Colezo: Arabesque [Import]

Colezo: Arabesque [Import]

Track Listings

1. Time To Say Good Bye

2. Heart On Fire

3. Parties In A Penthouse

4. Dance Dance Dance

5. Hit The Jackpot

6. Young Fingers Get Burnt

7. Make Love Whenever You Can

8. Peppermint Jack

9. High Life

10. In For A Penny, In For A Pound

11. Caballero

12. Midnight Dancer

13. Billy's Barbecue

14. Jingle Jangle Joe

15. Fly High Little Butterfly

16. Buggy Boy

17. Friday Night

18. Hello Mr. Monkey

Tracks:

Requiem For Evita
Oh What A Circus
On This Night Of A Thousand Stars
Eva Beware Of The City
Buenos Aires
Goodnight And Thank You
The Art Of The Possible
I'd Be Surprisingly Good For You
Another Suitcase In Another Hall
A New Argentina
Don't Cry For Me Argentina
High Flying, Adored
Rainbow High
Rainbow Tour
And The Money Kept Rolling In (And Out)
Waltz For Eva And Che
You Must Love Me
She Is A Diamond
Montage
Lament

Album Description

One of the world's greatest musicals, returns to London's West End after 21 years. Directed by the award-winning Michael Grandage and featuring lyrics by Tim Rice and music by Andrew Lloyd Webber, the brand new production of the smash-hit stage show had its Press Night with rave reviews at the Adelphi Theatre on June 21st., 2006. The amazing cast includes the exciting Argentinean discovery Elena Roger as Eva, Philip Quast as Peron and Matt Rawle as Che. Polydor. 2006.

Album Details

2006 Digitally Remastered Edition of the Original Andrew Lloyd Webber/Tim Rice Classic Stage Presentation that Told the Story of Evita Peron and Served as the First Major Pinnacle in the Career of Elaine Paige.

Customer Reviews:

Good but not Great .......2007-03-03

This album is good, but it is not great.
I love the voices and new interpretation of the songs, but
I cannot say I love Eva Peron of this particular album. In my personal
opinion, Madonna sings better for certain songs like 'New Argentina'

It is a great album, but I would rather go for Madonna and Patti LuPone.

Patti LuPone owns!!!.......2007-01-01

I gave this show three stars for one reason: nothing can outshine Patti LuPone flawless performance as Eva Perón! Don't get me wrong Elena Rogers delivers a heartfelt Eva but lacks the suprerior belt power of Ms. LuPone.

Phillip Quast however is a brillant Juan Perón, basically anything with Mr. Quast in it is worth getting!!!

Matt Rawle brings a very new and young Ché to the plate.... maybe not quite vocally powerful as Mandy Patinkin. He's okay but needs some getting used to.

The new orchestrations and musical changes are different but I like the original much better....

If you're already an Evita Fan and really enjoy the original recording then I would reccamend this, but if you haven't yet heard Evita then I'd say start with the Orginal Recording with Patti LuPone and Mandy Patinkin first.

Rainbow High, but it's still Patti's show.......2006-11-02

I've always believed "Evita" was ALW's most intelligent and most important work-- a fully realized (if not arguably biased) exploration of the life of Eva Peron. I know the "Phantom" phans out there will disagree, but I don't think anything else ALW did was as significant or musically brilliant. Add Tim Rice's lyrics, and what you have is a bona fide diamond in the musical theater pantheon. Only Mama Rose is a more coveted female role-- maybe.

First there was Julie Covington in the experimental stage, then Elaine Paige in the original London cast, who seemed to play it with a nudge and wink. Somewhat more recently, Marti Webb-- another ALW alumnus-- did a largely forgettable studio album of songs from the show. As for the movie, I think Madonna did a very respectable job and was largely overlooked. The CD largely holds up as a document of the film, with Madonna's singing effective, and Antononio Banderas a complete surprise as a competent, if not always attached, Che. Such is the problem with soundtracks, the lack of interaction among cast members that is vital to stage.

But this has always been Patti's show, and always will be.

Patti Lupone was uniquely qualified to play Evita when it opened on Broadway in 1978. She had the attitude, the talent, the brass, and those pipes. She will always be the quintissential Evita. Mandy Patinkin was an admirable Che, well before he descended into the manic Broadway hyper-belter that Sondheim undountedly had a hand in creating. The Lupone Evita, on 2 CDs, with most of the inceidental music and an incredible record of star-making performance, will forever be the most important recording of this show.

Now, nearly 30 years later, Evita is being revived on the London stage, at the Adelphi Theatre, and garnering rave revues. I've been waiting months for this CD, and I'm not disappointed. Elena Roger is a stunner of an Evita, vocally directed to shift from a street-wise Spanish accent in the early songs ("Buenos Aires") to a still Spanish but lyrically elegant Evita as she rises to global sainthood. Lupone's brass isn't obvious. This Evita isn't as flawed or damaged as Madonna's interpretation, but definitely handles the demands of the score. The "Don't Cry For Me Argentina" number is exquisite, and she achieves some drama in the "Rainbow High" number that even alluded Lupone. Listen to this woman belt "I'm their savior!" at the key moment in the song-- this probably stops the show every night. The addition of "You Must Love Me," the in-out song that, after Madonna, now seems will be a permanent part of the show, is performed with delicacy and anguish-- I'm not sure Lupone could've pulled off the quiet desperation as perfectly as Elena Roger does.

