Out the Gap

Amazon.com
The baby-boomers who have led the Irish folk-music revival have long had an aversion to drum & bass, viewing these dance-band implements as a betrayal of tradition and a sellout to commercialism. As a result their records have often been dazzling in the higher ranges but undernourished on the bottom, where only the bodhran and bouzouki hold sway. Sharon Shannon has no such compunctions, and she features drum & bass on eight of the dozen numbers on her second solo album, Out the Gap.

The accordionist, who has toured as part of the Waterboys, has reinforced the rhythmic bottom of traditional Celtic music and given it a balance it has long needed. When she plays the bouncy melody to the old reel, "The Dunmore Lasses," for example, Paul Blake's drum kit and Trevor Hutchinson's electric double bass make the bounce harder and higher. Thus it's no surprise when Shannon's accordion solo gives way to Richie Buckley's sax solo. The all-instrumental album draws its material from traditional Irish, French-Canadian, Finnish, and American sources as well as from modern fiddlers in Scotland, Chicago, and County Mayo. Shannon is a solid squeezebox player, but it's not her virtuosity so much as her arrangement ideas which make this album sound so fresh. --Geoffrey Himes

Tracks:

Warum Hat Man Eigentlich 100 Jahre Lang Gedacht, E - Nikolaus Harnoncourt
Finale. T. 1-278 - Wiener Philharmoniker
Gegen Ende Eine Extreme Dissonanz In Den Trompeten - Nikolaus Harnoncourt
Nach Dem Ende Der Durchfuhrung Folgt Eine Wilde Fu - Nikolaus Harnoncourt
Finale. T. 279-342 - Wiener Philharmoniker
Quasi En Schreckensbild Des Todes - Nikolaus Harnoncourt
Finale. T. 343-478 - Wiener Philharmoniker
Danach Fehlen 16 Takte; Dazu Ist Nichts Zu Erklare - Nikolaus Harnoncourt
Finale. T. 479-510 - Lucke/Fehlender Partiturbog - Wiener Philharmoniker
Why Did We Think For Over Hundred Years That Nothing... - Nikolaus Harnoncourt
WAB 109: Finale. MM. 1-278 - Wiener Philharmoniker
Extreme Dissonances In The Trumpets Towards The End - Nikolaus Harnoncourt
At The End Of The Development A Wild Fugue Begins - Nikolaus Harnoncourt
Finale. MM. 279-342 - Wiener Philharmoniker
A Sudden Vision Of Death - Nikolaus Harnoncourt
Finale. MM. 343-478 - Wiener Philharmoniker
Then There Are Sixteen Bars Missing. We Will Just... - Nikolaus Harnoncourt
Finale. MM. 479-510 - Gap/Missing Score Bifolio - Wiener Philharmoniker

Tracks:

I. Satz. Feierlich; Misterioso - Wiener Philharmoniker
Scherzo. Bewegt; Lebhaft - Trio. Schnell - Scherzo - Wiener Philharmoniker
Adagio. Langsam; Feierlich - Wiener Philharmoniker

Customer Reviews:

Harnoncourt's Bruckner, a viable alternative to Karajan?.......2006-03-19

Even Karajan's detractors, except for the most severe, generally concede that he was supreme in Bruckner. His various performances of the Ninth Sym. with the Berlin Phil. are commanding in their huge scope, yet Karajan was also capable of delicate phrasing and had an intuitive grasp of how to organize these gigantic, sprawling movements. No one has quite reached that magistreial level since. To his credit, Harnoncourt doesn't try to. This is, for him, a straightforward performance that relies on some qualities Karajan's Bruckner doesn't possess.

First of all, Harnoncourt has his own instincts about phrasing and organizing the music. Contrary to a reviewer below, he doesn't exploit extreme rubato or sudden tempo changes. There are some quirky moments where the tempo speeds up unexpectedly, but overall, Harnoncourt's timing of 58 min. is dead center among various recordings (as much as I admire Giulini, his 68 min. traversal drags). Harnoncourt favors brash outbursts from the brass, particularly in the Scherzo, my least favorite movement here. But his main intent is to keep Bruckner simple, to impose himself far less than Karajan did with his ultra-control. This Bruckner Ninth is a bit plain at times, but it always breathes.

As to the recorded sound, I have only heard the regular two-channel CD, which is quite clear; the Vienna Pphil. is placed a bit far back on a wide soundstage. I would have liked to hear the solo winds up closer, but that's a quibble. This Bruckner Ninth satisfied me as much as the great accounts by Walter, Klemperer, Giulini, and Boulez. I sitll feel more thrills from Karajan's analog reading from the Sixties, yet Harnoncourt provides a viable alternative in itnerpretation.

In theory it was an exciting notion to provide a free bonus CD containing Harnoncourt's defense of Bruckner's surviving sketches for a fourth movement, never completed. Could it really be that his ocntemporaries were wrong and that Bruckner left us pages of great music begging to be revived? Harnoncourt's talk is highly persuasive, but when the Vienna Phil. actually plays what survives of the finale, it proves as sorely disappointing as its reputation would lead one to believe.

