairway
Rave On John Donne/Rave On Part Two
Northern Muse (Solid Ground)
Cleaning Windows

Customer Reviews:

A soulful performance.......2005-12-28

He changes up some favorites and blows the doors off some others. Van plays sax like he sings--all growls and mumbles and suddenly soaring highs. And the words "wee wee wee" have never held so much soul. Pee Wee Ellis and Mark Isham make Van's most eclectic and versatile horn section ever and the rest of band is tight. Good recording quality. Great remastering. Highly recommended.

Good, not great, vocal performance by Van, unfortunately, the band rushes the tempos of some of Van's best songs.......2005-09-25

The titles says it all, almost. The material on this CD is my personal favorite: "Beautiful Vision" (his masterpiece) and the "Into the Music" time period are well represented. However, the tempos almost all sound rushed (I feel like getting a pitch adjuster and slowing down the songs a half step), except some of the slower pieces still sound very good ("She Gives Me Religion", "Haunts of Ancient Peace", are standouts). All in all a good Van CD, which is better than most musicians best efforts. If the tempos were more relaxed, it would rank among his greatest work. As it is, it is the only other place I can get more of the wonderful "Beatiful Vision" material, which is by far my favorite Van music. 4 stars, I am usually a tough grader, and Van Morrison is way beyond what the average musician produces, yet the rushed sound of the performance and the lack of any real musical "stretching out" prevent this from ranking as an all-time classic recording.

Rave On, Van!.......2005-06-15

I am amazed that the reviews for this album are so low! Perhaps they are not ready for this album yet, that is what happened to me.

I listened to this a couple of times 10,15 years ago and forgot about it. Recently, I found it in the back of a trunk and decided to listen to it again. It blew my mind. For me, Van is at his best live and Pee Wee Ellis is top notch on this album.

This album blows away all of the studio recordings of these songs which in comparison sound stiffled and artificial now that I have heard the real deal. If you like the track list, I don't know how you wouldn't like this album; this spiritual journey. Rave On, Van!

"See the man with the stage fright...".......2003-12-20

No, Van doesn't cover the old song by The Band, but on this live date his legendary nervousness onstage is constantly making itself felt. It sounds like he can barely keep from bolting offstage during the spoken part of "Rave On, John Donne", especially when he muffs his lines. "Oh what swine" instead of "Oh what sweet wine", but the friendly crowd didn't burst into laughter. In fact, in another part, they strike up a round of encouraging applause, as he's struggling to get a saxophone solo under control.

So that's the "warts", the "and all" is a good representation of where Van was in the mid-Eighties: free-form celtic mysticism in a supper-club soul-jazz setting. I don't mean that to be flip; Van had more "yarrgh" than ever, and he gets his vision across convincingly. Highlights include "Full Force Gale", with a slightly changed melody from the _Into The Music_ studio version, and with more kick, too. "Dweller On The Threshold" is really special, if too short. The mood pieces, including "Vanlose Stairway" and "Haunts of Ancient Peace" are sometimes undercut by Van's skittishness, but they too succeed.

So this is a milepost, a souvenir of where he was back then. There's nothing really raw on here, like "Cypress Avenue" on _It's Too Late To Stop Now_, let alone "Caravan" on _The Last Waltz_--his peak on legal live recordings, btw. But "Cleaning Windows" is a good, bouncing r&b number, a smart uptempo song to end this heavily into the mystic set. He almost sounds comfortable by the end.

rave on john donne.......2003-02-03

rave on you holy fool good live cd van

An Irish Evening: Live At The Grand Opera House, Belfast

Average customer rating:

Why'd you bring Roger?
A fine "Evening," but maybe Roger could have stayed home
Excellent Chieftains, but with some not-so-good extras.
If I Could Give This Six Stars I Would
If I Could Give This Six Stars I Would

An Irish Evening: Live At The Grand Opera House, Belfast
The Chieftains
Manufacturer: RCA Victor
ProductGroup: Music
Binding: Audio CD

British Folk | Traditional British & Celtic Folk | Folk | Styles | Music

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The Bells of Dublin
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Water From the Well

ASIN: B000003F7B
Release Date: 1992-01-28

Tracks:

Opening Medley: Dochas/King Of Laois/Paddy's Jig
North Americay
Lilly Bolero/The White Cockade
Little Love Affairs
Red Is The Rose
The Mason's Apron
The Stone
Theme From 'Tristan And Isolde'/Suisin Ban
Raglan Road
Behind Blue Eyes
O Murchu's Hornpipe/Sliabh Geal.../Wandering Minst
Damhsa
Rachamid A Bhean Bheag/Ford Econoline