This Che takes some getting used to. Matt Rawle sings the demanding role with energy and, at points, quite beautifully. He never emulates Patinkin, which is appropriate. He also has a strong Cockney accent at points (particularly in the early numbers) that come off at first as startling. He too refines it by the time "High Flying, Adored" comes around, and he's excellent in the "Waltz for Eva and Che." Elena Roger's Spanish accent works wonders here; Matt Rawle gets a bit distracting, even with his astonishing energy and vigor. At points, he sounds like he should over at the Prince Edward Theatre in "Mary Poppins." Happily, Phillip Quast comes across as a more youthful, vocally strong and beautifully sung Peron-- he may be the best Peron yet. Gary Milner is a respectable Magaldi, the joke of the 1978 version having worn thin by now.

Orchestrations are excellent. Some very interesting dissonance at important points, quieter and more like a chamber group at others. My major regret with this recording is that it's on one CD, so much of the incedental music we've been listening to for years on the Lupone 2-CD version is missing. This hurts, not only because the score is so good, but because this cast is excellent. Still, coming in at an hour and 10 minutes, I'm not complaining (much). A complete recording would have earned it 5 stars.

This is one of the few revivals that honestly stands up to the original-- something you can say for very few shows. It won't replace Lupone and Patinkin (as Faith Prince and Nathan Lane did with the 1992 revival of "Guys and Dolls," for example), but this is an excellent recording, and an absolute must for any fan of this show-- which, I believe, includes anyone who calls themselves a fan of musicals. Great stuff- it'll leave you Rainbow High.

A New Argentina! (or at least a new Argentinean playing Evita!).......2006-09-12

It dawned on me awhile ago that no matter what your opinion of Andrew Lloyd Webber, if he had only written three musicals: "Jesus Christ Superstar," "Evita", and "The Phantom of the Opera," he would still qualify as one of the greatest musical composers of the last forty years. The fact that he has been so prolific and adventurous in his material only elevates him in my mind. I can't help but appreciate his love of musicals, even when he doesn't quite hit the mark. Really-- besides Sondheim (obviously)-- who has been trying out new, even experimental, ideas to such a degree for so long?

Think about it for a second: while most composers take easy approaches (especially these days, when the norm is to adapt recent and well known films), Lloyd Webber has written shows about cats (based entirely on a book of poems, no less!), fading Hollywood movie stars, the Troubles in Ireland, racing trains, and even one about a girl in the bible belt who thinks the convict hiding in her barn is Jesus. Whatever you think of his musical style (Too bombastic! Too many recycled melodies!) or the shortcomings of his lyricists, he takes more chances than most composers and there are memorable tunes in virtually every show he has written. And though the three I mentioned as his best are all pretty early works, I don't think he's lost his touch: "The Woman in White," his latest, was way underrated. I mean, come on, it is SO much better than most scores we get from most ANY musical composer (and David Zippel's lyrics, unlike some of Lloyd Webber's other collaborators, are right there on the same melodramatic wavelength as the material and music).

Anyway, if I sound defensive it's because Lloyd Webber's "Evita" was the musical that hooked me on cast recordings, and it's one I really don't get tired of hearing (especially with so many recordings available to keep it fresh). The music is excellent, Tim Rice's lyrics are superb, and the whole show is innovative in its deliberately nontraditional storytelling. In short, it's one of my all time favorite modern musicals.

So now we have another version to add to the lot: the London 2006 revival recording. First things first: unfortunately, it's a "highlights" version and not the usual 2-discs you expect from "Evita" recordings. So, a disappointment there. Still, most of the important stuff is here, save "Peron's Latest Flame," which was always one of my favorite numbers in the show. To cut that song is almost inexplicable (I hope it's still in the show!). I do, however, like the inclusion of "You Must Love Me," the Oscar-winning number written for the movie version. It's nice to hear it in this theatrical context.

The orchestrations throughout are also really good. Revamped by Lloyd Webber himself, they do add an extra Argentinean flavor, just as the liner notes say the intent was (at least it's what I imagine Argintenean flavor to sound like-- not an expert here on South American song stylings). There are lots of changes from previous recordings-- some quite large, others more subtle. Perhaps the most noticeable changes are a reworking of "The Art of the Possible" that is pretty cool sounding, and an updated version of the "montage" near the end.

Also adding a bit more of that Argentinean flavor is Elena Roger in the title role (she ought to-- she's from Argentina!). She's great in the role, coming across as sort of girlish, yet with a powerful harshness; she lends an authenticity to the proceedings with her conviction and Latin accent (the accent is an asset, not a problem-- she sings the lyrics with amazing clarity). I don't feel up to comparing the various Evitas, as they all have their own good qualities, but probably the best I can say about Roger is she is far from a carbon copy of any previous actress (impressive, given the amount of women who have recorded the role). Matt Rawle as Che and Philip Quast as Peron are both perfectly good, if not quite as distinctive.

So this is a really good recording overall and will get plenty of repeat playing from me. "Evita" will always be "five stars," but for rating purposes, I have to dock one star here for not quite giving us the whole score. I really don't know what they were thinking. It's even packaged to look like a usual 2 disc set! So a minor disappointment in what is otherwise a really worthwhile album.

EXCELLENT RECORDING OF THE COLOURFUL NEW PRODUCTION, BUT..........2006-08-22

... this is only a highlights recording. But before we get to this fact, one has to say a few words about the musical itself.

Over the years Andrew Lloyd Webber has made many musicals, some more successful and appealing to the public than the others. Most people will, however, agree that "Evita" remains one of his most satisfying works to this date. Numerous reasons confirm this statement. Just like in its predecessor "Jesus Christ Superstar", "Evita" is almost entirely sung-through; the lyrics are witty and appropriate; the subject matter is again a personality larger-than-life who rises from obscurity and dies at the peak of its fame, thus becoming a legend; the score is captivating and appealing to the listener, at home or in the theatre. The subject matter is quite well know, but let us repeat the essentials for the ones who are unacquainted with it: We follow the life story of Eva Duarte Peron, wife of post-World war two president of Argentina, Juan Peron. However, the musical is very loosely based on the actual life of the real Evita. The story follows Evita from the day of her death in July 1952, and then we have flashbacks until that moment, covering her coming to Buenos Aires, alleged love affairs, meeting Peron, being the first lady and dying of cancer at 33.

