| 1. Museum |
| 2. Circus Girl |
| 3. Like Water Into Wine |
| 4. Souvenirs |
| 5. Main Street |
| 6. You Don’T Even Know Who I Am |
| 7. Secret Of Life |
| 8. Revival |
| 9. Over Africa |
| 10. This Used To Be My Town |
| 11. American Tune |
| 12. On A Bus To St Cloud |
| 13. When You Are Old |
Editorial Reviews
Product Description:
Live CD from the Grammy Nominated Gretchen Peters.
McLaughlin's concerns may have been a bit extraneous-- the live performance has its flaws, to be certain (Jaco wanders off key briefly on "Dark Prince", "Are You the One, Are You the One?" threatens to fall apart), but there's a rare energy and power to the performance that really can't be underestimated, starting with Williams brief drum solo intro that sets the mood for high tension before welcoming his band mates on a racing "Dark Prince". For me, as a Jaco fan, the highlight is "Continuum", performed with grace as Pastorius and Williams stick true to the studio recording and McLaughlin offers a superb commentary that sounds both new and natural.
The studio material, particularly when presented next to the live takes sounds a bit sterile. "Dark Prince" probably best illustrates this-- live, it has an energy and urgency to it, McLaughlin's guitars sound dirty and fierce, Pastorius and Williams explode full of energy. In the studio, McLaughlin's tone, while still overdriven, cleans up and the rhythm section gets a bit too lockstep.
All of the material has been remastered and sounds fantastic-- the live material in particular is notable, clearly the source tapes were in good shape, this could have been recorded yesterday. The set is augmented by brief liner notes by McLaughlin and an essay discussing the performance and subsequent studio session.
This recording is difficult to rate-- the sentimental part of me wants to give it five stars and an endlessly positive, glowing review, but in all honesty, while this is a great recording and one that I'm ecstatic to have, it's not exactly the sort of jaw-dropping performance you'd hope it'd be. Fans of any of the three artists will want this, but don't expect something that'll shake the world.
All and all if you are looking for some different John Mayer stuff and you already like him this would be a great addition to your collection.
This album has a blusey feel to it much like his latest album has.
There are old favorites here, but again- he never sings the same song twice, and has a lot of fun with his music! His music is so dam good people buy cd's with the same tracks just to hear them a different way!
Maybe I should have gotten it for 99c from I-tunes
Not a bad album, but not GREAT imho.
Speaking of "My Shining Hour," let me not be guilty of the same Charlap-centered commentary I lamented earlier. As the liner notes point out, "the incandescent playing captured here is made possible by trust," a trust which in turn is only possible thanks to the rock-solid foundation provided by Peter Washington on bass and the combustible energy released by Kenny Washington on drums. Although I feel that Peter has not yet been ideally captured on recording, it is quite evident from this album and others that Kenny sets the fire under the band and leads them to "Shining Hour" heights. The very swinging feel of a potentially square tune like "Rocker" and potentially static arrangement of "While We're Young," as well as "Last Night While We Were Young's" magical coda, owe much to Kenny's fire, too.
It should be no surprise, then, that numbers like "Lady is a Tramp" cook when the Charlap Trio plays `em, and ballad arrangements like "All Across the City" are so good they almost hurt. But "While We're Young" also provides indisputable proof that this group can play in 3. So let's hear some more waltzes, and more of that glorious ebb and flow that another pianist named Bill inspired at the same Village Vanguard :) How about more bass and drum solos too?!? (come now, 2 bass solos and 1 drum solo really are not enough for a whole album). Then, consider the possibilities of straight 8, Latin, funk, mixed meter...you know these guys can do it. To me, this would make a visit to see them at the Vanguard or Dizzy's Club Coca-Cola that much more memorable - and their group that much better.
In all, this is a most welcome document of an exceptional group in action. It is also long overdue, so let's hope that volume two will follow in short order!
But "Live at Birdland" is not a mere re-do. If, at the time, the Village Vanguard sessions proved a high-water mark for the pianist's career, he proceeded to follow it up with an uninterrupted flow of excellent live and studio recordings that showed him stretching his vocabulary and developing his prowess in ways one had previously not expected from him. "Live at Birdland" is a masterful culmination of such experiments. He has more confidence than ever before, which enables him to solo more effectively.