Amazon.com

During the early '90s, the Chieftains embarked upon a series of multigenre crossover recordings. Major pop stars were brought in as guest artists and a few had the goods, but others came across as wannabes or well-meaning if clueless PR victims. This Grammy-winning live album from 1992 features the Who's Roger Daltrey and American singer Nanci Griffith. Sadly, Griffith's husky, thin-textured voice is inadequate to the demands of Irish vocal ornamentation and phrasing. Daltrey, meanwhile, sounds raucous, unidiomatic, and amateurish; plus his presence with a traditional Irish music ensemble in the middle of British-occupied Belfast seems a bit much. In any case, courting comparison with the Chieftains' own singer, Kevin Conneff, is a risky business at best. The instrumentals are typically accomplished and future Riverdance diva Jean Butler provides charmingly percussive footwork, but the trap drummer on the last tune is glaringly out of place. --Christina Roden

Customer Reviews:

Why'd you bring Roger?.......2005-09-24

In later albums, the Chieftains have been trying to go the Santana route by adding 'guest vocalists', and too often, the effects are jarring.

Case in point, Mr. Roger Daltrey; his rendering of "Raglan Road" (an overdone song in any event) is abysmal. If I were in attendance, I would have gone for a hot dog at that point. They follow up with a rendition of "Behind Blue Eyes" that might have worked as an instrumental, but it also falls flat.

That being said, the rest of the album isn't too bad; the band is in fine form, and the song selection is a good mishmash of the well-known and the obscure. The recording also sounds great, as "An Irish Evening" was one of the first digital CD recordings of the early 90s.

A fine "Evening," but maybe Roger could have stayed home.......2005-01-21

Representative of the fine mix of traditional Irish music the Chieftains perform, this concert gives the fan of the Chieftains a nice sampling of what they're good at with the occasional error in judgement that accompanies a live performance.
Highlights include a fine opening medley that gives the band a chance to show how well they play together , Matt Malloy's outstanding flute solo on "The Mason's Apron," that still stuns me every time I listen to it, and a closing medley that allows each member to shine.
But the guest stars don't really work for me, Nanci Griffith doesn't do a bad job but adds nothing special to the concert and Roger Daltrey sounds out of his element on "Raglan Road," and while "Behind Blue Eyes" is interesting as worked through the Chieftains sound it just doesn't fit here. I am sure "The Stone" (A special Dance when two lovers meet) is fine when you can see it, it loses a bit on CD. But these are not major problems and the sound is solid for a concert performance. For this fan, it's a pretty good time.

Excellent Chieftains, but with some not-so-good extras........2004-10-15

This CD is a recording of the Chieftains playing live in Belfast. As a result, there is some distracting background noise and in my opinion the clapping and cheering detracts from the overall effect of the CD.

This aside, the CD contains an excellent compilation of vocal ballads and lovely instrumentals. Kevin Conneff does a lovely a cappella rendering of "North Americay." Other standouts include the rollicking "Lilly Bolero/The White Cockade," and the mournful "The Stone."

Nanci Griffiths and Roger Daltrey appear as guests of the Chieftains in several of the tunes on the CD. I enjoyed Nanci Griffiths "Little Love Affairs," and "Red is the Rose." However, I cannot say the same for Roger Daltrey. I skip over his "Raglan Road" and "Behind Blue Eyes," every time I play the CD. I feel that his songs don't fit into the style of the CD, and frankly, I dislike his voice.

Overall, I listen to this CD for its lovely Chieftains pieces, and try to block out its failings.

If I Could Give This Six Stars I Would.......2002-10-05

I don't know what the reviewer's problem is, but nobody in the Opera House this night was thinking about the British occupation, they were all too busy enjoying one of the best Chieftains live shows ever! Only Paddy and the Boys can meld rock, pop, country-folk, the dance and traditional Celtic music into one fantastic show like this. Daltrey's pub drinking style is PERFECT for the band, and the version of "Raglan Road" contained here is one of the best ever recorded. Nanci Griffith sounds like she could've been born in County Mayo. I would urge anyone to get a copy of this immediately, there's none better! A topnotch addition to any longtime fan's Cheiftains' CD collection or a good starter for those of you just beginning to get a taste for this worldclass Irish band's music. Long before Riverdance there was the CHIEFTAINS!