This CD is the cast recording of the newly directed 2006 London production that opened in June in London's Adelphi Theatre. This is the first production that did not use Hal Prince's renowned direction, but instead it has Michael Grandage, one of the best contemporary British theatrical directors. The cast who delivers the glorious score is for the most part, well picked. Elena Roger, a tiny, blue-eyed young Argentinean , brings a welcoming freshness to the role, sung in the past by some of the best female voices in the theatre, such as Patti LuPone and Elaine Paige. Elena seems to understand that the role of Eva Peron needs to be acted as well as sung. She brings a new touch to the songs we've heard performed so many times before and although Patti LuPone's Evita will by all accounts remain unmatched, Elena Roger found both her voice and character, despite the fact that at some points she sounds as if she is struggling to hit the highest of notes. Her rendition of `Buenos Aires' is one of the highlights of this recording, but one must note that the famous `Don't cry for me Argentina' needed a bit more of the vocal range in Elena's take of the refrain reprise.

Matt Rawle's Che gets a mixed review. He can be quite good at times (like in `The money kept rolling in') and yet he has the tendency of singing too much in a high voice, similarly like Mandy Patinkin on the 1979 Broadway Cast Recording. I always felt Che needs to have a deeper voice, as sung by Antonio Banderas, Colm Wilkinson or David Essex. Philip Quast makes a fine Peron, but his presence on this album, due to its highlights nature, is barely noticeable. Lorna Want's Mistress is a gem in her rendition of 'Another suitcase in another hall'.

The new orchestrations sound fresh and have more of a Latin American and tango flavor than the previous ones. `Buenos Aires' has a new lush melody in between the verses and the discreet accordion sound in `I'd be surprisingly good for you' is a nice touch. However, there are some quite unnecessary cuts made in the music. So in the latter song the charming orchestral play of the melody between the refrains is completely cut, which takes a lot from the song's appeal. The same has been done with `You must love me', which is beautifully performed by Roger, but the lack of the orchestral solo is something which is very noticeable and not called for.

The lyrics of Tim Rice, one of the main assets of this show, haven't lost any of their wittiness and one has to mention the fact that the entire second verse of `Lament', which can be only heard on the 1976 Concept Album with Julie Covington, is now fully used for the first time on stage. This is very important, since not only does it gives an important insight into what authors conceived as Eva's motivation (the need to be loved), but also it makes the whole story line more complete. This is certainly the most touching number on the CD: Roger gives a truly moving performance and there is a discreet choral accompaniment here, which gives a moving note to it all.

Finally, to the issue from the beginning of this review. This is, sadly, only a highlights CD of this production, and what's worse, it has less material than the highlights album of the movie soundtrack with Madonna. It remains unclear why the author's didn't go for a full 2 disc edition, even more so, when the last one was done in 1979, with Broadway Cast Recording. No matter what the reasons were, there was 10 more minutes left to fill on this CD and it is just about enough to round off the story. Some of the things missing in the musical numbers on the CD are: `Eva and Magladi', the introduction to `A new Argentina' or the last Eva's lines from `The rainbow tour'. There is also a question of the reason for including `The art of the possible' (which is more of a number to be seen on stage than to listen) and omitting of `Peron's latest flame' altogether. These are the main reasons this CD is not as good as it could have been. Let us hope that this issue will be resolved if this production makes it to Broadway in the near future. The CD itself comes in a nice sleeve case, lyrics, director's notes and a couple of production pictures.

For those of you who are getting acquainted with the story of Eva Peron for the first time I must point out: Bear in mind that this musical is only loosely based on the life of the real Evita. As much as Tim Rice's lyrics are craftily made, they lack a lot of historical accuracy. As a historian I became very interested in Eva Peron's life story so I did some research after seeing the movie. It turned out that the authors based their entire work on a single book called EVITA: THE WOMAN WITH A WHIP by Mary Main. The author belonged to the rich Anglo-Argentinean part of the society that was naturally opposed to Perons. Today's historians concur that this book is based on rumors, lies and myths, written with the single purpose of slandering Eva Peron as much as possible. It contains no footnotes and no bibliography. The authors used it mainly because it was one of the few books available on the subject in the English language during the 70-is. So one should be very careful in making any conclusions based on the musical or the movie alone.

All things considered, this is a nice addition to your existing Evita cast recording collection or a good souvenir from the show. But for the people who want to enjoy Evita completely, I would recommend to go for the more complete recordings: 1976 Concept Album with Julie Covington, 1979 Broadway Cast with a Tony-winning Patti LuPone or 1996 movie soundtrack with Madonna.

Average customer rating:

Coles Corner
WOW!
Just 5stars.
Classic Late Night Songcraft
It's all true...