"Jitterbug Waltz" was a highlight of the first record. It was a restrained, elegant classic that underwent a series of impressive tempo shifts without ever undergoing a change in mood. Here it acheives all this plus more: in the opening solo Kuhn states the theme more fully. The trio then treat it to a number of variations and tempo shifts. At roughly the seven-minute mark, there is a terribly exciting kick into another gear for several minutes, which then cools down into the closing section.
There are inevitable comparisons between the two recordings, since Kuhn decides to use a handful of the same tunes for each. Thankfully, this decision is not repetitious. And, when Kuhn does introduce new material, it startles. The final tune, a driving rendition of Parker's "Confirmation," will leave you breathless.
would still go first for his trio albums with David Finck and Billy Drummond (mostly on Reservoir I think), or some of the ECM titles for their 'experimentalism.' This one shows another side though. Very fine stuff.
The "Live at St. Gallen" CD was just released in the U.S. I have never heard anyone play an 11-string acoustic guitar (no G-string) like he does. He also plays the Banjo and Lapsteel on this CD. For those who enjoy instrumental's, Disc One captures "Ocean", an 11+ minute favorite of JBT fans...but a song that must be enjoyed live and in-person to truly appreciate the talent of this band. Hearing this CD is one thing, but getting a chance to see this band perform "Ocean" live is just incredible. The is really no one song that I don't like on this CD. Other fav's: Peaches & Cream, Treat Yo Mama, Somethings Gotta Give, What you Want, Company Sin.
I would highly recommend this CD among the others the band has released, worth every penny!!! The band/artist has received awards for Best Blues & Roots, Best Independent release, and Best Male artist in Australia.
The dominance of works by Schumann reflects Ms. Argerich's personal fondness for him, and she appears in the Piano Quartet, which has enjoyed a wonderful, highly personal reading by Glenn Gould and the Juilliard Qt. (Sony), among others. This one displays every virtue of live musicmaking, with Argerich's fervent, spontaneous playing leading the way. Compared to earlier sets, the 2006 collection contains more rarities and because of all the sSchumann, less representation by great composers. The flugelhorn arrangement of Schumann's Fantasiestucke for clarinet sounds like a joke. The once unknown Tanayev Piano Quintet gets a committed reading that should help to boost its popularity. The Debbusy Nocturnes actually bring pleasure in the two-piano arrangement. You won't be prepared for Gulda's concerto for Cello and Piano, which sounds like three-beer night at your local German jazz club. But its worth a smile and a listen.
In the end, however, this installment might be best left to connoisseurs while newcomers to Argerich's summer festivities should begin with the earlier, more conventional editions.
Here's the listing of works and personnel since Amazon doesn't supply it:
Martha Argerich / Renaud Capucon / Lida Chen / Gautier Capucon - Piano Quartet in Eb op.47 (Schumann).
Gautier Capucon / Gabriela Montero - Sonata for cello and piano No.2 in D op.58 (Mendelssohn).
Sergei Nakariakov / Martha Argerich - Fantasiestucke op.73 - version for flugelhorn and piano (Schumann).
Nicholas Angelich / Renaud Capucon / Gautier Capucon - Piano Trio in D minor op.63 (Schumann).
Lilya Zilberstein / Dora Schwarzberg / Lucy Hall / Nora Romanoff-Schwarzberg / Jorge Bosso - Piano Quintet in G minor op.30 (Taneyev).
Sergio Tiempo / Karin Lechner - Three Nocturnes : Nuages / Fetes (Debussy transcribed for two piano Ravel).
Alissa Margulis / Polina Leschenko - Sonata for violin and piano No.1 (Schnittke).
Gautier Capucon / Alexander Rabinovich-Barakovsky - Concerto for cello and windband (Gulda).
Some of Mehldau's points (e.g., racial troping and the role of the bassist) are repeated in a well-written review on this page. I'd like to respond to a few of those points--because methinks it has gotten to the point where Mehldau (and some of his fans) doth protest too much.
Let me grant three points immediately: 1) Mehldau is a unique and gigantic talent. His personal expression is not in any way invalidated by similarities or differences with Bill Evans or any other pianist. 2) Harmonically, Mehldau is not an impressionist the way Evans was. 3) Collective improvisation is not the key to the Mehldau Trio as it was to Evans's best trios.
But!
The comparisons to Evans did not come out of the blue, and racial troping (or "profiling") seems to me something of a red herring. I mean, if it were that simple, why isn't Mehldau also frequently compared with George Shearing, Dave Brubeck, Vince Guaraldi, and Chick Corea?