Depends what you consider good.......2004-06-14

Harnoncourt has done some great things for music in his career, but I would not consider this one of them. He achieves an "authentic" performing style from the Vienna Philharmonic with a thin string sound and little or no vibrato. So anyone expecting that sweet Vienna sound will be disappointed. But his conducting does not meet that goal of authenticity, because he varies tempos too much. It draws attention to itself and weakens the cohesiveness of the work as a whole.
There are other versions, many of which are mentioned by the other reviewers below (Giulini, Karajan, et al.), which communicate this great work more simply and effectively. They are also unique and full of interesting details (some attention to detail is good). In light of them, Harnoncourt's view is radically different. Experience has taught me that subtle differences in interpretation give pleasure with repeated listening. Radical differences are OK in a live performance (which this is), but do not stand the test of time. So I do not recommend this as a first recording to have of Bruckner's 9th.

Terrific performance!.......2004-02-25

The symphony recording is damn good, and the extras are very interesting (to hear Harnoncourt speaking German and English, to hear the sketches of the last movement). In my mind, this ranks among the very best -- with Celibidache on EMI, Giulini on DG, Bernstein on DG, and don't forget the second movement of the Jochum on EMI.

Unconvincing performance; interesting commentary.......2004-01-15

First off, I do not like the performance. Harnoncourt's tempi are erratic, particularly in the adagio (where he speeds up the second theme-group to the point he cheapens it).

Secondly, I found his commentary on the 4th movement "chunks" informative. They could easily have been printed in liner notes; instead, we have each of the chunks played twice, followed first by commentary German, then in English.

Thirdly, I see no reason why he should not have recorded the full movement as completed by someone -- by William Carragan (Chandos: Yoav Talmi, Oslo Philharmonic); by Nicola Samale & Giuseppe Mazzuca (Teldec: Inbal, Frankfurt Radio Symphony Orch [with the 5th Symphony]); or by Samale, Mazzuca, and John A Phillips (Camerata: Eichhorn, Linz Bruckner Orch). My first choice is the Carragan: though the Oslo band takes third place among those in these recordings, it is good enough and I find Carragan's completion the most convincing.*

(In January 1984 I went to New York and Carnegie Hall to hear the American Symphony Orchestra perform the premier of the 9th with Carragan's finale. The performance was reviewed the next day in the Times. I immediately wrote Joel Flegel, editor of Fanfare, asking if he knew whether a recording was planned. Joel was dubious and dismissive: "If that college professor really....")

As Carragan noted in his program notes for the ASO "premier," the finale includes the greatest of Bruckner's chorales. That magnificent theme cannot be understood or appreciated by hearing it only in Harnoncourt's chunks. It needs to be heard in context -- and that context can only be provided in a "performing version."

In my opinion, Harnoncourt does a disservice to Bruckner and to listeners by not offering a completed finale. There is certainly room for one in this two-disk set.

* But Carragan will either produce a new version or be superseded as pages not available to him have since been found -- and as still more come to light.

Harnoncourt roars, but Wildner rages.......2004-01-05

As the other reviewers note, this release is essential for anyone interested in this work, for the workshop and documentation of the currently surviving material from the final movement of the symphony. Another important aspect of the release is the use of a new "critical edition" of the initial three movements of Bruckner's 9th, which contains a number of very evident modifications, particularly in orchestration. All the same, it is a concert recording, and, at least in the usual CD format, balances aren't always optimal, trumpets and trombones often too forward, at the expense of the Vienna Phil's strings and (especially) glorious horn section, and timpani are somewhat reticent, especially in the first movement. Harnoncourt also tends to push a bit hard, lacking the natural plasticity in tempo that marks the greatest performances of the first three movements of this work. The impression is one of roaring power, building and receding throughout. Of the 4th movement sketches, Harnoncourt plays exactly what survives, except he omits the 50-odd bars of three coda fragments that have turned up.

Just a few months ago, a recording of the 9th including a reconstruction/completion of the 4th movement, based on the same body of fragments and sketches (including the coda) and prepared by the same editors, was released on Naxos(8.555933-34). The orchestra is the New Philharmonia of Westphalia (Germany) and the conductor is Johannes Wildner. Now, finally, we can hear this work in a form tantalizingly close to the way Bruckner intended. Furthermore, unlike Harnoncourt's Vienna Phil performance, Wildner and his astonishiingly capable Westphalians present what I can only describe as a ferocious performance, with horns and timpani cutting through the fabric of the orchestra at key points, and effectively flexible tempos. It's a performance unlike any I've heard since Furtwangler's furious and terrifying recording made in Berlin during the darkest days of World War II. If you've gotten the Harnoncourt (or even if you haven't), you have to get the Wildner, too.

