Gil & Caetano Em Cy

1. Refazenda

2. Trilhos Urbanos

3. Procissão

4. Trem das Cores

5. Parabolicamará

6. Desde Que O Samba É Samba

7. Aquele Abraço

8. Boas Vindas

9. Estrela

10. Menino Do Rio

11. Seu Olhar

12. Pout-Pourri de Frevos: A Filha de Chiquita Bacana/Altrás Do Trio Eletri

13. Cinema Novo

Gil & Caetano Em Cy,Quarteto em Cy,Cid,Bossa Nova,Brazil,Brazilian,World Music

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Average customer rating: Classijazz? Jazzical? Spanish love song... From Madrid w/ Love Music to listen to at day's end Gil Evans provides another dimension for the legendary horn player

Sketches of Spain Miles Davis , and Gil Evans Manufacturer: Sony ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Orchestral Jazz | Jazz | Styles | Music Sony | Computers Brands | Computers Features | Electronics | Desktops | Monitors | Networking | Notebooks Similar Items: Kind of Blue Birth of the Cool 'Round About Midnight A Love Supreme Porgy and Bess ASIN: B000002AH7 Release Date: 1997-09-23

Tracks:

1. Concierto De Aranjuez (Adagio)
2. Will O' The Wisp
3. The Pan Piper
4. Saeta
5. Solea
6. Song Of Our Country
7. Concierto De Aranjuez (Part One)
8. Concierto De Aranjuez (Part Two Ending)

Amazon.com essential recording

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

Customer Reviews:

Classijazz? Jazzical? .......2007-07-02

Hey! This ain't jazz! This is Spanish-tinged classical! With a fanfare that seems fitting to introduce matadors (not a criticism, not a compliment) on "Saeta"! Yeah, that's right. Miles' eclecticism kicks in again, I suppose. It's a bit overrated, and it's controversial even by Miles' standards. I like it though. Other than "Concerto de Aranjeuz". That song, or work, or whatever fails to move me. Now, "Will o' the Wisp", aye, that be a different cup of tea. It really is moving, emotional, haunting, and so forth; so is "The Pan Piper", with an eerie flute melody. "Saeta" starts off like those two, but ends up doing the pompous fanfare thingy, but hey, at least it does it well. And the closing "Solea" is pretty good too! It sounds almost like the Hollywood version of traditional Spanish music, the kind you'd expect to hear when the charming Spanish swordfighter is having a duel in a ballroom, but again, it gets quite intense during its climax around nine minutes in. I like intense. This is easily the best Miles/Evans album. Just to warn you, though, it's quite rigid; as usual, Miles is put on a pedestal above the other guys. I mostly prefer him in a small-group setting. I do, however, recommend Sketches of Spain in spite of that.

Spanish love song..........2007-06-20

Miles Davis working with arranger and composer Gil Evans put together an album that ranked 356 on Rolling Stones Top 500 albums of all time. It is probaly one of his most accessible albums and the tight compositions take you to the Spanish bullfight and quiet burning passion of a long, hot Spanish summer day. Not the the hardblowing, improvisational jazz that everyone associates with Miles but the arrangements and tight composition makes for a very relaxing, enjoyable listen.

From Madrid w/ Love.......2007-05-13

I'm listening to Miles here in Madrid. We've just done the tapas crawl after seeing a bullfight. No kidding. Now, the ipod is playing Sketces....and I've got to tell you that Miles and Gil Evans got it right. In fact, everything they collaborated on was so fantastic. And Miles is Miles. Here, a little more sophisticated than in his "Kind of Blue" phase but, still Miles. The one and only.

Music to listen to at day's end.......2007-02-01

This is a nice disc to listen to after a long day doing just about anything. It is just that soul-reaching and calming. I feel like this CD is a slice of jazz wrapped in a blanket of Mediterranean sunshine. No vocals are needed thanks to the melodic tunes of Miles' horn.

Gil Evans provides another dimension for the legendary horn player.......2006-12-23

While it doesn't have much to do with the music in this review, in 1995 I obtained Tears For Fears' "Raoul and the Kings of Spain" . This was one of the best albums of the 1990s, namely because of the Spanish musical influence that was infused into a mainstream music sound. One of the songs on "Raoul and the Kings of Spain" was an album called "Sketches of Pain". "Sketches of Pain" was an outstanding song because of the use of classical Spanish guitar and percussion. Part of the reason for the title of that Tears For Fears song was a play on the famous Miles Davis album, "Sketches of Spain", which was Davis' album that had music with a Spanish influence. While Miles Davis is basically a household name, I cannot say that I was familiar with a lot of his music. When I realized there was a connection in how Tears For Fears' "Sketches of Pain" related to Davis' Spanish Themed album, I became more curious about checking out this recording. Without doing much research, I assumed this album would be a jazz album with a classical Spanish influence. Instead, I was pleasantly surprised to discover a more classical music sound that would have the Spanish theme infused.

"Sketches of Spain" is a collaboration between Miles Davis and Gil Evans. Davis and Evans had begun a partnership in 1957 that saw Davis contribute his trademark horns (Trumpet and Flugelhorn) while Evans focused on the arrangements and conducting of the music. Prior to "Sketches of Spain" there were two efforts. The first was 1957's "Miles Ahead" that saw Davis and Evans engage in a big band/jazz feel. The second was 1958's "Porgy and Bess" which was an arrangement of songs from George Gershwin's opera, "Porgy and Bess". "Porgy and Bess" also saw the combination of Davis ane Evans move toward something that had more of a classical feel to it. I'm sure this provided a lot of the impetus for the duo to do something more in the classical space.

"Sketches of Pain" has its roots around Spanish Classical music. The original 1960 release consisted of five tracks - two are covers of existing Spanish Classical works and the other three were original compositions by Evans. The Spanish works that are covered are Joaquin Rodrigo's 16+ minute masterpiece "Concierto de Aranjuez" and Manuel de Falla's "Will o' the Wisp". Those familiar with Spanish classical music will know the names of Rodrigo and de Falla. This collection was re-released in 2000 and consists of three additional tracks including another original composition by Evans as well as a full alternative take and alternative ending of "Concierto de Aranjuez".

The cover songs, "Concierto de Aranjuez" and "Will o' the Wisp" are going to have less of a reliance on Davis' horns. While Davis' horns can be clearly held throughout the near 20 minutes of music that make up these songs, there is going to be a heavy reliance by the other musicians that contribute to these tracks. When you get into the four original tracks that were composed by Gil Evans, you will hear a big difference. The music is going to focus heavier on the trumpet and flugelhorn of Miles Davis. As you listen to the original tracks, it is amazing how Evans was able to integrate the sound to give the entire "Sketches of Spain" album a very homogenous feel - i.e. the sound of Spanish classical music. In particular the track, "Solea" proves to be as strong as the work by the legendary Rodrigo and de Falla. Listen for the Spanish military-flair in the song that is the result of some terrific percussion work.

Another thing that really stood out was that even though this collection has very much as Spanish Classical music feel. However there are many segments that could have easily been used as soundtrack info for a feel such as a James Bond movie. While it wouldn't be the hard-rocking sound of Paul McCartney's "Live and Let Die", I could see parts of these tracks in James Bond films. A prime example of this comes from the classical "Concierto de Aranjuez" piece itself. You can also hear the "soundtrack" sound from some of Evans' original work such as "Song of Our Country".

One thing that's worth noting is that while this is a Miles Davis album, much of the credit does need to go to Gil Evans. Davis does a superb job at playing the horns, but as mentioned above, it is Evans who finds a way to give this album the homogenous sound. It is also Evans that finds another avenue for Davis to deliver his sound. "Porgy and Bess" opened the doors for something besides his trademark jazz sound. "Sketches of Spain" helped take Davis to another dimension. The music shows outstanding musicianship. My only minor beef with this collection is that it really isn't going to make you "get up and dance". It almost has a calm and somewhat somber quality to it.

This collection includes an outstanding collection of liner notes that will provide additional insight into the band. This includes the original liner notes that appeared on the back of the album cover that were written by Nat Hernoff who was a co-editor of "The Jazz Review". Phil Schaap provides an additional write-up (on the re-release) that discusses "The Making of Sketches of Spain". The liner notes also include production and musician credits. Overall, this is not going to be the place to hear classic Miles Davis jazz, however it is going to be a place to hear some outstanding Spanish-infused classical music. This is going to provide some high quality music and if you have an appreciation for music, this is going to be something worth investing in.

Average customer rating: Nothing More Powerful Proto hip hop and jazz protest music with soul This Might Not Be the Album You Want Great CD. One of the great protest records, and avant-garde to boot!