If I Could Give This Six Stars I Would.......2002-10-05

Average customer rating:

A Must For Hank Fans
makes you feel like youre there.
hank versus the opry - guess who wins?
The best Hank Williams Opry recordings available.
2 Unearthly Performances

Live At The Grand Ole Opry
Hank Williams
Manufacturer: Mercury Nashville
ProductGroup: Music
Binding: Audio CD

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Tracks:

Lovesick Blues
Wedding Bells
You're Gonna Change (Or I'm Gonna Leave)
Why Don't You Love Me
Comedy With Hank Williams
They'll Never Take Her Love From Me
Moanin' The Blues
Nobody's Lonesome For Me
Dear John
Cold, Cold Heart
Hey Good Lookin'
Honky Tonk Blues
Let The Spirit Descend
Baby We're Really In Love
Comedy With Hank Williams
The Old Country Church
I Can't Help It
Jambalaya (On The Bayou)
Half As Much
Window Shopping
Long Gone Lonesome Blues

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Aunt Jemima's Plaster - Red Foley
Lead Me To That Rock - Wally Fowler
I Just Don't Like This Kind Of Livin'
Comedy - Minnie Pearl
Lord, I'm Coming Home - Red Foley
Oh, You Beautiful Doll - Claude Sharpe
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Lovesick Blues
You Ain't Got Faith - Wolly Fowler
Church Music - Red Foley

Amazon.com

Some years ago, MGM Records issued an LP of 11 Hank Williams Opry performances originally recorded for broadcast on Armed Forces Radio. Years of digging have unearthed much more Hank at the Ryman in crystal-clear monaural sound. Disc 1's 19 songs, punctuated by onstage joshing with singer Red Foley and Opry comics Minnie Pearl and Rod Brasfield, begin with his June 1949 debut as an Opry regular, ending in July 1952, a month before his firing over drinking-related no-shows. These powerful live renditions include the broadcast debuts of "Jambalaya" and "Window Shopping" along with two stark, chilling gospel numbers. Even with his physical stamina failing--as it clearly was on the final two songs--these raw performances are powerful testaments to Hank's charismatic genius and remain as arresting today as at the moment of broadcast. Disc 2, a complete 1950 Opry segment featuring Williams, Foley, and other Opry acts, is a historically valid, though musically inferior document, and including it on a Hank Williams package tends to dissipate the album's overall focus. --Rich Kienzle

Customer Reviews:

A Must For Hank Fans.......2007-06-27

I am so glad to have this in my collection. It is worth owning just for the original performance of "Lovesick Blues" at the Opry, the moment that catapulted the King of Country into the stratosphere and elicited six encores at the time. Some of the comedy is corny for today but it is still a great time capsule of what the Grand Ole Opry was like for listeners all across the country before the birth of rock 'n roll. This is a must have for any fan of Hank Williams.

makes you feel like youre there........2004-12-05

this is so sweet. its an awsome live album by mr williams sr. kinda makes you feel like your there watching the concert in person, so i give this one a 5 stars for sure. long live the king hank williams sr.

hank versus the opry - guess who wins?.......2003-08-30

For a guy who died before he turned 30, Williams' catalogue is astounding in volume. But this latest addition is a bit of a sick joke. Throughout much of his career, the deleterious country singer and the stodgy ole Opry had what could best be described as - ahem - a strained relationship. The Opry, with an audience of millions, insisted on predictability from its performers. For Hank, that meant cranking out the hits with zero elaboration on his talent. But Williams was also chronically self-destructive and indifferent to schedules. For the Opry, such impudence was tantamount to heresy. But Williams was so popular, they were forced to bend their own rules until they kicked him out forever after repeated no-shows in 1952. But despite such a fractious partnership, this stuttered collection of Williams live on the Opry stage between 1949 and 1952 remains a testament to the tortured musician's brilliance, not the prudence of the hoity-toity GOO. In addition to loads of unreleased material, the big difference between this and previous releases is that Williams' appearances are put in the context of the Opry variety show (particularly on the second CD, which is a radio broadcast of one complete show in 1950). Historically speaking, the comedy bits between the songs are an irritating embarrassment; various displays of painful jokemeistering, hillbilly foolishness and a prolonged and excruciating Minnie Pearl routine that bombs like the Enola Gay. Not so with Williams. More than 50 years after these crackly and prehistoric live recordings were made, Williams' graveyard bluegrass/blues and famished n' horny coyote howl are as plaintively substantial as ever; from his first hit (Lovesick Blues, You're Gonna Change) until his final performances (Window Shopping, Long Gone Lonesome Blues). Nobody, not the Opry, God or Williams himself, were able to diminish his reputation as a fascinating and genuine talent unequalled in country music.

The best Hank Williams Opry recordings available........2002-09-16

For those of you who own THE COMPLETE HANK WILLIAMS box set, this CD looks like a mere duplication of CD #10. It really isn't. It's substantially better. Well worth owning at the right price.