Tracks:

Sparky
The Big Mistake
Sandy River Belle
The Mighty Sparrow
Butterflies
Thunderhead
Bungee Jumpers
Out The Gap
Maguire And Paterson
Reel Beatrice
The Duke Of York's Troope
Bjorn Again Polka

Amazon.com

The baby-boomers who have led the Irish folk-music revival have long had an aversion to drum & bass, viewing these dance-band implements as a betrayal of tradition and a sellout to commercialism. As a result their records have often been dazzling in the higher ranges but undernourished on the bottom, where only the bodhran and bouzouki hold sway. Sharon Shannon has no such compunctions, and she features drum & bass on eight of the dozen numbers on her second solo album, Out the Gap.

Customer Reviews:

Well, yes, but..........2003-03-19

Sprightly, cheerful, yet ultimately lightweight and unchallenging Celtic-fusion instrumentals, basically trad-based, but with flourishes of reggae, pop and classical styles woven into the sound. Shannon is a superior musician, with dazzling technique on both button and bow, but this is music that was made to sit in the background, and doesn't really move me. No onerous synths or outlandishly "pop" arrangements, and a welcome softening of the standard severity of the trad style, but still a bit cotton-candy-ish and bland.

Wait till you hear Diamond Mountain Sessions!.......2000-11-03

This was a good CD, we picked it up in a little shop in Killarney Ireland where she was due to play the day after we left. We also bought her new album called "Diamond Mountain Sessions" which is the best new album I've bought in years! I'm not sure if it's available in the states yet, but it is well worth the wait. Appearances from Steve Earl, Jackson Browne, etc...

Fabulous Album.......2000-03-17

I had never heard of Sharon Shannon until a friend of mine insisted I listen to Out The Gap. I ran out and bought my own copy the next day. This is a stunning album. Every track is great. It gets richer every time I play it, and I've played it maybe 500 times. I'm sure most people have never heard of Sharon. I don't know whether to tell the world or keep her our little secret. When your tastes grow up and you get tired of the sludge that passes for "music" these days, come home to Sharon Shannon. You'll be glad you did.

I guess I get to be the bad guy.......2000-02-25

If the current Celtic music fashion has only one lasting effect, I hope it's to renew the reputation of the accordion, an instrument much maligned for its association with snoozer music from a less hip generation. Sharon Shannon serves up a steaming hot dish of not-your-daddy's-accordion music, and if it doesn't make you want to get up and dance, we might as well lay you six by six in the ground right now.

Lively and fun........1999-03-18

I got this cd after seeing Sharon Shannon live. She and her band are terrific musicians, and this album shows them off wonderfully. Many of the tunes are upbeat ones that are lively and fun. I always have to play the cd through at least twice because I'm never ready for it to end.

Average customer rating:

Out the Gap
Sharon Shannon
Manufacturer: Irl
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

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

General | Celtic | International | Styles | Music

Rock | Celtic | International | Styles | Music
ASIN: B0001FYROE

Tracks:

Sparky
Big Mistake
Sandy River Belle
Mighty Sparrow
Butterflies
Thunderhead
Bungee Jumpers
Out the Gap
Maguire and Paterson
Reel Beatrice
Duke of York's Troope
BjAgain Polka

Average customer rating:

Out the Gap
Sharon Shannon
Manufacturer: Compass Records
ProductGroup: Music
Binding: Audio CD

General | Contemporary Folk | Folk | Styles | Music

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

General | International | Styles | Music

General | Celtic | International | Styles | Music

Rock | Celtic | International | Styles | Music
ASIN: B0007RTANY
Release Date: 2005-03-15

Tracks:

Sparky
Big Mistake
Sandy River Belle
Mighty Sparrow
Butterflies
Thunderhead
Bungee Jumpers
Out the Gap
Maguire and Paterson
Reel Beatrice
Duke of York's Troope
BjAgain Polka
Mighty Sparrow [*]

Average customer rating:

Lets Talk about REAL Rock

The Art of Breathing Underwater
No One's Kind
Manufacturer: No One's Kind
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
ASIN: B000CAGFRU
Release Date: 2005-11-08

Tracks:

As You Wish
Last Move
Epic
Offwhite
Toast to the Loved, Everlasting

Customer Reviews:

Lets Talk about REAL Rock.......2005-12-25

For the longest time ive tried to find new music which not only challenged my playing as a musician, but also was fresh and exciting. I had the very fortunate opportunity to befriend the members of NOK and was able to see their raw energy in their music be transferred to their final production without any loss of power. (only thing is you cant see the crazy flips and I-beam acrobatics of my buddy Ryan J) But putting biases aside. This group of experienced musicians encorporate incredible melodic hooks along with crushing rhythmic power. The ability to combine the extremes of the calm and the frenzied are what makes this band a REAL Rock group in my book. But this is simply my opinion, take a listen to what the Boston papers are calling the "Best of Boston 2005" (its not the first time they've won that title too). Keep rocking guys. im glad to have been a part of their journey.

-Alex Myla
Total Departure