The Revolution Will Not Be Televised Gil Scott-Heron Manufacturer: RCA ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | Rap & Hip-Hop | Styles | Music Old School | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music Poetry | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music Similar Items: The Last Poets Winter in America Evolution (And Flashback): The Very Best of Gil Scott-Heron Pieces of a Man The First Minute of a New Day ASIN: B000002WAW Release Date: 1990-10-25

Tracks:

1. The Revolution Will Not Be Televised
2. Sex Education - Ghetto Style
3. The Get Out Of The Ghetto Blues
4. No Knock
5. Lady Day And John Coltrane
6. Pieces Of A Man
7. Home Is Where The Hatred Is
8. Brother
9. Save The Children
10. Whitey On The Moon
11. Did You Hear What They Said?
12. When You Are Who You Are
13. I Think I'll Call It Morning
14. A Sign Of The Ages
15. Or Down You Fall
16. The Needle's Eye
17. The Prisoner

Customer Reviews:

Nothing More Powerful.......2007-02-27

"The revolution will not be right back after a message
about a white tornado, white lightning, or white people."

More than 30 years after its release, this album remains a powerful message of the realities faced by real people in the real ghetto of real America. With jazz and R&B as the backdrop, Gil Scott-Heron - in 17 tracks - raps straight about the truth from the streets.

"You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl."

From one of the greatest tracks ever recorded - The Revolution Will Not Be Televised - to the smooth Lady Day and John Coltrane and the pointed questions - Brother - this is music achieving its full potential through poetry.

"The revolution will not go better with Coke."

My second favorite track remains Whitey On The Moon, with its dripping sarcastic lyrics comparing the squalor at home with the "triumph" in outer space. The Prisoner - because its the final cut - may not receive the props it truly deserves.

"The revolution will not fight the germs that may cause bad breath."

Scott-Heron was forging a path for the best elements of punk rock and hip-hop. But it says something about those genres that few artists could truly look outward, see clearly & write with any meaning at all. And what does it say about leadership and priorities when Scott-Heron's lyrics remain the motif of the struggle?

"The revolution will put you in the driver's seat."

Proto hip hop and jazz protest music with soul.......2005-05-06

Soulful, melodic and biting social commentary circa 1974 is what you'll find on "The Revolution Will Not Be Televised." Gil Scott-Heron pulls no punches in his assessment of America. This is not some feel good R&B or cartoonish gansta rap. Social protest and commentary are the order on this album. Kind of like the Public Enemy of his day, Gil Scott-Heron stays grounded in the real and the here and now. Musically I'd say that this is insightful and swinging proto hip hop with definite jazz influences. Conga and flute driven funk. Lyrically some of this stuff is funny yet caustic social comment and satire, and some is a bit more seriously political, sad and heartfelt. The song "Lady Day and John Coltrane" celebrates two powerfully emotive and creative musicians. Gil was influenced by The Last Poets with whom he played on his first album (I think), arguably the first rap group, and in turn influenced modern artists such as the Roots. Protest music rarely gets as soulful, funky and emotional as this. I still get as much of a kick from Whitey On The Moon now as I did when I first heard it back in the seventies. The ghetto is crumbling and people don't have enough to eat, and we'll spend millions to put a man on the moon. Talk about getting your priorities straight. Scott-Heron was putting a magnifying glass on black american society and experiences that were largely ignored by white majority America. This is one of Gil Scott-Heron's best works and not for those easily offended. Sometimes the truth hurts. He's out to wake people up, not put them to sleep.

This Might Not Be the Album You Want.......2003-06-18

I purchased this album because I am a fan of the Last Poets. Upon listening to the samples provided by Amazon.com, I thought I was getting an album that would contain very similar content to the Last Poets: some great politically charged poetry, perhaps accompanied by some funky beats. However, when I listened to the whole CD, I was disappointed to find out that the vast majority of the tracks sound the most like "Get Out of the Ghetto Blues." If more of the tracks had the sound of the title track, this would be a five-star album, in my opinion. True, Scott-Heron has a lot of great social commentary throughout the album, but not in the form I had hoped for. I would take the Last Poets' album "This Is Madness" over this particular Scott-Heron album.

Great CD........2003-03-01

I love this CD. Gil Scott Heron is brilliant. I particularly like "Whitey on the Moon" and "The Revolution Will Not be Televised." The message is still socially relevant today.

One of the great protest records, and avant-garde to boot!.......2002-06-14

This is a unique and forward-thinking collection from the Godfather of Hip-Hop, Gil Scott-Heron. This record, produced by the jazz great Bob Thiele, is provocative, melodic, and urgent at the same time. Many of the tracks are nice, jazzy, hopeful jaunts ("When You Are Who You Are," "I Think I'll Call It Morning"). Many are ahead-of-their-time hip-hop joints (the title track, "Whitey on the Moon," "Brother"). Yet the most powerful tracks are the mournful ballads ("Did You Hear What They Said?," "Home Is Where The Hatred Is"). The entire album evokes all of the joys, pains and petitions of the black community. The work of Common, Mos Def, The Roots and Public Enemy, among others, contain clear echoes of Gil Scott-Heron's impressive work on this record.

Imagine "Nation of Millions," "Songs in the Key of Life" and "A Love Supreme" wrapped in one, and this record would fit the bill. Buy it.

Average customer rating: Bond Girls Rock!! Great Bond Millenium Bonds Classical and Pop/Dance I am surprised! Simply Stunning!

Born Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Classical | Styles | Music General | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music General | International | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music General | Rock | Styles | Music General | Broadway & Vocalists | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Shine Classified Explosive: The Best of Bond Remixed Bond - Live at the Royal Albert Hall ASIN: B00004XQK3 Release Date: 2001-03-13

Tracks:

1. Quixote
2. Winter
3. Victory
4. Oceanic
5. Kismet
6. Korobushko
7. Alexander The Great
8. Duel
9. Bella Donna
10. The 1812
11. Dalalai
12. Hymn
13. Victory (Mike Batt Mix)

Amazon.com

Born, the debut album by four conservatory-trained young women, has little to do with classical music. It's a gimmick, fusing a string quartet of frivolous femmes, spicy girls who all want to be "Posh," with dance beats, a big production mixing their violins, viola, and cello with polished electronics. Taking themselves less than seriously--they played the James Bond theme at their Royal Albert Hall debut--pop "Victory" looks assured. This single bounces along with a dash of Rossini's Barber of Seville and a real sense of pop melodrama, in spirit little different from what guitarist John Williams did with his rather less photogenic band Sky in the late 1970s. What may surprise is that tracks such as the frenetic world-dance "Quixote" are penned by the film composer Magnus Fiennes, brother of the more famous Ralph and Joseph. "Winter" adds Jean Michel Jarre-style synth and voice-over to the ghost of Vivaldi and the infectious beat goes on, and on, and on. Sex sells, and Bond's success seems assured. This is a state-of-the-art product, but with a bonus remix of "Victory" by Mike Batt of Wombles fame, just don't expect it to be art. --Gary S. Dalkin

Album Description

Asian edition of the classical crossover act's 2001 album includes one bonus track, 'Viva!', which is not included on the domestic version. Decca. 2001.

Album Details

Includes the bonus track 'Viva' not on the USA version.

Customer Reviews:

Bond Girls Rock!!.......2007-03-13

The Bond Girls are sensational!!! They capture the audience with their powerful songs. Most songs are in minor keys. Riveting and special, they are wonderfully blessed .

Great Bond.......2006-09-01

I'm new at enjoying instrumental music but I really like this cd. I think I will be buying more like it.

Millenium Bonds Classical and Pop/Dance.......2006-06-11

At the start of the new Millenium a group of professional musicians Classicly trained on violins, a viola, and cello, realized there was only one way to hit it big...
Violinists Haylie Ecker and Eos, violist Tania Davis, and celloist Gay-Yee Westerhoff fused their Classical background to that of Pop/Dance music. With the release of their debut album, Bond hit the Mainstream ears with a vengence all their own. Performing pieces with the basis of Classical music adding Pop/Dance beats, sounds, and feels, it was clear that old music would never be lost; it would simply be updated to present times. Everything from Classical music is here: the sounds, effects, beats, times, counterpoint, choral voices, movenment of musical lines and voices, but with the addition of Pop/Dance instrumentation. The most interesting piece off this album has to be "The 1812", which is Bond's interpretation of The 1812 Overature. This album is a work of art with a great display of how music changes over a vast period of time.

I am surprised!.......2006-04-20

I am the typical teen when it comes to music; I listen to rap, hip hop, pop, rock, and classical. but when I heard Bond's "Victory," I was hooked. As I did some research, I read that these four women played their instruments ever since they were 6! These women have been studying classical music but their music on this album begs to differ. Their beat is very jumpy and you cannot resist to tap your foot along with the music.

"Victory" is a blend of many different styles of music including pop's rythmns and beats, Spanish guitars, Latin dance, Spanish dance, etc. To top that off, "Victory" has a shot of techno in it.

Born is indeed a truly unique and fresh way for people to get introduced into classical music. Listen to the album, you'll know what I mean!

Simply Stunning!.......2005-06-02

I heard this album first, and I liked it. I'm "opening my horizons," so to speak, and this (among others) was the first albums I experienced. What a surprise!

As I listened to them, I ended up liking all of it, though my fave track is "Kismet". Following that was "Victory". The rest of the CD sounded like something I have heard before--from other sources.

If you've ever in your life wanted to listen to classical music, I suggest that you start off with "Born" by Bond.