Coles Corner
Richard Hawley
Manufacturer: Mute U.S.
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Indie & Lo-Fi | Alternative Rock | Styles | Music

Chamber Pop | Indie & Lo-Fi | Alternative Rock | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

General | Rock | Styles | Music
Similar Items:

Z
Fox Confessor Brings the Flood
Leaders of the Free World
Lookaftering
Subtitulo

ASIN: B000AA4LN2
Release Date: 2005-09-06

Tracks:

Coles Corner
Just Like The Rain
Hotel Room
Wait For Me
The Ocean
Born Under A Bad Sign
I Sleep Alone
Tonight
Wading Through The Water
Who's Going To Shoe Your Pretty Little Feet
Last Orders

Amazon.com

Richard Hawley spent the `90s primarily as a guitarist with Pulp and Longpigs, and contributing in-studio for the likes of Beth Orton and Robbie Williams. The 21st century, however, has seen Hawley make his way as a stellar solo artist. A loose tone poem/ode about a specific, well-traveled locale in his native Sheffield, Coles Corner is dense with songs that manage to be both weighty in tone, yet airy in execution. Sung in a thrilling baritone that falls somewhere between Leonard Cohen and Johnny Cash, his lyrics scrutinize that ghostly intersection of places and people, and how little pieces of ourselves we leave behind accumulate to form a kind of psychic footprint. The record bleeds with heart-on-the-sleeve sincerity that has nothing at all to do with indie music's recurring fondness for bitter irony. "The Ocean" is a prime example, filled with slow, sweeping motifs and unabashed grace. Hawley doesn't forget his guitar, breaking in with thick, messy riffs on songs like "Born Under a Bad Side" and slide atmospherics on "I Sleep Alone" and "Hotel Room." It's a satisfying piece of work, and while it cements Hawley's reputation as a skilled songwriter and musician it also exposes him as a world-class hopeless romantic. -Matthew Cooke

Customer Reviews:

Coles Corner.......2006-07-27

Once in a while a song writer composes a song that creates the same emotion in a listener that the subject of the song does. Laura Nyro got it right with Wedding Bell Blues (marrage) and Stormy Love (divorce). Dennis Lambert got it right with One Tin Soldier (war) and Dream On (children). Hawley got it right with the title song Coles Corner (looking for love).

The lyrics are crisp and clear. I quote:

I'm going down town where there's music,
I'm going where voices fill the air,
Maybe there's someone waiting for me
With a smile and a flower in her hair.

The melody is well crafted. The arrangement is beautifully simple. The strings are lush without being too much.

Alas, as also is the case with Nyro and Lambert, Hawley's vocals are an aquired taste. I hope someone covers this. But to those who appreciate listening to that unique thing the songwriter's voice brings to a very special song, it does not get any better than this.

WOW!.......2006-06-11

I listened to an interview with the artist downloaded from the Gaurdian newspaper online. He played a couple of acoustic numbers. The vioce, big, deep and rich with just a hint of nicotine. The songs, fresh, mesmerising and heartfelt. Immediatly purchased this album and recommend it to all conisuers of intellegent, well constructed, superbly produced romantic pop music. Treads some dreamlike territory that resonates with echos of Jimmy Webb and Glen Cambell, Burt Bacharach,Elvis Presley, Roy Orbison. Pulsating with atmosphere, expansive and lush. Has it all. Why isn't this guy huge?

Just 5stars........2006-04-05

This is almost as good as "Late night final", so this is very good.

Classic Late Night Songcraft.......2006-03-29

This is a lovely record, one worth listening to every time it rains, as I'm doing now, here in old LA. The vocals are warm, the songs classically structured, and despite other reviews, this is NOT over produced. Yes: There are understated, very understated, strings on a few cuts--a FEW. Some reverb touches appear here and there. But that constitutes over production? In what parallel universe, what Bizzaro World? And the nonsense about this being a Country record is laughable. Which country, exactly, are we talking about? There's exactly one song that might fit that genre. And it is classic and beautiful. Sure, there are some songs that derive from the precursors to country, the old folk song styles, which were themselves derived from Celtic ballads. But "Country?" Not to offend anyone, but that just isn''t accurate.

I would say the vocal and songwriting analogy would be closer to Nick Lowe's latest work, rather than Cohen or Cash. Cash had more of an edge to his tone; Cohen doesn't have Hawley's sense of pitch, though he has a whole lot of lyrics. This is more Spartan, like Nick's "Dig My Mood," though melodically it also closes in at times on Orbison, and there is an echo of Roy in the phrasing. I might offer the caveat that the lyrics are not the kind of wordplay that makes Nick Lowe a genius, nor the vocal passion that trademarks Roy Orbison, but Nick and Roy belongs to a different pantheon entirely. What Hawley is doing here is turning cliches around and upside down, perfectly respectable in my book, and singing them with the kind of integrity that honors the emotions behind the otherwise stock imagery.

I grow weary of cricics who have never played music, never taken a music course, critics whose sole credential is that they passed Freshman English with a B, damning great records like this one just to see their own prose in print. If you like classic popular song forms, delivered with grace, skill, dignity and a sincerity that cannot be faked, then this is for you. I, for one, would love to shake the hand of the man who could make a record like this in these times of abject vapidity.

It's all true..........2006-03-28

I know it's easy to be cynical about an album that has been lauded as much as this one, but it's all true. His solo albums just get richer, deeper and more sublime with each release. Some people have mentioned how he has moved away from his sound on Lowedges, but it's still there. It's just matured and blossomed. If you have the chance to see him live, don't miss it.