Five of the tracks ("I Can't Help It," "Wedding Bells," "Jambalaya," "Window Shopping," and "Half as Much") are brand new and excellent. The first and last are especially outstanding. Additionally, there are six new song versions that are generally longer and better than the versions on the set. "Long Gone Lonesome Blues," with more vocal inflection than any other, is the best live version. "Why Don't You Love Me," "Moanin' the Blues," and "Nobody's Lonesome for Me" are longer versions than on the set. "Cold, Cold Heart" has more feeling than the set version, although I prefer the set version for the violin quality of the fiddle.

Ignore the second disc; it's [not that great]. I suspect Mercury stuck this on so that the set would roughly correspond in quality and length to their HEALTH AND HAPPINESS set. The latter, while essential to own, totals only 96 minutes and has lots of filler with eight versions of "Happy Rovin' Cowboy," and "Sally Goodin'," plus Audrey's screeches, etc. Disc one of LIVE AT THE GRAND OLE OPRY makes the whole thing worthwhile.

In conclusion, Disc One of LIVE AT THE GRAND OLE OPRY is worth owning. Look for a good used copy, or an inexpensive new copy, of this. It probably isn't worth paying the retail price for this product, any more than the HEALTH AND HAPPINESS SHOWS is worth the full retail price. ...

2 Unearthly Performances.......2001-12-05

This 2-CD set brings together some truly sublime performances (the Grand Ole Opry armed forces debut of "Lovesick Blues" and "Move It On Over") on disc 1, but little of consequence is contained on disc 2. The "Move It On Over" track was 'recently discovered' in Mercury's vaults, but most of these live recordings were released on the 10-CD box set, lending truth to my suspicion that Mercury is hoarding the majority of these unearthly live performances and will release them one at a time, packaging them around fill (as in disc 2 of this set), intending to fleece the pockets of Hank Williams, Sr. fans. I would think that CD sales figures from Nashville's highest paid lap dancer (Shania Twain) should be more than enough to sustain Mercury's profit-hungry accounting department. This box set proves that to be wrong.

Average customer rating:

harmonica virtuoso!
HARMONICA FOR ADULTS!

Live at the Grand Canyon
Robert Bonfiglio
Manufacturer: Â© 1994 High Harmony Records
ProductGroup: Music
Binding: Audio CD

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Release Date: 1994-02-01

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Troubland Bolero
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Chelsea Day
Mahna de Carnival
A Whiter Shade of Pale
Deep Canyon Blues
Fleur D'Ennui
RB's Blues
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Album Description

Recorded Live at the Grand Canyon Music Festival - "Sophisticated acoustic music" that encludes pop, jazz and bles.

Customer Reviews:

harmonica virtuoso!.......2001-06-26

This is a "must have" for any harmonica or blues lover. Bonfiglio is a true virtuoso on the hamonica, and along with the eclectic sound of the violin and other instruments in the selections this is a treat for the ears and soul. Guaranteed to make you to kick back and relax.

HARMONICA FOR ADULTS!.......2000-11-15

One thing that sets harmonica apart from many other instruments is the intimate, personal and expressive nature of its sound. No one has proven this more magnificently than Robert Bonfiglio, America's pre-eminent classical harmonicist. In his hands, the chromatic harmonica assumes its rightful position in the family of great solo instruments.

This is an album, as the title indicates, recorded before a live audience, and all the spontaneity and electricity of live performance is present here. People who have never thought of harmonica in a serious context will be amazed by the range of expression, the enormous palette of tonal color that is on this CD! In this regard, the album is sure to be an eye-opener for many.

Bonfiglio is, of course, a master musician. He has championed the cause of solo harmonica as an instrument worthy of attention for years, performing works originally written for other instruments, but more particularly the growing repertoire written expressly for the harmonica with orchestra.

In this collection, there are lighter pieces as well. You will go a long way to find a more interesting rendition of "Whiter Shade of Pale," for example. Hear his wonderful "Nuages" or the popular Brazilian composition "Manha de Carnival." Bonfiglio's ability to bring the subtleties of emotion to light in his music are completely apparent here. His consummate technical skills are only matched by his ability to accurately create the musical atmosphere of each selection.

There is an expanse of musical territory covered here that is as vast as its physical setting. One thing is certain: You will never view the harmonica in the same way again.