Average customer rating: pure composition magic... One of the most startling beautiful and quintessential version of Porgy and Bess Porgy and Bess and Miles/Gil Evans Pull a chair between the speakers and let this one wash over you Edit your own CD

Porgy and Bess Miles Davis , and Gil Evans Manufacturer: Sony ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Orchestral Jazz | Jazz | Styles | Music Sony | Computers Brands | Computers Features | Electronics | Desktops | Monitors | Networking | Notebooks Similar Items: Sketches of Spain Miles Ahead Porgy & Bess Milestones Kind of Blue ASIN: B000002AH6 Release Date: 1997-03-25

Tracks:

1. Buzzard Song
2. Bess, You Is My Woman Now
3. Gone
4. Gone, Gone, Gone
5. Summertime
6. Oh Bess, Oh Where's My Bess
7. Prayer (Oh Doctor Jesus)
8. Fishermen, Strawberry And Devil Crab
9. My Man's Gone Now
10. It Ain't Necessarily So
11. Here Come De Honey Man
12. I Loves You, Porgy
13. There's A Boat That's Leaving Soon For New York
14. I Loves You, Porgy (Take 1, Second Version)
15. Gone (Take 4)

Amazon.com

Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that--despite the fact that the material has been rendered almost overly familiar due to countless interpretations--still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations. --Dan Epstein

Customer Reviews:

pure composition magic..........2007-06-20

The pinnacle of Gil Evans and Miles Davis working together. This is by far the definitive recording of Porgy and Bess as far as I'm concerned. I've listened to it a thousand times and it still blows me away. I wish I had the words to do this recording justice. Just listen to GONE and how it segues into GONE, GONE, GONE and how that in turn segues into SUMMERTIME. My goodness, the trumpet practically speaks to you, you can feel the pathos, the rage and the desire of the story. SUMMERTIME is the quintessential Miles. moody, full of passion, magical. Enough said. Get it. Listen to it. Enjoy it. over and over and over again.

One of the most startling beautiful and quintessential version of Porgy and Bess.......2007-04-30

While "Porgy and Bess" nas been attempted by many an artist from popular standard artists to jazz giants, for me, this IS the quintessential version. For me, better than Ella and Louis or Ray Charles and Cleo Laine's versions.

It is emotionally direct and startling in it's beauty. Miles was at the height of his powers and he conveys the sentiment of the pieces so directly that I was moved and transfixed.

This, of all the Gil Evans/Miles Davis collaborations is the best. Some might argue in favor of others but this one features arrangement that are essential and never, not once, do they encumber, obscure or step all over the soloist. Gil provides a perfect setting for Miles and Miles makes the most of it, with that unique vibratto-less tone.

Never sappy, nor even conventional. I can only imagine what the reactions were when this recording was released. Mind you, Gil never arranged in the traditional voicings or instrumentations of the traditional big band. No four or five sax/five brass, four trombone, piano, bass and drums for this man. The instrumentation and voicings are unique. Often the horns covney the soft lushness of strings on ballads but without any syrup at all.

This simply one of the best Miles Davis recordings in his career, bar none! He effectively conveys the longing, romance, sadness and joy I presume Gershwin intended.

Upon acquiring a CD player back in the eighties, this was one of the very first recordings I purchased. Never old or dated. It's timeless, it transcends eras.

A must have for me.

Porgy and Bess and Miles/Gil Evans.......2007-01-03

Phenomenal material to begin with. The treatment was exceptional due to an amazing collaboration. I am very pleased to have it in my collection.

Pull a chair between the speakers and let this one wash over you.......2006-10-31

Let me start by saying that I'm a long-time analog music lover. I still spin a lot of vinyl, and have found digital music to be, at times, disappointing.

That being said, this remastering of "Porgy and Bess" is one of the most gorgeous things I've ever heard. The placement of the instruments across the spectrum is almost holographic, and out of this space the subtlety of Gil Evans' work can truly be appreciated. There are long, languid sections of Miles' horn noir, punctuated by bursts from Evans' "brass orchestra." The layers, the barely heard accents, it's just brilliant work, and this amazing remaster truly does it justice.

As to the music, I'll simply paraphrase another reviewer here who said that he knew of no music more beautiful than this. Amen, brother.

Edit your own CD.......2006-03-19

I think I understand why some listeners take exception to the Miles-Evans version of Porgy and Bess and wonder what all the fuss is about and why it's a "classic" if they've never heard the original vinyl release on Columbia. In the digital era, in the attempt to give listeners more content and fill up cd space, record companies sometimes include extra tracks that were never on the original and should have been left off later. For me that track is "I Loves You, Porgy," which comes near the end of the entire album and has a way of spoiling the sonic magic that came before. It's not that it's a terrible track; it's just not that good or necessary when compared to the others, and, again, was never on the original in the first place. Furthermore, the last track was never on the original either, and can be done without as well, imo. Sometimes less is better. After all, a classic album is one where the listener finds it unnecessary to skip tracks, and the later cd release inadvertently violates this principle because of the two reasons I've mentioned. For my own use, I've burned an edited version off my own commercial copy without the last two tracks, and I recommend others do the same if they wish to recapture the spirit of the original and the marvelous effects this music can create, as Miles' tone was never more luscious, dark and brooding...just gorgeous. And I think Gil Evans was right when he said that Miles Davis reinvented the sound of the trumpet and flugelhorn, especially on Sketches of Spain and Porgy and Bess.

Average customer rating: Natural Genius 8th Wonder of the World? Still the master

Gil Luminoso Gilberto Gil Manufacturer: Drg ProductGroup: Music Binding: Audio CD Brazil | South & Central America | International | Styles | Music General | International | Styles | Music General | Latin Music | Styles | Music Similar Items: Quanta Cê Acoustic Our Moments CéU ASIN: B000MM1F1O Release Date: 2007-03-13

Tracks:

1. I Need To Learn How To Just Be
2. Here And Now
3. Empty Cup
4. Spiritual Retreats
5. O Seu Amor
6. King Time
7. One Person's Sound
8. Electronic Brain
9. The Human Race
10. You And You
11. Superman-The Song
12. Offspring
13. Metaphor
14. Meditation
15. The Composer Told Me

Customer Reviews:

Natural Genius.......2007-06-01

Agreed with David McKinney's review fully. Caetano's quote in the liner notes says it all: "Gil believes in God. I believe in him."

This man Gil in my estimation stands with Mother Teresa, Vaclav Havel, Martin Luther King....it's no wonder that Brazilians burst into tears when he appears....his songs have the same effect on me and I can hardly speak a lick of Portuguese!

8th Wonder of the World?.......2007-05-17

It's entirely possible that someone, somewhere, at some time, has created a recording of greater honesty, peace, and pure musical achievement than this one--I just haven't heard it yet.

Gil is a musical prophet, statesman, and healer; I regard this record as one of the greatest artistic achievements of humankind.

To know that a human being currently residing on the planet is capable of this is comforting and inspiring to me more than words could possibly convey.

Still the master.......2007-05-08

A very nice mix of old and new Gil sounds. Alive as always.

Average customer rating: DIANA ROSS EXPLORES THE WORLD OF BLUES & JAZZ...And Does It Quite Well! MAJOR ROSS CAREER HIGHLIGHT The Essence of Lady Day is Captured by Ms Ross Ms. Ross's Is So So Fine -- Her Best Recording ! Lady Diana

Lady Sings The Blues (1972 Film) Gil Askey , Original Soundtrack , and Michel Legrand Manufacturer: Motown ProductGroup: Music Binding: Audio CD Classic R&B | R&B | Styles | Music General | R&B | Styles | Music Motown | R&B | Styles | Music General | Soul | R&B | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music CDs $7 - $10 | Classic R&B | R&B | Today's Deals in Music | Formats | Music All Bargain Titles | Classic R&B | R&B | Today's Deals in Music | Formats | Music CDs $7 - $10 | Motown | R&B | Today's Deals in Music | Formats | Music All Bargain Titles | Motown | R&B | Today's Deals in Music | Formats | Music CDs $7 - $10 | Soul General | Soul | R&B | Today's Deals in Music | Formats | Music All Bargain Titles | Soul General | Soul | R&B | Today's Deals in Music | Formats | Music CDs $7 - $10 | Movie Soundtracks | Soundtracks | Today's Deals in Music | Formats | Music All Bargain Titles | Movie Soundtracks | Soundtracks | Today's Deals in Music | Formats | Music $7.99 and Under | Blowout Music | Stores | Music R&B | Styles | Blowout Music | Stores | Music Soundtracks | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $7.99 and Under | Prices | Blowout Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 R&B | 4-for-3 Music | Stores | Music 4-for-3 Soundtracks | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Lady Sings the Blues Blue Sparkle: Music From The Warner Bros. Motion Picture Stolen Moments: The Lady Sings... Jazz & Blues Diana & Marvin ASIN: B000001ABB Release Date: 1992-04-13

Tracks:

1. The Arrest
2. Lady Sings The Blues
3. Baltimore Brothel
4. Billie Sneaks Into Dean & Dean's Swingin Uptown
5. T'Ain't Nobody's Business If I Do
6. Big Ben, C.C. Rider
7. All Of Me
8. The Man I Love
9. Them There Eyes
10. Gardenias From Louis
11. Cafe Manhattan
12. God Bless The Child
13. I Cried For You (Now It's Your Turn To Cry Over Me)
14. Billie & Harry, Don't Explain
15. Mean To Me
16. Fine And Mellow
17. What A Little Moonlight Can Do
18. Louis Visits Billie On Tour, Love Theme
19. Cafe Manhattan Party
20. Persuasion, T'Ain't Nobody's Business If I Do
21. Agent's Office
22. Love Is Here To Stay
23. Fine And Mellow
24. Lover Man (Oh, Where Can You Be?)
25. You've Changed
26. Gimme A Pigfoot (And A Bottle Of Beer)
27. Good Morning Heartache
28. All Of Me
29. Love Theme
30. My Man (Mon Homme)
31. Don't Explain
32. I Cried For You (Now It's Your Turn To Cry Over Me)
33. Strange Fruit
34. God Bless The Child
35. Closing Theme

Amazon.com

Face it, when searching for female singers to portray the hard-knock life of troubled jazz legend Billie Holiday, Diana Ross's name shouldn't even have come to mind. But portray her she did, earning herself an Oscar nod in the process. The mother of all divas did Lady Day's legacy proud. This soundtrack (which includes dialogue from the 1972 film) ain't Holiday, but it ain't bad; Ross is in fine and flavorful voice. She manages to both capture Holiday's idiosyncratic sound (which such pretenders to the throne as Erykah Badu have trampled on) and still sound enough like herself to satisfy her own legions of fans. She conjures up Holiday's vulnerability and phrasing without attempting to slavishly imitate. As an homage this works. --Amy Linden

Customer Reviews:

DIANA ROSS EXPLORES THE WORLD OF BLUES & JAZZ...And Does It Quite Well!.......2006-09-06

Of all of the Motown acts Diana Ross (With and without the Supremes) was always given the room to explore various settings including Pop, Standards, Disney Favorites, Show Tunes, and the list goes on and on. On this Soundtrack not only was she given the opportunity to record Billie Holiday blues & jazz favorites but she (Diana Ross) also got her first major starring role in movie "Lady Sings The Blues". Both Movie & Soundtrack were runaway smashes. As a result of the Top Ten hit single from the Soundtrack "Good Morning Heartaches", a new interest in Billie Holiday recordings took off. Be forwarned none of these recordings on this Soundtrack have the more familiar Motown Sound of the 70's, but well orchestrated blues, jazz & pop chestnuts by the one and only Gil Askey.

These are the type of recordings where you'll want to get your favorite drink and enjoy such jewels as "Mean To Me", "Fine And Mellow", "You've Changed", "Don't Explain", "God Bless The Child" (And others)....Sit back and enjoy. The only down side is that it includes excerpts from the Movie spliced in throughout (Unless you've seen the movie, then it might make a slight difference). For the most part you'll get to explore one of Diana Ross' most successful attemps at blues & jazz that she revisted several times since.

MAJOR ROSS CAREER HIGHLIGHT.......2005-05-12

Putting aside all of the liberties taken by the film makers with Billie Holiday's "autobiography" [she reportedly took many herself!], the music and the singing here do the Holiday legacy proud. Diana Ross is simply stunning in these faithful renditions; faithful in capturing the mood and tone, while not actually imitating Ms. Holiday. Holiday is revered by jazz "purists;" I find her fascinating, if not always easy to listen to [especially her later recordings]. Ms. Holiday, nonetheless, influenced probably every major jazz singer, and many musicians to boot (even Frank Sinatra stated what a huge influence she was on his approach and phrasing; being a student of his vocal technique, I do hear the Holiday influence on his performance of "Drinking Again," "I'm A Fool to Want You," and some others). Here, Gil Askey's arrangements are incredibly tasty and palatable. Palatability and accessibility are generally not huge selling points for those who consider themselves purists. But, that's Ross and Motown. And it's all OK.

The dialog and musical excerpts included in the first part of the soundtrack are OK, helping to give one the flavor of the film; the other half of the album features full-length version of the tunes, exactly as arranged for the film sequences. The Michel Legrand score pieces are fine, perhaps a bit overwrought and un-jazzy for this film. But the main theme is a rather lovely melody. The best Holiday songs were selected for Ms. Ross to sing, so this also serves as a fine introduction to Ms. Holiday's work.

This is one Ross album that could do with a deluxe reissue. ESSENTIAL for Ross fans.

The Essence of Lady Day is Captured by Ms Ross.......2005-04-26

Diana Ross certainly ruffled a few feathers among the "purists" when it was announced that she was to portray one of the greatest jazz singers of all time. One of their main gripes was that the young 28 year old Ms Ross simply had lived enough to even dare stepping on Lady Day's territory.

The movie itself came under criticism for its lack of authenticity in certain areas, and for the glossing over of Holiday's turbulent life and career. Where the movie and the music shine forth so powerfully is that it captures the essence of Holiday. Diana showcases Holiday's triumphs, vulnerability and confusion in such a poignant way that it cannot fail to move even the hardest critic.

Diana didn't try to imitate Ms Holiday - no one could have, really. Instead, she created new interpretations of Holiday's classics.

There's a rich feel to the soundtrack, and this is reinforced by dialogue from the film. Many of the musicians who played with Billie were drafted in to perform for the film and this is explains why the calibre of the music was so high. The orchestra was conducted by the legendary Gil Askey, who has worked with Diana since her time with the Supremes.

There are several outstanding tracks here, namely:

"Don't Explain" - a touch of melancholy
"Fine and Mellow"
"Lover Man"
"You've Changed" - captures Billie's heartache - very moving
"Good Morning Heartache" - stunning vocal performance
"My Man (Mon Homme)" - incredible torch song!
"Love Theme" - a beautiful instrumental written by French composer Michael Le Grand
"God Bless the Child" - a commanding performance

"Strange Fruit" is a haunting song that reveals the horror of lynching in the Deep South. Diana's crystal clear diction and intonation are incredible - to the point of being eerie.

The soundtrack raced to the #1 spot on the Billboard album charts, and became the fastest selling Motown album at the time. Quite why Diana, Gil Askey and Michel Le Grand weren't awarded Grammies for their sterling efforts is one of life's minor mysteries.

As for Diana missing out on the Oscar, I have my own theory about why: Hollywood just weren't quite ready to give up its most glittered prize - in the leading Best Actress category - to a woman of colour. Interestingly, Cicely Tyson (another fine actress) was also nominated for a Best Actress Oscar at the same time as Diana. We'd have to wait some 30 years (how crazy was that?) for Halle Berry to scoop the award and make history. I reckon that denying Diana the Oscar was a way of keeping her and Motown firmly in their place.

Nevertheless, the film and the soundtrack have stood the test of time, and represent some of best of Diana's work. It's a beautiful, moving performance that showcased Diana's gift for jazz interpretation. This soundtrack comes highly recommended.

Ms. Ross's Is So So Fine -- Her Best Recording !.......2004-10-06

I just heard this CD again this week after a long time. I must say this CD still stands the test of time, even after 30 years. Diana Ross is to be commended for her superb interpretations of these Billie Holiday standards -- all classics. It must have seem daunting for Diana Ross to tackle the role of Billie Holiday in "Lady Sings the Blues". True, the movie took many knocks for sensationalizing the seedier aspects of Billie's drug use and promiscuity, but no one can knock Diana's performance in that movie. I still don't understand how Diana Ross lost the Best Actress Oscar to Liza Minnelli for "Cabaret" that year. Perhaps Hollywood was not yet ready to bestow an Oscar for Leading Actress to a black woman. That's the only reason. It took Halle Berry to finally win one almost 30 years later for "Monster's Ball", which paled in comparison to Ms. Ross's performance in "Lady Sings the Blues", but that's another story.

My only quibble with this soundtrack is that Berry Gordy decided to instill snippets from the movie's dialogue into the soundtrack, which seems jarring when listening to the entire CD. But this is a soundtrack CD after all, so I guess Berry Gordy and Motown wanted it to be as authentic as it could.

All the songs are standouts, but Ms. Ross really shines in "Good Morning Heartache" (Motown released this as a single back in 1972) and probably her finest track "God Bless the Child". This is no mean feat since those songs are forever identified with Lady Day, but Diana manages to instill her own character into the song without robbing its essence. Certainly very, very praiseworthy.

Ms. Ross also was in great voice during this period as a recording artist. Having gone solo a few years earlier from the Supremes, her voice is warm and supple with just the right amount of lilt, which makes interpreting these Lady Day classics a bonus to hear. Again, much praise indeed to "Lady Diana" for a great singing and acting job.

Does anybody wanna know that Diana Ross has YET to win a Grammy? That's no joke! No Grammy and No Oscar. Is someone trying to send a message to Diana Ross ???