Average customer rating:

Ravel's Startlingly Original Complete Ballet Score in Modern Sound

Ravel: Daphnis et Chloé

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | 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:

Mussorgsky: Pictures at an Exhibition; Tchaikovsky: Symphony No. 4
Kabalevsky: Piano Concerto Nos. 1 & 4; Symphony No. 2
Rachmaninoff: Symphony No. 2 / Vocalise
Peter Lieberson: Neruda Songs
Symphonic Poems (Les Douze Gardiens du Temple)

ASIN: B000IY067U
Release Date: 2006-11-21

Tracks:

Introduction Et Danse Religieuse
Les Jeunes Filles Attirent Daphnis
Daphnis S'Approche Tendrement De Chloe
Les Rires S'Interrompent
Une Lumiere Irreelle Enveloppe Le Paysage
Derriere La Scene On Entend Des Voix
Anime Et Rude
Bryaxis Ordonne D'Amener La Captive
Lever Du Jour
Le Vieux Berger Lammon
Bacchanale

Customer Reviews:

Ravel's Startlingly Original Complete Ballet Score in Modern Sound.......2007-04-14

There are two classic recordings of the full 'Daphnis et Chloé' ballet (as opposed to either of the two suites taken from the score) -- those conducted by Pierre Monteux and by Charles Munch. Monteux, of course, conducted the premiere in 1912, and recorded it with the London Symphony and the Royal Opera House chorus some forty-odd years on and although that recording is now fifty-some years old, it is in vivid sound. Munch recorded it with the Boston Symphony and it, too, is getting long in the tooth and is in somewhat less modern sound. But both of those versions are superb musically. Against that competition I wondered what a barely known conductor/composer, Laurent Petitgirard, and a provincial French orchestra, Orchestre National Bordeaux Aquitaine, could come up with. Was I surprised and pleased! This recording deserves to be placed in the same company as the classic two, and is miles ahead of another recent recording of the complete ballet with Myung-Whun Chung conducting the Orchestra Philharmonique de Radio-France. The Monteux and Munch are still availabl, if I'm not mistaken, at the midprice level.

Of course, there is a vitally important choral component to the ballet score -- the chorus sings both onstage and offstage; one can only imagine what kind of comings and goings this causes in a concert performance. In this recording the singers are the excellent Bordeaux Opera Chorus.

There are many original touches in this sumptuous score, Ravel's longest, one that calls for a huge orchestra. The opening scene begins with muted string chords, offstage chorus and an ethereal flute line followed by an answer from the principal horn. The stage fills and the music builds to a shattering climax before setting into a religious dance with harp, strings and woodwinds. This scene is as musically original as anything Ravel had written up to that time and there are points of similarity here and later with Stravinsky's 'Rite of Spring' which premiered with the same forces a year later. One can't help but think of Strauss's 'Dance of the Veils' from 'Salome' in the third scene in which temptress Lyceion lures shepherd Daphnis by dropping one veil after another, but the music is pure Ravel peppered with some Stravinskian rhythms as we now think of them -- but, remember, this is before 'Rite of Spring'.

The pirate scene is another which foreshadows 'Rite'. One has to wonder, frankly, whether Stravinsky knew the score -- surely he did since he was living in Paris and already associated with Diaghilev's Ballets Russes. Even if he did, though, this is not to gainsay Stravinsky's later achievement but rather to underline Ravel's originality. One does not tend to think of Ravel as capable of brutal orchestral effects, but here, in a section marked 'animé et rude', he presents primitive and exciting rhythms, softened (as Stravinsky's are not) by a certain sophisticated allure. The muttering, almost grunting male interjections in this scene always remind me of a similar effect late in Britten's 'Peter Grimes', thirty years later.

This is a gloriously original and effective score and it is given a gloriously effective reading here by Petitgirard and his forces. I would without hesitation place this on the same level as the aforementioned Munch and Monteux. Add to that the budget price and modern sound and this is an easy recommendation.

Scott Morrison

Average customer rating:

"Little Johnny C" is Back!

Little Johnny C
Johnny Coles
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Blue Note Records | Amazon.com Label Stores | Stores | Music
Similar Items:

True Blue
Open Sesame
Ready for Freddie
Here to Stay
Heavy Soul

ASIN: B0007DBJ5A
Release Date: 2005-02-15

Tracks:

Little Johnny C
Hobo Joe
Jano
My Secret Passion
Heavy Legs
So Sweet My Little Girl

Customer Reviews:

"Little Johnny C" is Back!.......2005-02-22

The recent batch of Blue Note RVG releases will make many a jazz fan salivate as several extremely hard to find, previously out-of-print CDs are being made readily available once more. This particular title, "Little Johnny C," has been a rare find over the years, first as an LP and then in its first CD incarnation in the limited edition Connoisseur Series in the late 90s. I suppose it's only fitting because Johnny Coles has always been something of a rare find himself, appearing on only a handful of titles over the years including several Mingus live albums, Herbie Hancock's "The Prisoner" and his own "The Warm Sound" for Epic (see my reviews of the latter two). The vastly underrated trumpeter is joined on this session by BN regulars Joe Henderson, Duke Pearson and Bob Cranshaw, and by Leo Wright on alto sax and flute. The drum throne is split by Walter Perkins (on the first three tracks from 7/18/63) and Pete LaRoca (tracks 4-6 from 8/9/63). The disc features five original compositions by pianist Pearson, including the title track and the gorgeous "So Sweet My Little Girl," and one Henderson tune -- "Hobo Joe." With this reissue, Blue Note fans will be delighted that "Little Johnny C" is back in town for good.

Average customer rating:

A truly outstanding Mozart compilation!