Tracks:

L'Elisir DAmore: Una Furtiva Lagrima
Andrea Chenier: Un Di All'Azzurro Spazio
TOSCA: E Lucevan Le Stelle
La Traviata: Parigi, O Cara
Madama Butterfly: Vogliatemi Bene, Un Bene Piccolino
La Boheme: O Soave Fanciulla
Funiculi Funicula
My Song My Love
Diane
Thine Alone
A Vuchella
Toselli's Serenade
Because You're Mine
The Loveliest Night Of The Year
O Paradiso
The Rosary
If
They Didn't Believe Me
The Lords Prayer
Be My Love

Customer Reviews:

The Young Lanza impresses.......2007-04-11

I am a singer and have been a Mario Lanza fan since becoming interested in opera in my teens. The quality of his singing varied a great deal, especially in his later years. But this Hollywood Bowl concert, at age 26, shows him with a freshness and ease of production that failed him later in life. Highlights for me were the Boheme Duet - I don't know of any of the current tenor stars who would dare to hold the High A for so long and then jump right to the High C and be able to sustain it. The Andrea Chenier demonstrates his spinto side and the beauty of his middle and lower voice. One weeps for what might have been. But I will put this recording against Mr. Alagna any day of the week.

A Rare Find!.......2002-12-19

The "Live From London" is my favorite cd and this is a close second. I usually listen to the Bowl selections only and save the Coca-Cola radio program for another time. The recording quality is not the best, but this is a wonderful sourvenir of the young singer in excellent voice and delivery at the begining of his career. The selections with soprano Frances Yeend are a wonderful addition since there are few recorded "live concert" Lanza duets available outside of this venue (there are recordings of his later Bowl appearances you may want to check out). Mario's introductions show his warmth and humor. It was at this concert that MGM took notice and his career moved to the movie studios. We are fortunate to have this recording. One of the highlights of the Coke show program is Mario's introduction to the "Our Father". Disregard the liner notes. For value delivered, this cd rates five stars!

One of the great performances of all time.......2002-05-12

The first six tracks of this CD capture Mario Lanza's legendary 1947 Hollywood Bowl debut. These recordings, by themselves, would rate 7 stars in my book. (The rest of the CD would probably merit about 2 stars, but those live tracks are worth the ridiculously low price of this collection many times over.) Renowned baritone George London, Lanza's frequent singing partner, later said he never heard Mario sing better than he did that night, and it would be hard to disagree with him. Lanza, on the eve of signing his contract with MGM, was at the peak of his vocal discipline, fresh off 15 months of training with Enrico Rosati. And while his interpretive abilities may have not reached their full potential, then or ever, the voice itself was magnificent: brilliant, rich and indescribably glorious. The concert opens with "Una furtiva lagrima," by Donizetti, which, if somewhat raw, is certainly more refined and lyrical than his later studio recording. His phrasing of "Cielo, si puo morir" can bring tears to my eyes. Next up is a thrilling rendition of "Un di all'azzuro spazio" from ANDREA CHENIER. Lanza's performance of this aria is as good as any I've ever heard, including Caruso's. He positively caresses the phrase "Su dalla terra a la mia fronte veniva una ca'rezza viva," then passionately spits out the aria's middle section: "un uom vi calunniave bestemmiando il suolo che l'erario a pena sazia e contro a Dio scagliava, e contro a li uomini le lagrime dei figli!" Lanza's vocal tone, in this performance, was more focused than it was in his later recording of this aria, and his later recordings in general, and the effect is very impressive to those who have only heard his studio recordings. Then, for an encore, he sings "E lucevan le stelle," from TOSCA by Puccini, another aria which, in my opinion, Lanza sang as well if not better than anyone. True, he does not sing the pianissimo like Gigli or Di Stefano, but then neither did Caruso or Domingo. In fact, to my way of thinking Lanza's interpretation is more in character with a man who is about to die: it is not a simple love song but a cry of desperation. Next come three gorgeous duets with Frances Yeend, a singer with limited interpretive abilities but a rich, full voice. On the duet from LA TRAVIATA, Lanza showcases a wonderful legato line, and the timing of the two singers is nearly perfect. By this time in the concert, Lanza's voice had reached its peak of richness and beauty. The love duet from MADAME BUTTERFLY that follows is a positive tour de force: I have never heard a more exciting and musical performance: neither singer allows interpretation to get in the way of the melody, which is always a good idea with Puccini. Lanza is at his most passionate here, and his high C at the end is devastating. Yeend would later say that Lanza's singing was "Always thrilling. . .he never spared the horses," and this duet is a good example. Finally, a tasteful and lovely rendition of the duet from LA BOHEME closes out the show, with the richness of each singer's voice on full display. Lanza sings the line "Dammi il braccio mia piccina" as romantically as anyone, and the interplay between the two singers is nearly perfect. This is a performance for the ages: anyone who loves Italian opera and especially great tenor singing should love this album. The rest of the album is pretty much a waste, except for an interesting version of "A Vuchella" in which Lanza does his best Gigli impression. Notably, this album contains possibly the worst version of any song I have ever heard: an English language rendition of "Funiculi funicula" that is positively dreadful, although you can't really blame that on Lanza's singing.