Lady Diana.......2002-09-15

Diana Ross did her thing on this album and film. I love this soundtrack ,because you can really feel the pain in Diana's voice which gives you the pain in Billie's life. It also gives you dialouge from the movie,which shows you why Diana was nominated for an oscar[which was stole from her and given to Liza Minneli ]. This soundtract and film is what seperated Diana from supreme to susperstar.

Average customer rating: Great CD! Amazing album Another side of Gil Scott-Heron A Classic The season of frozen hopes.

Winter in America Gil Scott-Heron , and Brian Jackson Manufacturer: Tvt ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | R&B | Styles | Music General | Rap & Hip-Hop | Styles | Music Old School | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music Poetry | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music General | Jazz | Indie Music | Stores | Music Vocal Jazz | Jazz | Indie Music | Stores | Music General | Rap & Hip-Hop | Indie Music | Stores | Music Similar Items: The First Minute of a New Day The Revolution Will Not Be Televised Pieces of a Man From South Africa to South Carolina It's Your World ASIN: B000005ZCX Release Date: 1998-04-07

Tracks:

1. Peace Go With You, Brother
2. Rivers Of My Fathers
3. A Very Presious Time
4. Back Home
5. The Bottle
6. Song For Bobby Smith
7. Your Daddy Loves You
8. H20gate Blues
9. Pease Go With You, Brother
10. Winter In America
11. Song For Bobby Smith
12. Your Daddy Loves You
13. The Bottle/Guan Guanco

Amazon.com

In the early 1970s Gil Scott-Heron's tough-talking jazz-rock came across like a slap in the face, fiercely filling the Establishment in on issues ranging from substance abuse to the poverty and desperation raging through the black community. Winter in America was his breakthrough, with pianist Brian Jackson's dense arrangements matching the words blow for blow on the uncompromising title track (actually a bonus cut), the stinging "H20gate Blues," and the grooving anti-alcohol warning of "The Bottle"--"Don't you think it's a crime," Scott-Heron riffs, "the way time after time, people hit the bottle?" Some of Jackson's music may now sound a bit dated, but the years have done little to dull what writer Nathan George called Scott-Heron's "uncomfortable truths." --Michael Ruby

Customer Reviews:

Great CD!.......2007-03-26

Gil Scott-Heron and Brian Jackson put their best foot forward on this album. It's in depth and speaks to the issues of today just like those of the late 60s - early 70s. The music is interesting and you're sure to learn something if you buy the album. I recommend it.

Amazing album.......2006-01-22

I cannot believe that it has taken me this long to discover Gil Scott Heron. The music and musicianship is amazing and GSH's singing sends chills down your spine. The sometimes politically charged but always very human lyrics are more relevant today than ever. Most soul/jazz music of today pales in comparison in terms of substance. It's a great bonus in this CD-age to get a live version of the song 'Winter in America' not included on the original release.

Another side of Gil Scott-Heron .......2005-11-06

Winter in America would be the first album that Gil Scott-Heron would release in which collaborator Brian Jackson was given equal billing. Up to this point, Scott-Heron was best known for his social commentary on the injustices and inequality that existed during the time as well as the biting tone in which he delivered his message. Even jazzier tracks like "Freewill" showed his anger at the forefront. However, Winter in America shows a new found maturity in Scott-Heron's work. With Jackson's impeccable piano work leading the way, Scott-Heron's songs carry a very introspective tone throughout the release. With this newfound maturity also comes a quantum leap in Scott-Heron's vocals as the choppy, occasionally off-key vocal performances of his previous releases would be a thing of the past from here on out.

The album starts with "Peace Go With You Brother", which with its dark tone, would make you believe that this is a prelude of things to come. However, the next track "Rivers of My Fathers" is an outstanding ballad that sets the tone for the rest of the album. Led by one of Scott-Heron's most impressive vocal performances and Jackson's improvisational yet melodic piano work, it is one of their finest compositions. "A Very Precious Time", "Song for Bobby Smith", and "Your Daddy Loves You" are all tender piano ballads that continue the album's introspective tone. The upbeat "Back Home" is one of the best tracks here, sounding like one of those memorable theme songs that opened a lot of the sitcoms back in the day. "The Bottle" is one of his most enduring tracks and certainly one of his funkiest. While it shows Scott-Heron using his gift of intelligently observing the social problems of the day that politicians pretended didn't exist, in this case alcoholism among the black population in the inner cities, his anger is reined in, making his message more effective. However, Scott-Heron's angry and accurate observations of the Watergate scandal on "H20gate Blues" show that the fire still burns. The remastered version contains several bonus tracks, including stellar live versions of "Your Daddy Loves You" and "The Bottle/Guan Guanco" as well as a live version of the timeless "Winter in America", which in its original form wouldn't be released until his next album The First Minute of a New Day. All told, Winter in America shows a softer side of Gil Scott-Heron while not abandoning his roots or his message.

A Classic.......2005-10-13

This was the first CD I bought by Gil Scott Heron and it prompted me to get all the CD's of his that are still in print and search for copies of those that aren't. This remains one of my favorite CD's no matter what mood I'm in. This disc has a little of everything. "Rivers of My Fathers" is one of the most beautiful songs I've ever heard and contains some amazing piano work. "The Bottle" has a great groove and an awesome bass line. "H2O Gate Blues" is an example of one of the roots of rap. "A Very Precious Time" and "Song for Bobby Smith" are mellow and jazzy. The bonus tracks are really good too and give his band room for extended solos. Although Gil Scott Heron was known for playing a Fender Rhodes, I don't feel like this makes his work here sound dated. I have found myself pulling out this CD pretty frequently over the years. If you are into old school R&B you will enjoy this album.

The season of frozen hopes........2005-06-14

In 1973, after having established his reputation with three recordings on the Flying Dutchman label, Gil Scott-Heron moved on, to a recording for Strata East and to a different sound. Having honed his spoken word craft and an electric jazz vibe, evolution brought him to a minimalist approach. With sparse accompaniment (Scott-Heron or co-conspirator Brian Jackson on keys, Jackson occasionally on flute, and on five tracks, bassist Danny Bowens and drummer Bob Adams) and unnervingly strong compositions, "Winter in America" is a dark reflection on what Scott-Heron saw as the state of the country, that the seasons had past and winter had descended (he would alter compose a piece of this title, but at the point this was recorded, he had no intention of it).

If only Gil Scott-Heron would record music to reflect the current season our country had fallen in, I think sometimes we need it.

But this was over thirty years ago, and the music is beautiful-- some of it is dark, reflections on hope for unity ("Peace Go With You, Brother"), the horror of alcohol addiction (the unnervingly direct "The Bottle"), and the firmly tongue-in-cheek "H2OGate Blues" ("Watergate"). But there's a strong sense of nostalgia, of first loves ("A Very Precious Time", "Back Home"), and of hope for children (the stunningly beautiful "Song for Bobby Smith", "Your Daddy Loves You") that keep the mood shifting and make it easy to maintain interest in the record. Musically, its a lot of bluesy stuff, even the upbeat material has a sense of the blues to it, but it works well.

The TVT reissue cleans the sound nicely and augments the releae with a handful of bonus tracks-- an alternate of "Song for Bobby Smith", a live take of the title track (a great bluesy song that wouldn't've been out of place on the record), a great live take of "Your Daddy Loves You" and an extended and powerful take of "The Bottle" filled with hope, even in its darkness. These really do serve to nicely compliment the album.

Its not going to be for everyone, the production's kind of odd and the vocals sometimes feel jaggid because of this, but the music here is fantastic, and it is really a superb and powerful record. Recommended.

Average customer rating: Groovy Classics Remixed Exciting! Remixed not recommended for "re-listening". Good remixes

Remixed Bond (string quartet) , Grant / Bond Crichton Stuart / Black , Trevor / Bond Crichton Stuart / Gray , Michelle de / Vries, Marius de Crichton Stuart / Vries , Magnus Fiennes , Tonci Huljic , Gil Nevo Yoad / Brown , Orion , Pussy Galore , Mark Wright Andy / Jolley , Brian Gascoigne , Julian Kershaw , Z. Vracevic , Millennia Strings , Clem Clempson , Estaban Antonio , London Session Orchestra , Royal Philharmonic Orchestra , Kuljit Balma , Luis Jardim , Phil Todd , Craig Pruess , Gareth Cousins , Anita Kelsey , and Shashi Pandit Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music General | International | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music General | Broadway & Vocalists | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Classified Explosive: The Best of Bond Shine Born Bond - Live at the Royal Albert Hall ASIN: B0000C3ICL Release Date: 2003-09-16

Tracks:

1. Viva - Orion Mix
2. Victory - Sharp Boys Wild Strings Edit
3. Wintersun - Bobby D'Ambrosio Mix
4. Speed - Crash Club Mix - Radio Edit
5. Fuego - Caliente Mix
6. Homecoming
7. Atlanta
8. Shine - Dubshakra Mix
9. Time
10. Duel - Hectic Mix
11. Bond On Bond - Hectic Mix
12. Jingle Bell Rock - Pussy Galore Mix

Customer Reviews:

Groovy Classics.......2007-01-09

A great way to introduce the classics to the person who is too hip to listen to Mozart!