Yehudi Menuhin Conducts Mozart

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Griller Quartet Plays Mozart & Haydn
Mozart: Wind Concertos
The Penguin Guide to Compact Discs and DVDs 2005/06 Edition: The Key Classical Recordings on CD, DVD and SACD, 30th Anniversary Edition (Penguin Guide to Compact Discs and Dvds)

ASIN: B00002ZZ54
Release Date: 2007-05-31

Tracks:

Divert in D, KV 136: I. Allegro - CO De Lausanne/Yehudi Menuhin
Divert in D, KV 136: II. Menuetto - CO De Lausanne/Yehudi Menuhin
Divert in D, KV 136: III. Presto - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 239 'Ser Notturna': I. Marcia (Maestoso) - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 239 'Ser Notturna': II. Menuetto - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 239 'Ser Notturna': III. Rondo (Allegretto) - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 320 'Psthn': I. Adagio Maestoso - Allegro Con Spirito - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 320 'Psthn': II. Menuetto - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 320 'Psthn': III. Conc: Andante Grazioso - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 320 'Psthn': IV. Rondo: Allegro Ma Non Troppo - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 320 'Psthn': V. Andantino - CO De Lausanne/Yehudi Menuhin
Ser in D, KV 320 'Psthn': VI. Menuetto - Crispian Steele-Perkins
Ser in D, KV 320 'Psthn': VII. Finale: Presto - CO De Lausanne/Yehudi Menuhin
2 Marches, KV 335: Marcia No.1 - CO De Lausanne/Yehudi Menuhin
2 Marches, KV 335: Marcia No.2 - CO De Lausanne/Yehudi Menuhin

Tracks:

Sym No.35 in D, KV 385 'Haffner': I. Allegro Con Spirito - CO De Lausanne/Yehudi Menuhin
Sym No.35 in D, KV 385 'Haffner': II. Andante - CO De Lausanne/Yehudi Menuhin
Sym No.35 in D, KV 385 'Haffner': III. Menuetto - CO De Lausanne/Yehudi Menuhin
Sym No.35 in D, KV 385 'Haffner': IV. Finale (Presto) - CO De Lausanne/Yehudi Menuhin
Sym No.36 in C, KV 425 'Linz': I. Adagio - Allegro Spiritoso - CO De Lausanne/Yehudi Menuhin
Sym No.36 in C, KV 425 'Linz': II. Poco Adagio - CO De Lausanne/Yehudi Menuhin
Sym No.36 in C, KV 425 'Linz': III. Menuetto - CO De Lausanne/Yehudi Menuhin
Sym No.36 in C, KV 425 'Linz': IV. Presto - CO De Lausanne/Yehudi Menuhin

Tracks:

Sym No.38 in D, KV 504 'Prague': I. Adagio - Allegro - Sinf Varsovia/Yehudi Menuhin
Sym No.38 in D, KV 504 'Prague': II. Andante - Sinf Varsovia/Yehudi Menuhin
Sym No.38 in D, KV 504 'Prague': III. Presto - Sinf Varsovia/Yehudi Menuhin
Sym No.39 in E flat, KV 543: I. Adagio - Allegro - Sinf Varsovia/Yehudi Menuhin
Sym No.39 in E flat, KV 543: II. Andante Con Moto - Sinf Varsovia/Yehudi Menuhin
Sym No.39 in E flat, KV 543: III. Menuetto - Sinf Varsovia/Yehudi Menuhin
Sym No.39 in E flat, KV 543: IV. Allegro - Sinf Varsovia/Yehudi Menuhin

Tracks:

Sym No.40 in g, KV 550: I. Molto Allegro - Sinf Varsovia/Yehudi Menuhin
Sym No.40 in g, KV 550: II. Andante - Sinf Varsovia/Yehudi Menuhin
Sym No.40 in g, KV 550: III. Menuetto - Sinf Varsovia/Yehudi Menuhin
Sym No.40 in g, KV 550: IV. Allegro Assai - Sinf Varsovia/Yehudi Menuhin
Sym No.41 in C, KV 551 'Jupiter': I. Allegro Vivace - Sinf Varsovia/Yehudi Menuhin
Sym No.41 in C, KV 551 'Jupiter': II. Andante Cantabile - Sinf Varsovia/Yehudi Menuhin
Sym No.41 in C, KV 551 'Jupiter': III. Menuetto - Sinf Varsovia/Yehudi Menuhin
Sym No.41 in C, KV 551 'Jupiter': IV. Allegro Molto - Sinf Varsovia/Yehudi Menuhin

Tracks:

Fl And Hp Con in C, KV 229: I. Allegro - Samuel Coles/Naoko Yoshino
Fl And Hp Con in C, KV 229: II. Andantino - Samuel Coles/Naoko Yoshino
Fl And Hp Con in C, KV 229: III. Rondo: Allegro - Samuel Coles/Naoko Yoshino
Fl Con No.1 in G, KV 313: I. Allegro Maestoso - Samuel Coles
Fl Con No.1 in G, KV 313: II. Adagio Ma Non Troppo - Samuel Coles
Fl Con No.1 in G, KV 313: III. Rondo - Minuetto - Samuel Coles
Fl Con No.2 in D, KV 314: I. Allegro Aperto - Samuel Coles
Fl Con No.2 in D, KV 314: II. Andante Ma Non Troppo - Samuel Coles
Fl Con No.2 in D, KV 314: III. Allegro - Samuel Coles

Customer Reviews:

A truly outstanding Mozart compilation!.......2005-02-04

The famous violinist Yehudi Menuhin proves himself a fine and sensitive Mozart conductor in this set. The recording quality is excellent, the performances graceful, flowing, and intelligent. This set received a very well-deserved rosette from the Penguin Guide -- if you're looking for a great recording of Mozart's late symphonies (with excellent renditions of the concertos and seranades as well), search no more.