Buy this for the first six tracks only!.......2001-08-22

This CD contains both the very best and the very worst of the vastly underrated Mario Lanza. First things first, ignore the absurdly inaccurate liner notes. Lanza did NOT have a small voice - indeed fellow musicians who sang with him often remarked that it was a huge and powerful instrument. Lanza's voice did not "crack down" in his last years, as the liner notes writer asserts; rather it was his health that "cracked down" in the final year of his life.

These recordings, however, demonstrate the tenor in the full bloom of health. The outstanding selections are tracks 1-6, which come from his extraordinary Hollywood Bowl debut in 1947. You'll never hear a better Lanza rendition of the Madama Butterfly Love Duet (with soprano Frances Yeend) than the one included here. This is sensitive AND passionate singing of the highest order, and listening to this rendition today it is not surprising that MGM signed the tenor up for a movie career the very next day. All six selections are outstanding, and many will be surprised by the beautiful legato Lanza employs in the difficult Parigi, O Cara from La Traviata.

The six initial tracks are more than worth the price of the CD, and make up for the shortcomings of the remaining selections, all of which come from Lanza's Coca-Cola radio show of 1951-52. The latter tracks show the tenor at his commercial worst. Diane is an abomination, and there are several other selections that should never have seen the light of day. Fortunately, however, there are a few nuggets among the dross, and "If" is a most attractive and exciting performance.

The sound is not brilliant on the Coke Show selections (these are not the pristine BMG recordings, and all come with overlaid applause tracks). Ironically, the live Hollywood Bowl selections have much better sound.

Tracks:

Slam
Chelsea Rendezvous
Border Crossing
Say Hello To Calypso
Blackwell's Message
All Across The City
Feel Free

Amazon.com's Best of 2000

Since the 1960s, guitarist Jim Hall has played pivotal roles on myriad recordings as a sideman. It wasn't until his 1999 duet session with Pat Metheny, though, that Hall gained recognition outside the world of jazz cognoscenti. Grand Slam: Live at the Regattabar is a jazz classic, just four stellar musicians setting up and letting loose. Hall's guitar and Joe Lovano's saxes and clarinet hang in the air like picturesque cloud formations, moving with patience and passion and tugging the locked-in listener along wonderfully. --Andrew Bartlett

Amazon.com

They may be Cleveland's most distinguished jazz exports, but guitarist Jim Hall and saxophonist Joe Lovano share more than that. Hall is an almost laconic, lyric player who can generate intense drive based on subtle placement. Lovano often mixes a light, cool-school sonority with the most forceful lines, creating a style of his own that's as much Stan Getz as John Coltrane or Sonny Rollins. Throughout their careers, they've both been willing to take creative risks, too, "inside" players who can play "outside." There are dates with Ornette Coleman and Eric Dolphy in Hall's discography, and both are definitely on Lovano's list of influences. Hall and Lovano also bring some exalted listening skills to this live recording from Cambridge's Regattabar, as do bassist George Mraz and drummer Lewis Nash.

There are four tunes by Hall and three by Lovano. All their melodic gifts are apparent on the ballads "Chelsea Rendezvous" and "All Across the City." "Blackwell's Message," Lovano's tribute to the late drummer, finds new sonorities in the composer's grainy alto clarinet and Hall's sparse, bell-like solo. "Feel Free" is a blues that gets a very free treatment, with Lovano's alto hinting strongly at Coleman. Hall's "Border Crossing" has a swirling guitar-soprano unison that sets up multiple rhythmic implications and developed group dialogue. "Say Hello to Calypso" may inevitably recall Hall's days with Rollins, but it's the startling steelpan sound of his guitar that's most memorable. Hall and Lovano both have tremendous reputations, the kind that might allow lesser musicians to coast, but there's none of that here; just concentrated, joyous spontaneity by players willing to challenge themselves and one another. --Stuart Broomer

Customer Reviews:

Not equal to the sum of its parts........2007-04-04

I bought this album several years ago expecting it to live up to its title. How could it not? I listened to it a few times, disappointed, and put it away for several years.
I recently was discussing Joe Lovano with a co-worker, and remembered this record, telling him that I didn't think it was that good. Tonight, I pulled it out and gave it another listen, hoping that maybe I had misunderstood it the first time. I am still unimpressed. Especially when holding it up to Lovano's work with John Scofield, or Hall's work with Desmond. The playing is subdued and uninspired. There is a lot of empty space on this record--to much for my taste. I think that a more modern player like Bill Frissell or Mick Goodrick would have been better in this context. Having said that, Hall's use of electronic effects doesn't really do anything for his playing. It isn't a bad record, but it just doesn't quite come together.