Remixed.......2006-06-01

Hmmmm....what can I say? Remixed is the 3rd album Bond has released, consisting of remixes of old favorites and several new tracks. For those of you who don't know, Bond is a rock string Quartet made up by 4 young women. Similar in style old Vanessa Mae.

The Album starts with an exciting opening, of Viva! (Orion Mix). This is made up from a remake of Antonio Vivaldi's Allegro from Winter (The Four Seasons). Its an enjoyable piece, very simple, but the drums and the occasional shouting of "VIVA!" makes it a great song.

The second track is a remix of one of Bond's more famous piece. Victory was a huge success, but the remix wasn't so in my opinion. The 'Sharp Boys Wild Strings Edit' was a strange one. It didn't contain much of the original. After a tedious drum beat and strange sounds for about 1 minute and 10 seconds, a short clip of strings come on the original melody. For the next minute more drums, then more repeating of the melody heard in the middle.

Third track was a remix of Wintersun. Wintersun (Bobby D'Ambrosio Mix) was basically the same, but a bit more of a disco style.

Again, with Speed (Crash Club Mix). Sam thing, but a lot more of the disco sounds. I actually found myself enjoying it more than the original! It really sounds like some one is...driving a car or something.

Fuego's remix (Caliete Mix) I also enjoyed more than the original. It has a longer introduction, and more music to back up the strings. It also has a very fast sita (sp?) solo in the middle, making it sound very Spanish!

Homecoming, Atlanta and Time are new tracks. Not my most favorites, but they are very calm, remind me of Asia. Except for Time which sort of gives you the feeling that all the clocks are moving at the same time. Bond also uses Clock sounds in the middle for effect.

Shine (Dubsharka Mix) is by FAR the best song on the album. Its a fantastic dance track, with a fantastic solo and playing in the song. Its a Bollywood styled song, making you think of India. I was a little disappointed however, since this song was released on their earlier album (Shine, 2002). Although I love it, they should have put the Indian Summer Mix on instead, which cant be found anywhere except on Atlanta/Time

Duel and Bond on Bond (Both 'Hectic Mixes') I just couldn't stand. They were absolutely ridiculous. Just having the tracks played twice as fast. If I wanted to do that, I could have gone into Media player and pressed Fast Forward x2.

The Last song is Jingle Bell Rock (Pussy Galore Mix). Its an interesting one, just jazzing up the original Jingle Bell Rock.

Overall, this album is great for something like a party, for its mainly disco music. Not the best Bond Album, but very good anyway.

However, If you are a big bond fan, I would suggest you get the Import (Includes 2 videos of Victory and Fuego) or the Japanese Edition (Includes and Extra mix of Viva!, original Jingle Bell Rock, Duel Indonesian Mix and Innocent)

Hope you enjoy this CD!

Exciting!.......2004-09-07

I got Bond's debut album a couple years ago.  Although not as exciting as Vanessa-Mae's album "Storm," it was better than Vanessa-Mae's debut crossover album "The Violin Player" and approximately equal to her third album, "Subject To Change."  The Bond debut had a lot of energy, but to me it was begging for a little stronger beat.

So when I found a Bond remix album late last summer, I grabbed it!  How cool can that be--a Bond remix album!  Whoo-hoo!!!

When I got it home and listened to it, I was a bit disappointed because it wasn't quite remixed enough.  I wanted the mixes to be hotter, and the bass and drums more pronounced.  But under-remixed is far preferable to over-remixed, which is a problem with Vanessa-Mae's song "Storm."  This is my favorite Vanessa-Mae song; the four-minute album length is not nearly long enough for me, so when I learned there was an 8-minute remix, I just had to have it!  I had to buy this Vanessa Mae CD single from a store in England (via Amazon's used CD vendors) since I could not find it stateside.  And I was very disappointed:  The remixer had so vastly remixed it that not only did it lose all its energy, it wasn't even recognizable!  So between over-remixing and under-remixing, I prefer under-remixing, thus I am happy enough with the remixes on this Bond album.  But they could have done better, I think.

Although I was a little disappointed that the mixes not being spruced up quite enough,  it does not mean I do not like this album.  Au contraire! I love this album! It is an album full of energy, life, vitality! It is an album that I nearly always play very LOUD! It as an album that I play when I'm wound up, feelin' good!!! Nearly every song is fast, and the beat never stops!

The album opens with "Viva!", a song that is also found on their DVD, which I bought around the same time I got this album. What a perfect song to start this album with! A sample of a group of females shouting 'VIVA!" plays from time to time throughout, adding to the energetic playing of the strings. On the DVD, this song is backed with video footage from their concert at the Royal Albert Hall in England; in the video, when the shouts "VIVA!" are heard, fireworks shoot out from the balconies and the stage at the theater--so exciting!

The next song is the remix of their first radio hit, "Victory," which starts out with a hot Latin beat and Spanish guitars. "Victory" and another track, "Fuego," feature frenetic string playing. The best song on the CD for dancing--and my second favorite song on the album--is "Duel." This has a driving bass line and percussion beat, an upfront electronic synthesizer riff, and a beautiful ethereal female nonverbal vocal accoutrement, with tubular bells even added toward the end. Spine-tingling! Wonderful!

Although "Duel" and my favorite song "Viva!" rule supreme in the degree of spine-tingling awesomeness, they're not the only ones to bring such a pleasurable reaction to me. "Wintersun" is played with deep heartfelt emotion; "Atlanta" also is full of emotion. I like "Speed" and "Time" because of their European technopop sound, especially "Time," which has a nice melodic, minor key electronic keyboard riff. "Shine" has a bit of a Spanish or Italian flair, another of many romantic flavors of this album.

There are only two songs on the album that I don't care for. One I absolutely don't like is "Jingle Bell Rock," but that's because I hate the song, not because I don't like their version of the song. If I am forced to listen to that song, I would likely choose their version. The other one I like okay, but it doesn't do for me what the rest of the songs on the album do: "Bond on Bond." This is a track of them doing the James Bond theme. A cool idea, and it works, but again, doesn't float my boat. Fortunately, these two songs are at the end of the album, so I can just end the album at the third to the last song, which is also my second favorite song, "Duel"!

Most of the DVD's music comes from their first album, while this remix CD has the best of their first two albums. I now have their third studio album, "Classified," which I like better than their first album (I don't have their second), but no surprise to me, this remix album of theirs is clearly my favorite. "Storm" by Vanessa Mae is my favorite secular album of all time, all genres combined, so naturally in the genre of classical crossover it is my favorite. Bond's "Remix" is my second favorite classical crossover album. It reaches down and touches the heartstrings of my musical soul and stirs them up to make a fabulous and emotional listening experience for me!

Remixed not recommended for "re-listening"........2004-07-27

Bond has impressed critics with their somewhat controversial performances of classical-crossovers. From using trance beats to the sounds of African drums... there is no limit to how much and what they can do to enhance classical music that they play.

With Bond Remixed however; it is quite a drag to put it simply. The album is a total re-mix album, so think of it as a compilation of single re-mixes put together. But also, there are three original tracks by Bond: Homecoming, Atlanta, and Time. All three of these tracks rely a lot on synth sounds and trance beats. Which get boring after listening to all these re-mixes, but keeping in mind that it is a RE-MIX album after all... so although the originality of Bond's previous albums: Born and Shine are not there, it is because they are re-mixed.

One of my personal favorite tracks is Viva [Orion Mix], which for those who have the Bond Live at Royal Albert Hall DVD all should know (For those who do not know, it is an extra video on the DVD, a live performance of Viva). Though I would have to say it takes repetition of classical music to its red line. Another great track to listen to is Jingle Bell Rock [Pussy Galore Mix]. Great example of good trance, combined with classical sounds. Bobby D'Ambrosio's mix of Winter, originally named Wintersun, is interesting enough by creating a new intro into the song. The rest of the song is shorter with a different beat.

The rest of the tracks seemed to use the original songs, but just add a different beat, more bass, and more synth. It puts the name of "re-mix" to a shame. Besides Speed [Crash Club Mix] which adds more excitement to the song as it is called Speed, the listener is better off listening to the originals. The prime example of horrible remixing is Duel [Hectic Mix] and Bond on Bond [Hectic Mix] (It's funny how both of these songs were badly mixed by the same person). In Duel, Hectic makes the song more faster-paced and adds a synth sound to the beat, which has a deeper bass. The song relatively stays the same. As goes the same for the Bond on Bond mix, where there is only a different, harder dance beat added to the original song. Also, Shine [Dubshakra Mix], doesn't even sound different. After listening carefully, you will notice the very subtle addition of more tambourines. But it sounds exactly the same; I listened back and forth from the "mix" to the original on the "Shine" album, and could not really tell.

If you want re-mixed Bond songs, this is terrible album to try to find some. Re-mixes are supposed to be a variation of the original song, almost as if the mix was a whole new song. But these "re-mixes" are sad to listen to. I am ashamed for whoever compiled this horrible playlist of tracks. Also, the original tracks by Bond are not what Bond is noted for, as if they were rushed to do these tracks.