Mozart: Coronation Mass; Laudate Dominum; Sub Tuum Praesidium

Average customer rating:

Mozart: Coronation Mass; Laudate Dominum; Sub Tuum Praesidium

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | 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:

Mozart:Solemn Vespers/Dixit & Magnificat
Palestrina: Missa Papae Marcelli, Missa Aeterna

ASIN: B0000013SQ
Release Date: 1994-02-15

Tracks:

Mass In C Major, K.317 (Coronation Mass): Kyrie
Mass In C Major, K.317 (Coronation Mass): Gloria
Mass In C Major, K.317 (Coronation Mass): Credo
Mass In C Major, K.317 (Coronation Mass): Sanctus
Mass In C Major, K.317 (Coronation Mass): Benedictus
Mass In C Major, K.317 (Coronation Mass): Agnus Dei
Laudate Dominum (Vesperae solennes de confessore, K. 339 )
Sub Tuum Praesidium, Offertorium, K. 198 (158b)
Ave Verum Corpus, K. 618
Exsultate, Jubilate, K. 165

Average customer rating:

Get Some Coles In Your Stocking For Christmas

The Warm Sound
Johnny Coles
Manufacturer: Koch Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

General | Jazz | Indie Music | Stores | Music
Similar Items:

New Morning
Little Johnny C
The George Wallington Trios
Together Again

ASIN: B000005YOR
Release Date: 1995-08-22

Tracks:

Room 3
Where
Come Rain Or Come Shine
Hi-Fly (Take 5)
Pretty Strange
If I Should Lose You
Babe's Blues
Hi-Fly (Take 2)

Customer Reviews:

Get Some Coles In Your Stocking For Christmas.......2000-07-18

Johnny Coles is an incredible and relatively unknown trumpet player who recorded some outstanding albums in the early 60s. "The Warm Sound" and "Little Johnny C.," recorded for Blue Note, are first rate jazz albums. On the former, Coles is joined by jazz stalwarts Kenny Drew and Charlie Persip, and by Peck Morrison on bass (this is the only recording I have him on). The band is in top form and they admirably support Coles' bright, chromatic, and truly "warm" trumpet lines. "The Warm Sound" not only is a rare opportunity to hear the playing of Coles, but it also a showcase for the writing talents of a young Randy Weston, who contributes four originals. This album was very rare and sought after as an LP, and now that it is available on CD, it should be purchased quickly.

Average customer rating:

An Extraordinary Disc
A casualty of war
What could have been

Music From Behind the Lines
Coles , Fox , Whelan , Brabbins , and BBC Scottish So
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000067ULU
Release Date: 2002-07-09

Customer Reviews:

An Extraordinary Disc.......2002-12-31

I had read glowing reviews of this disc of Cecil Coles' music but I was hesitant to buy it: could such an unknown composer be that good? Having received the CD as a present I can report that it lives up to that reputation. Cecil Coles died at the age of 29 and in that short time he was a remarkably accomplished musician, winning scholarships and prizes. The works recorded here have a nice variety and provide a picture of a brilliant man whose life was tragically cut short. The composer lived and studied in Germany and his music reflects the influence of Wagner, Mahler and Richard Strauss.

The first piece, The Comedy of Errors Overture, is based on Shakespeare's Comedy of Errors, and captures the intricate plot of misunderstandings and mistaken identity. The somber opening of the overture led me to think that this was going to be somewhat pretentious but Coles shifts masterfully into a brilliant Allegro that beautifully describes the comic side of the play. Fra Giacomo is a dramatic scene for baritone to a text by William Buchanan, who was a popular poet in the early 20th century. The subject is lurid: a husband has poisoned his wife and calls the unsuspecting Fra Giacomo to his house in order to murder him, since he has carried on an adulterous liaison with his wife. This piece is followed by a marvelous Scherzo for large orchestra that may have been part of a contemplated symphony. It is a beautifully inspired and colorful work. This work is followed by the Four Verlaine Songs. They are short pieces for orchestra and soprano, sung in English. The writing is exquisite and was Coles' first significant work. From the Scottish Highlands is Coles' tribute to his homeland. There are various influences in this work and the final section, Lament, is a masterpiece with its brooding lament. The final work, Behind the Lines, occupied Coles while he was at the Western Front. This piece was meant to be in four movements of which the first and third (with indications as to the scoring) survive. The music provides a glimpse into life in the trenches. Estaminet de Carrefour is a pastoral piece of the French countryside. Cortege depicts a military funeral procession.

I would highly recommend this disc to anyone with an interest in English music but the music is of interest to anyone and is a tribute to the genius of Cecil Coles. The music is beautifully played and recorded.