Rewards close listening.......2003-06-15

A friend of mine once said, "Jazz is a lot more fun for the players than for the listeners." While I don't completely agree with this statement, there is a nugget of truth in it. Very sophisticated jazz--i.e., jazz that is played by giants--often comes couched in harmonic and rhythmic material that, unless one understands music theory, has big ears, or both, will be difficult to "get into." That is certainly true of this record: Each of these players is among the very best jazzmen out there, and they engage in some very sophisticated jazz.

And it doesn't help that they start out with a tricky, prickly blues, "Slam," where the melody often gets obscured in the (albeit brilliant, at least to these ears) soloing of especially Joe Lovano. But if you put aside expectations of "pretty music," you will be rewarded, I believe, with some of the very finest of modern jazz conversation. Things get back to somewhat more familiar ground with the second tune, "Chelsea Rendezvous," a boppish Lovano tune that contains an attractive head and plenty of room for improvisation. Hall's solo is remarkable for its taste, structure, and tone. But when Lovano comes in for his turn, things really start to cook as he plays one of the more innovative solos I've heard by him. Nash, who in my view is one of the very best of the young drummers around (along with Brian Blade, Jeff Watts, Kenny Wollesen, Steve Arguelles, Ari Hoenig, Jeff Ballard, and Jim Black), lends marvelous support with brilliant coloration and deft fills.

"Border Crossing" begins with Lovano and Hall engaging in simply startling unison line playing. Lovano continues with a soprano solo marked by tricky bop lines and marvelous intonation on this difficult horn. Hall's solo is something else. Featuring lots of double stops (you can really see where Frisell got a lot of his moves) and combining--amazingly--both angular and legato playing at the same time, Hall displays complete mastery of his electric guitar. It also contains quite a nice bass solo by Mraz. Then again, it isn't the world's most accessible tune.

That's left for the next cut, "Say Hello to Calypso," featuring the jaunty beat and melody of a typical Caribbean number. Hall, of course, has quite a history of playing this type of tune, which he was wont to do with aplomb during his association with Sonny Rollins. And there's a definite "St. Thomas" vibe going down here. If they'd really wanted to hook listeners, they'd've begun the record with this number. Besides a killer tenor solo by Lovano, sprinkled through with sly pop cultural quotes (e.g., a G.E. commercial ditty), I especially like the way Hall makes his electric guitar sound like steel drums. One might almost think Andy Narell is sitting in. Nash contributes an amazing short drum solo, and brilliant rhythm support throughout. I also especially like the Hall/Lovano unison outro.

"Blackwell's Message," a tribute to the late, great drummer Ed Blackwell, another brilliant Lovano composition, begins with about a minute's worth of very deep-delved New Orleans style drumming from Nash. Lovano comes in on clarinet (keeping up the Naw'leans vibe), followed by Hall, sounding appropriately spooky, and they engage in some more brilliant unison playing, followed by a very nifty, if somewhat esoteric, Hall solo. Lovano comes back for another turn with a very muscular solo (esp. since it's on alto clarinet), and Hall continues his esotericism (perfectly appropriate) until he switches over to more typical (though still quite idiosyncratic) comping. For sheer technical mastery, breadth of sonic palette, variety of musical approach, this is THE standout number. Moreover, it is probably some kind of shibboleth to separate those who love this music from those who merely tolerate it or even actively dislike it.

Things get quite mellowed out on the next cut, "All Across the City," the title tune of one of Hall's many albums as leader. A slow ballad, it gives Hall a chance to explore his more lyrical side, and his solo has an almost Bill Evans-ish delicacy. Lovano's right on board with the mood and delivers an appropriately restrained solo (at least for him) but one still brimming with fertile ideas.

"Feel Free," one of those angular post-bop tunes that probably could've never been written or even conceived without the pioneering composition of Thelonius Monk, closes things in a rousing manner, containing in the middle simply stunning duo sections, first with Lovano and Nash, next with Hall and Mraz.

I do have a confession to make: I didn't particularly like this record the first couple of times I heard it. I thought the recording was too bright, I struggled to discern the vibe, I felt Lovano and Hall weren't gelling--that they were playing past each other. But I gave it another chance, and now I'm convinced it's the real deal. I think most jazz fans, if they approach it with an open mind, will feel the same.