A lot of artists do a "filler" album. Bond may have used a re-mix album to give themselves a year off, either for time off recording, or to make more time to record their 4th album, "Classified". Most likely it was to give the girls some well-deserved time off after releasing "Born" and "Shine".

Any fan of Bond will most likely find this album oddly dissatisfying, leaving a caustic taste in the mouth, and a penetrating headache. I would not recommend this album, unless you are a die-hard fan. But please, if you are a first-time listener to Bond, listen to "Born" or "Shine".

*There is two videos that can be played on your computer however; a video of Fuego and Victory, are fun to watch. But they are from their other albums, Victory from "Born" and Fuego from "Shine".

Good remixes.......2004-06-19

I generally stay away from remix albums simply because it's tough to improve on an original. However, I'm a huge fan of techno music and these remixes are heavier fixed with the sound of the dancefloor than the original tracks are. As you can tell by some of the reviews, some people love this, and some hate it. I think the ones that hated this CD are not fans of modern dance music and miss the whole point of dance CDs to begin with, so you can't judge anything by what they say.
This is a great dance CD, period. For the more consertive use of dance beats, see any of Bonds other releases, but this one is definately for the club fans out there. Another killer dance CD I want to suggest is Mr.Deviant's "Techno Obsession" which mixes power rock with killer dance beats to create some very original dance music. Both CDs are great!

Average customer rating: A great CD Epochal Paganini Aristocratic Playing passion in a cage Glad to see Paganini's guitar music isn't being neglected.

Paganini for Two / Gil Shaham, Goran Sollscher Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Duets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Paganini, Niccolò | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Schubert for Two (Dig) Dvorák For Two: Works For Violin & Piano The Best of Paganini Paganini: Violin Concertos Duos for Violin & Guitar ASIN: B000001GJB Release Date: 1994-03-15

Tracks:

1. Sonata Concertata For Violin And Guitar In A Major, M.S. 2: Allegro Spiritoso
2. Sonata Concertata For Violin And Guitar In A Major, M.S. 2: Adagio, Assai Espressivo
3. Sonata Concertata For Violin And Guitar In A Major, M.S. 2: Rondeau. Allegretto Con Brio, Scherzando
4. Sei Sonate M.S. 27 (Op. 3) For Violin And Guitar: Sonata No. 1 In A Major: Larghetto
5. Sei Sonate M.S. 27 (Op. 3) For Violin And Guitar: Sonata No. 1 In A Major: Presto Variato - Variazione
6. Sei Sonate M.S. 27 (Op. 3) For Violin And Guitar: Sonata No. 1 In A Major: Andante Largo
7. Sei Sonate M.S. 27 (Op. 3) For Violin And Guitar: Sonata No. 1 In A Major: Allegretto
8. Sei Sonate M.S. 27 (Op. 3) For Violin And Guitar: Sonata No. 6 In E Minor: Andante
9. Sei Sonate M.S. 27 (Op. 3) For Violin And Guitar: Sonata No. 6 In E Minor: Allegro Vivo E Spiritsos - Minore
10. Grand Sonata M.S. 3 For Violin And Guitar In A Major: Romance. Piu tosto Largo, Amorosamente
11. Centone Di Sonate M.S. 112 For Violin And Guitar: Lettera A: Sonata No. 2 In D Major: Adagio Cantabile
12. Centone Di Sonate M.S. 112 For Violin And Guitar: Lettera A: Sonata No. 2 In D Major: Rondoncino. Andantino, Tempo Di Placca - Minore
13. Centone Di Sonate M.S. 112 For Violin And Guitar: Lettera A: Sonata No. 2 In A Major: Adagio Cantabile
14. Centone Di Sonate M.S. 112 For Violin And Guitar: Lettera A: Sonata A Major: Rondo. Andantino, Allegretto-Minore-Maggiore
15. Cantabile M.S. 109 For Violin And Guitar (Pianoforte) In D Major
16. Introduction And Variations On 'Dal Tuo Stellato Soglio' From Rossini's Mose (Sonata A Preghiera) M.S. 23: Introduction. Adagio
17. Introduction And Variations On 'Dal Tuo Stellato Soglio' From Rossini's Mose (Sonata A Preghiera) M.S. 23: Theme. Tempo Alla Marcia
18. Introduction And Variations On 'Dal Tuo Stellato Soglio' From Rossini's Mose (Sonata A Preghiera) M.S. 23: Var. I
19. Introduction And Variations On 'Dal Tuo Stellato Soglio' From Rossini's Mose (Sonata A Preghiera) M.S. 23: Var. II Vigoroso
20. Introduction And Variations On 'Dal Tuo Stellato Soglio' From Rossini's Mose (Sonata A Preghiera) M.S. 23: Var. III
21. Introduction And Variations On 'Dal Tuo Stellato Soglio' From Rossini's Mose (Sonata A Preghiera) M.S. 23: Finale
22. Moto Perpetuo (Allegro Vivace A Movimento Perpetuo) M.S. 72 (Op. 11), For Violin And Guitar In C Major

Customer Reviews:

A great CD.......2006-02-02

This collection of Paganini's music has it all. Great playing from both soloists, full of passion and presence, great recording, well balanced - a must for this kind of music and great pieces, all coming to life by Gil Shaham.

Epochal Paganini.......2005-08-09

This disc is a landmark in the history of Paganini performing.Gil Shaham's flawless technique simply makes the music shine in all its virtuosistic brilliance.Shaham's light-hearted approach to the music gives the pieces on this CD a level of warmth and intimacy that is hard to find in any other recording of Paganini works.The only draw-back to this recording is the fragmentary performance of the Grand Sonata.The CD is only barely over 60 minutes long and there is still plenty of place for the 2 remaining movements to fill in.But most of all,it is the marvellous playing from both Shaham and Gollscher that stuns any listener and make them hunger for more.

Aristocratic Playing.......2002-03-04

This is a delightful cd that still sets the standard for these varied violin/guitar pieces even though they were recorded in November '92. Gil Shaham plays with an aristocratic charm that makes every piece sound so refreshing and witty; he has imbued into these Paganini works the purest violin tones and cleanest approach of everyone who has tackled the same works including Monica Huggett's recordings on Harmonia Mundi and the inexpensive Naxos recordings. Indeed while listening to both Huggett's and Shaham's interpretations of the "Sonata Concertata", I prefer the latter simply because it is so much more refined; Huggett's playing seems more raw and less polished even though there may appear to be more energy. Huggett plays the piece as if it was a Baroque Miniature Masterpiece; Shaham plays it in the Classical Mold full of romance and feeling- imparting a greater degree of mystery and spirituality. Shaham makes every note sound just right and no quips with the interpretation; his refinement of technique reminds me of a young Arthur Grumiaux but with a even greater sense of mastery and control.

It is an interesting fact that Paganini wrote over 100 solo pieces for the guitar even though he is now known primarily for his violin works. Paganini is believed to have used the guitar as the instrument of choice during composition. Although his guitar pieces do not approach the virtuosic exuberance of the more famous violin counterparts such as the "24 Caprices", they define an intimate and private Paganini; one who indulges in a more relaxed and quiet setting- away from the fireworks of the stage performances. However make no mistake- many of these pieces from this recording are meant to be played with a lot of fire and splendid bowtapping such as the "Moto Perpetuo" (the last selection) and Shaham's rhythmic attack never slackens even in the most demanding passages.

"Paganini for Two" on first glance sounds like any other recording made especially for background dinner music (even the tiny sticker on the packaging highlights this point!)but there is a lot of lyrical refinement for even the serious Paganini collector and classical music lover. A number of Sonatas are included although at times the guitar plays a lesser role. I would have preferred to see the entire "Grand Sonata" appear in this recording but only the "Romance" from it- a very short four and a half minute piece is included. The rest of the programme if not generous is still varied and interesting- stretching slightly over 60 minutes.

All this talk of Shaham certainly does not detract from the wonderful accompaniment provided by veteran guitarist Goran Sollscher who was known previously for his luminous recordings of the Bach Lute suites (also on DG)and refreshing interpretations of even the music of the Beatles! You can hear every one of Sollscher's notes and this partnership is certainly a very successful one. To cap it all off, the sound is crystal clear with a lot of depth and proper soundstaging. The violin and guitar sound very holographic and on a good hi-fi equipment, this disc can be worthy of demonstration material.

A Solid 5 Star Recommendation? You bet!

passion in a cage.......2000-03-22

I wonder what the musicians on this record could do, if they really let themselves go! Here we have so much brilliant skill, and Shaham & Söllcher could easily exchange a bit of it for some rage and tears. Then it should have been a six star rating on this record!

Glad to see Paganini's guitar music isn't being neglected........1999-07-09

Among the "big three" of classical writers for guitar (Sor, Giuliani, Paganini), Paganini seems to me best at integrating the guitar in chamber ensembles. Not that his guitar-violin relationship is static in these duets. In the Sonata Concertante, for example, the instruments are almost equal partners, with the guitar slightly upstage. In the six sonatas, the guitar merely provides accompaniment.