A casualty of war.......2002-08-30

I cannot recall any case that parallels the dramatic and poignant discovery of Cecil Coles (1888-1918), the Scottish composer who vanished without a trace from the musical world despite his friendship with Gustav Holst and the critical acclaim that followed performances of his music prior to the Great War. Like George Butterworth, Frederic Kelly, Ernest Farrar and Denis Browne, Coles died in the Great War but unlike them he had no committed champions to keep his name alive and his music before the public. Now, 84 years after his death, his star is rising thanks to the combined efforts of his daughter, Penny Catherine Coles, who never knew her father, conductor Martyn Brabbins and Ted Perry at Hyperion Records.
Brabbins, who completed the orchestration of one of the two surviving movements of the title composition Behind the Lines, believes that Coles "was clearly a huge talent cut down in its prime". Brabbins, the BBC SSO and soloists Sarah Fox and Paul Whelan serve Coles very well in this revealing premiere recording.
While it might be easy to compare him with the composers whose influences are apparent in his music - Elgar, Wagner, Mahler, Brahms and others - I find such comparisons a bit unfair. Coles was a young man when he died, only 29. The amount of music he left is small and much of it is the work of a developing composer who did not have the time he needed to find a voice that was fully his own. This in no way diminishes his achievement which is quite remarkable given that some of the music on this CD dates from his teens. Consider the music that Elgar, Vaughan Williams, Holst composed at the ages of 17, 21, 23, 26 and 29, measure their musical growth, look at the influences and opportunities that helped them shape their work and find their own voices. What would the legacy of each be if he had died at 29?
Coles was a passionate man with a gift for dramatic expression and scene painting, a musical explorer who embarked on an adventure each time he put notes on paper. He absorbed sensations and ideas and observed and captured beauty with the confidence, daring and purpose of a gifted and determined young man poised to soar. He was essentially a poet, dramatist and painter working in the medium of music. His profound poetic sensibility drove his major gift for writing vocal works. He used an orchestral palette of wide range, depth and nuance to paint evocative scenes and portray human drama.
In early works like the three-movement From the Scottish Highlands, a work he began at 17, Coles, the observer, renders an impression of landscape, love and something darker, more elusive and mysterious in the beautiful but lonely Highlands.
In the Four Verlaine Songs we have the first hint of an opera composer in the making. He sets scenes, contrasts moods and casts words to powerful effect with the orchestra surging and swelling as a sumptuous equal partner to create four brief episodes of a mini-drama.
The Scherzo and Overture: The Comedy of Errors are also early works dating from Coles' twenty-first and twenty-third years. The overture containsa "broad spectrum of emotions" which Coles expresses with confidence, warmth, vigour, playfulness and, at times, majesty. TheScherzo, possibly conceived as a movement for a symphony, stands on its own as a work that sustains its momentum and remains dynamic from beginning to end.
Fra Giacomo, a monologue or scena, for baritone and orchestra, is an intense and masterful work bathed in a chiaroscuro of sound and mood that is both tender and chilling. It is a dark psychological tale of infidelity, jealousy, murder and revenge, which the 25-year-old Coles handles with insight and sensitivity. Coles was in full control of his orchestral palette and he used it to dramatic effect. There are many beautiful, moving and tense moments in Fra Giacomo as Coles musically juxtaposes the character's thoughts and actions to achieve exactly the right effect and emotional response.
Behind the Lines, the title work, concludes this superb introduction to Coles. It is half of the full work that Coles composed and scored while he was "In the Field" of war. He carried the manuscript with him everywhere and as a result lost the two inner movements in the shelling. On the surviving mud and blood stained title page, he lists all four movements: "Estaminet du Carrefour", "The Wayside Shrine", "Rumours" and "Cortège". What makes this work remarkable is the fact the "Estaminet du Carrefour" and "Cortege" are the musical equivalent of today's live coverage of an event. Coles did not live long enough to complete Behind the Lines. He died on 26 April 1918 of wounds received when he volunteered to bring in casualties from a wood.
A genius? Yes, I think so. A great loss to music? Absolutely.

What could have been.......2002-08-15

Cecil Coles was but one of many budding artists to die in the horror that was World War I, and but one of many English composers on the cusp of achieving greatness: Butterworth and Warlock come to mind. This a lush and beautiful recording of true Edwardian English music. Martyn Brabbins shines an illuminating baton on the music of Coles, championed after his death in the trenches by Gustav Holst. Is this music of the highest order? I don't think so, but it is almost painful to listen to without being swept over by a wave of nostalgia for a world that was disappearing. All you can ask yourself when listening to this beautiful Hyperion CD is "What could have been ... what could have been?" VERY HIGHLY RECOMMENDED

Average customer rating:

Gorgeous!
A beautiful recording!!

The Water is Wide

Manufacturer: Channel Productions
ProductGroup: Music
Binding: Audio CD

Pavanes | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

General | Contemporary Folk | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

General | International | Styles | Music

General | Christian & Gospel | Styles | Music

Christian Contemporary Music | Christian & Gospel | Styles | Music

General | New Age | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000006LWQ
Release Date: 1994-09-01

Tracks:

Danza Espanola No. 4
Cavatina [Theme from The Deer Hunter]
Reverie
Poor Wayfaring Man of Grief
Sleepers, Awake
She's Like the Swallow
Pacane Pour une Infante Defunte
At the Cradle, Op. 68 No. 5
Six Variants on the Water Is Wide
Jesu, Joy of Man's Desiring
Sarabande
Letter from Home
Couperin

Customer Reviews:

Gorgeous!.......2007-04-14

This is one of my favorite albums of all time. Abide in Me/Monk's Reverie is transcendent. The artists are masters who have arranged the pieces on this album exquisitely. A joy to the senses!

A beautiful recording!!.......1999-05-26

This is a beautiful recording... beautifully performed and recorded... There's a nice blend of two-guitar pieces and ensemble pieces, and it's extremely relaxing music. I highly recommend it! I've heard these guys live, and they're even better in person!

Average customer rating:

Mozart: The Greatest Moments Ever

Manufacturer: Petrol
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Beethoven: The Greatest Moments Ever
Classical: The Greatest Moments Ever
Classical 2: The Greatest Moments Ever
Opera: The Greatest Moments Ever

ASIN: B000HT36MS
Release Date: 2006-09-26

Tracks:

Requiem in D minor, K. 626: 1. Introitus: Requiem by
Piano Sonata No. 16 in C, K. 545 Sonata Facilie: 1. Allegro by Jean
Serenade No. 13 in G, K. 525 Eine Kleine Nachtmusik: Allegro by
Symphony No. 40 in G minor K. 550 Molto Allegro by Sir Neville Marriner
Piano Concerto No. 21 in C major, K. 467 - Andante by Stephen Hough
Symphony No. 25 in G minor, K. 183 Allegro Con Brio by Jeffrey Tate
Symphony No. 41 in C major, K. 550 "Jupiter": IV Molto Allegro by
Serenade in B flat, K. 361 Gran Partita - Adagio by LPO Wind
Concerto for Flute and Harp in C major, K. 299: II. Andantino by Samuel
Flute Concerto in G major, K. 313 - Rondo : Tempo Di Menuetto by Samuel
Oboe Quartet in F major, K.370 Adagio by Brindisi Quartet
Violin Concerto No. 3 in G major, K. 216 - Rondeau : Allegro by David

Music Review:

Music Review

music review