Feel free.......2002-12-09

This is a stunning album. Pure art. All players do their thing and manage not to step on each others toes. Jim Hall shows that he will never stop advancing creatively. I can understand that this is not the most listenable record to a non-musician. If you are a jazz musician, this record will perk your ears and expand you mind.

A good recording of four jazz giants........2001-02-10

Jim Hall is a guitar legend and Joe Lovano is THE tenor sax player of the past 10 years. Together they lead Grand Slam with bassist George Mraz and drummer Lewis Nash. This is modern jazz without the commercial aftertaste - the players explore melody and meter, occasionally wandering off but never getting into noise-for-noise's-sake territory. In fact, during the sublime "All Across the City" I swear I can hear the pluck of Hall's guitar strings picked up by the overhead mics. Not that it's all mellow and quiet; "Calypso" is a jumping number that finds Mraz and Nash grooving for all they're worth and "Feel Free" puts Nash and Lovano in a fast paced duet. Lewis Nash really stands out on this recording - his ability to adapt to any style and to add his own unique touch reminds me of Billy Higgins or Edward Blackwell, who is memorialized in Lovano's "Blackwell's Message". George Mraz plays exactly what is needed for this ensemble; he'll vamp on a single note while someone else is soloing then toss in a clever lick while they're catching their breath. Lovano plays tenor, alto, soprano, and alto clarinet on this recording. Lovano's playing is amazing; his expertise in such a wide range of styles is like that of Joe Henderson. Although I know a lot about Jim Hall's reputation and place in jazz, I haven't heard that much of his music. Two of his students were Bill Frisell and Pat Metheny; listening to this recording I can hear where they must have been influenced by Hall's style. This is an intimate club gig, the feel of it is much like the recordings of Art Pepper at the Village Vangard. Recommended, especially to fans of Metheny, Frisell, Scofield, and Joe Henderson.

This is not a Jim Hall record........2000-12-19

This is not a Jim Hall record. This is a Joe Lovano record. If you plan to buy this record because of Jim Hall, rather buy two other records of him (if you do not own them already): the formidable Concierto and the equally stunning record with the simple name Jim Hall & Pat Metheny. But if you plan to buy Grand Slam - Live at the Regatta Bar because of Joe Lovano, rather buy his most recent record 52nd Street Themes, or his From the Soul if you like the straightforward sound of a small group record, or Rush Hour, if you like the more complex sound of a big band. In Grand Slam Lovano occupies the bulk of the time for his solos, one has to wonder why Jim Hall's name is mentioned first, it can only be because he is the first in the alphabet. But it is also his record company. This record got lots of excellent reviews (including being listed amongst the fifteen "Les chocs de l'année 2000" by the French magazine Jazzman), but there are much better choices, for Jim Hall, for Joe Lovano, and for recently released records from other jazz musicians.

Average customer rating:

huyyyyyyyyyyy, cervezas y atmosfera pesada!!!!!!!!!!!
Start Here!

Live at the BBC, 1974-5
Dr. Feelgood
Manufacturer: Grand Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
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BBC Sessions 1973-1978
Ducks Deluxe/Taxi to the Terminal Zone

ASIN: B00000J7CP
Release Date: 1999-05-11

Tracks:

My Baby, Your Baby
I'm Talking About You
One Weekend
Rock Me Baby
Bonie Moronie
She Does It RIght
Twenty Yards Behind
The More I Give
Boom Boom
All Through The City
Talk To Me Baby
Route 66
I Can Tell
Going Back Home
Don't You Just Know It
Roxette
Another Man
I Don't Mind
Riot In Cell Block #9
Rollin' And Tumblin'
You Shouldn't Call The Doctor (If You Can't Afford The Bills)

Album Description

21 classic tracks recorded with the original line-up in 1974-75. Includes 'Rock Me Baby', 'Boom Boom' and 'Route 66'. All tracks were recorded at the Paris Theatre in London. 1999 release.

Customer Reviews:

huyyyyyyyyyyy, cervezas y atmosfera pesada!!!!!!!!!!!.......2006-09-26

gran disco, gran sonido,excitante y cruda sucesion de guitarras sucias y una voz gastada al frente..larga vida al rock&roll!

Start Here!.......2000-03-18

This cd compiles three live shows that Dr. Feelgood did for the BBC. All feature original guitarist Wilko Johnson, who was the chief song writer and driving force behind the Feelgoods at this point. The high point of this recording is "She Does It Right", a lost classic. Worth whatever the price is.