The common denominator is the likeability of this music, with little or none of the bravura writing for which Paganini is best known. In fact, among the three composers for the guitar above-mentioned, Paganini seems to me the most straight-ahead and guitaristic.

It's interesting to see Sollscher tackle this material, since he's best-known for his solo Bach transcriptions on his custom 11-string. Totally different -- and totally entrancing.

If you like these duos, be sure and check out the Paganini trios, which are delightful.

Average customer rating: Another Winner from Zinman and Friends Classics Today 10-10 Zinman, Tonhalle, Shaham, Mork & Bronfman: Brilliant Beethoven 2

Beethoven: Triple Concerto; Septet Manufacturer: Arte Nova Classics ProductGroup: Music Binding: Audio CD Septets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Beethoven: Violin Concerto; Violin Romances Beethoven: Piano Concertos 3 & 4 Beethoven: Piano Concerto No 5 Beethoven: Complete Overtures Beethoven: Piano Concertos Nos. 1 & 2 ASIN: B000EQ46XM Release Date: 2006-04-11

Tracks:

1. I. Allegro
2. II. Largo - Attacca
3. III. Rondo. Alla Polacca
4. I. Adagio. Allegro Con Brio
5. II. Adagio Cantabile
6. III. Tempo Di Minuetto
7. IV. Tempo Di Minuetto
8. V. Scherzo: Allegro Molto E Vivace
9. VI. Andante Con Moto Alla Marcia. Presto

Album Description

FOUR GRAMMY AWARD WINNING ARTISTS ON ONE DISC. As Beethoven himself was well aware, his Concerto for Piano, Violin and Cello - commonly called the "Triple Concerto" - was unique in musical literature. No one had ever written for this combination of solo instruments and orchestra. The Triple Concerto was first performed in Vienna in 1804, and apparently never again in Beethoven's lifetime! The work was neglected for years and is still a little overshadowed by the other Beethoven concertos, but this is in large part because it is seldom heard due to its extraordinary requirements for three major virtuosi. This recording offers three of today's leading soloists along with conductor David Zinman, whose Beethoven recordings have already become first choices with many listeners. Since making his debut at London's Festival Hall in 1981, pianist Yefim Bronfman has regularly played with the most renowned European, American and Far Eastern symphony orchestras. He was! awarded the Avery Fisher Prize in 1991. Israeli-American violinist Gil Shaham (b. 1971) studied at Juilliard and in 1990 was awarded the coveted Avery Fisher Career Grant. Since then, he has pursued an extremely active international career and made numerous CD recordings. Gil Shaham plays a Stradivarius dating from 1699. Truls Mørk has long been one of the most renowned international cellists and plays with the world's leading symphony orchestras and conductors. An enthusiastic chamber musician, he undertook a successful tour of the U.S. with violinist Gil Shaham and pianist Yefim Bronfman in 2003. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. His discography of some 100 recordings has won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra. Included as a major bonus is a splendid performance of Beethoven's early and massive chamber work masterpiece, the Septet, Op. 20.

Customer Reviews:

Another Winner from Zinman and Friends.......2007-08-06

David Zinman achieved his great reputation with recent recordings of Beethoven's symphonies and he continues to enhance it with more recordings of Beethoven. Here we have the somewhat ignored triple concerto for cello, violin and piano, and the seldom heard septet for violin, viola, clarinet, horn, bassoon, cello and double bass.
The triple concerto is something of a grand chamber work, or perhaps a modern concerto grosso with a concertino of cello, violin and piano; the conversation between the instruments is often started by the cello, Truls Monk, and passed to violin, Gil Shaham and to piano, Yefim Bronfman. All soloists play beautifully together, Bronfman plays with admirable restraint, never dominating, and soloists and orchestra play in perfect accord. This is the best version of the work I have heard, much better than the well received Naxos recording I have had for years.
It must be a long time since I listened to the septet, but some of the movements were very familiar. It is delightful music, and an excellent recording, joyful and relaxed, but never slow or tedious, gracious and precise. The sound is superb in both works.
I highly recommend this CD, it is first class, and at bargain price!

Classics Today 10-10.......2006-05-23

10 for performance
10 for sound

and I add

10 for price

Zinman, Tonhalle, Shaham, Mork & Bronfman: Brilliant Beethoven 2.......2006-05-11

Here we get part two of the ongoing series that seems to aim at getting all the Beethoven piano concertos, safely in the can. The familiar bottom line for this series? Get this CD right away. No matter who else already sits on your fav shelf for this music, you will find it quite easy to add this new recording of the Beethoven Triple Concerto, and the early Septet. Cheap price, too. But nothing cheap, nothing cheap at all about either the recorded sound, or the quality of these performances.

If you have heard - and liked - the approach that Zinman & Tonhalle took to their prize-winning set of the complete Beethoven Symphonies (which deservedly earned the German record critics prize, and is also at budget prices on Arte Nova) - you can settle into your home system, or mp3 player, or car stereo for lots more of that same Beethoven - intelligent, vital, heartfelt.

To recap.

Zinman & Tonhalle have been influenced by all the paths opened up in the period instrument performances of baroque and classical music over the past five or six decades; without really having to play on gut strings and period instruments. So what's left? Well, somehow Zinman & Tonhalle manage their Beethoven with clarity, wit, punchy phrasing, and the wide open humanism that are the hallmarks of Beethoven's musical personality. There is not one ounce of romanticized fat in any of these Zinman-Tonhalle versions of the symphonies, and that is all to the good, since Beethoven is not at all confined to what the nineteenth century made out of him and made out of his music. In addition to the clarity, the tonal transparency that period peformance suggests, Zinman-Tonhalle also give us the rough-hewn punning, the startlingly clear and high musical intellect, and the energy that fairly bursts from Beethoven's unprecedented approach to both harmony and rhythm. Listening to Beethoven played this way, you easily credit his supposed reputation as the finest improviser of his era.

Into this notable Beethoven mix now comes pianist Yefim Bronfman, plus violinist Gil Shaham, and cellist Truls Mork. Each soloist certainly has his chops. More to the point, all three soloists and Zinman-Tonhalle are worthy and alert partners throughout. Conductor & pianist see eye to eye, without losing their own insights and musical commitments. The three trio players have the sort of rich tonal point that is generic to each of their instruments, combined with a vigor and fluency that can only put older listeners in mind of the much-lauded Beaux Arts Trio. We get an alchemy - inside the trio, and between the trio and orchestra under Zinman - that is way more than the simple sum of the parts.

The Triple Concerto is something of an acquired taste, even for people who already love the five piano concertos. If you approach the Triple open-mindedly, and are willing to listen to it on its own eccentric terms, you reap the rewards of making a good, new friend. Now, I admit I find many performances of the Triple less than compelling. Not so, this one. That same core Beethoven vitality that marked part one of this recording project, enlivens this CD. What would be filler musical material as played by other trios, under the magic fingers of Bronfman, Shaham, and Mork becomes involving and communicative. You never wish that the players - and Beethoven himself - would just get on it with, because, well, they are.

As a reference point, Bronfman's playing is closer to, say, Wilhelm Kempff or Wilhelm Backhaus or the young Leon Fleischer in this repertoire, than to more highly italicized styles of neo-romantic piano playing. Gil Shaham hardly needs an introduction to anybody who pays attention to the violin. His other recordings of the concerto literature are technically excellent, and replete with the mind one associates with Heifitz or Szeryng, and the heart one associates with Grumiaux or Kreisler. Truls Mork rounds out the trio, and suffers not in the least by comparison with the high excellence of his partners. We do not get told about what piano Bronfman might be playing, but Shaham is playing the Comtesse Polignac Stradivarius, and Mork is holding forth on a Montagna. Are you there yet?

If the Tonhalle strings do themselves proud in accompanying, that is not to undervalue or disrespect the amazing contributions of the woodwinds and the brass. Simply everybody showed up for the sessions, and nobody was playing by rote.

The sound is rather close and clear, somewhat in the old Szell-Cleveland manner; without any multi-miked glare and without any fuzz. From top frequency to bottom, the orchestra departments are all present, and nobody is sacrificed to make room. The possibly tricky balances between the trio, and the orchestra, and within the trio - are placed just right.

Filling the CD is an early chamber piece, the Septet - Contemporary with the eighth piano sonata (Pathetique) and the first symphony. Yes, the Septet is lighter, more occasional music in the galante mould, but nevertheless full of Beethoven's wit, charm, and engaging intellect. The trio players are complemented by others from the Tonhalle - on clarinet, bassoon, horn, and double-bass. What fun. If you are ever going to bother with the Septet, now is the time, and this is the recording.

Five stars, then. Now stop reading & click your way to happy, amazed ownership. Yeah. These guys are still just that good.

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1. Homenaje a Jose Alfredo Jimenez
2. Imaginate
3. Imperio [Explicit Lyrics]
4. Jóia
5. Joyas Musicales De Colombia
6. La Guitarra Romántica
7. Las Grandes Damas de la Cancion
8. Las Mas Buenas del Momento
9. Las Pelona Y Las Peluda
10. Latin Booty Party, Vol. 2

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