Beyond the obvious facts of performing in a trio and playing in a Romantic, introspective manner, Mehldau is frequently compared to Evans, I believe, mainly because of his choice of repertoire. On his very first album, for instance, Mehldau recorded two Richard Rodgers classics--"It Might as Well Be Spring" and "My Romance"--that had long been associated with Evans. In fact, Evans recorded "My Romance" many times, starting with *his* first album. And on this album (AotT2), Mehldau plays "Young and Foolish," which Evans recorded several times.
Beyond such specific examples, there is a general similarity in what they play, a mix of high-quality standards (Rodgers, Porter, Gershwin, etc.), originals, and unexpected works by contemporaries. That might sound generic enough to be true of nearly any jazz performer--but if you look carefully at what Mehldau plays, you will see it resembles the things Evans recorded much more than it resembles what most other jazz performers, pianists or otherwise, play. Keep in mind, too, that using the "great American songbook" as the basis for major league jazz improvisations (and writing pieces in a similar vein) was quite unusual and not exactly fashionable during Evans's peak years, which coincided with the free jazz and fusion movements. It's less unusual now, after the Keith Jarrett and Wynton Marsalis standards collections, but there is no question that Evans is an important link between pre-bop and contemporary performance of standards material.
Mehldau and Evans also resemble each other in the things they play that are off the beaten path (for the jazz world). Mehldau has covered material by such elder statesmen of the rock establishment as Paul McCartney and Paul Simon--which is still a little unusual for a jazz performer. But the Paul Simon song he recently covered, "Still Crazy After All These Years," comes from the same album that the Simon song Evans liked to cover ("I Do It for Your Love") does. Also, Mehldau has gotten a lot of attention for covering tunes by Nick Drake and Radiohead--just as Evans received attention for covering Johnny Mandel's Theme from M*A*S*H and songs by Burt Bacharach (before he was considered one of the "old masters"). In both cases, they saw the lyrical value of material that others wouldn't might not have thought to convert into jazz.
So the claim that there are "no similarities" between Evans and Mehldau just doesn't ring true. In addition to their similar choice of repertoire--which suggests a great amount of temperamental affinity if not necessarily direct influence--both are classically trained pianists, and you can easily hear that (although I don't think Mehldau's touch is quite as refined as Evans's was).
Also, the claim that Mehldau has "a fire that Evans never envinced [sic]" doesn't wash with me. Miles Davis said he hired Evans specifically because he wanted Evans's "quiet fire." And that fire wasn't always all that quiet, as anyone who has heard Evans's early recordings with George Russell (e.g., "Concerto for Billy the Kid" and "All About Rosie") well knows. Evans was perfectly capable of barnstorming when he wanted to. This was a man who played Beethoven's Third Concerto at his senior recital and who liked to play Rachmaninoff's Third Concerto for his own private enjoyment. If you think you can play those virtuoso masterpieces without fire in your belly, guess again.
Okay, those are my points. I just think the pendulum has tended to swing too much from uncritical comparisons to (blindly following Mehldau's own not disinterested lead) uncritical disavowals of all affinities. Hey, it's a massive compliment to be compared to Evans. And it shouldn't mean that Mehldau isn't his own man, because he most definitely is. It's just that given what he's playing (esp. in a jazz piano trio format), Evans is the obvious point of reference and will remain so, just as Verdi would be an obvious point of comparison for Puccini. Sure, let's be aware of the crucial differences between them. Let's look for and celebrate everything that's distinctive in Mehldau's playing (because there's plenty of that). But when we look through the musical universe, to whom are we likely to compare Mehldau? Verdi? Madonna? Bill Monroe? Stuff Smith? No one picked Evans's name out of a hat.
P.S. If you love piano jazz, get all of Mehldau's albums, including this one (well, maybe except Largo). You see, he's this great contemporary jazz pianist, a little like Bill Evans, only different . . .
I couldn't agree more about the stunning performance of 'My Funny Valentine' noted by the reviewer below - it is absolutely spellbinding. It is truly superb, and for me it's simply one of the most moving and magical performances I've experienced in a lifetime of music.
This whole record shimmers with a radiance of some kind. There's an almost electric buzz in the air from start to finish, and it is superbly captured on this recording by ECM's first maestro of the recording art: engineer Martin Wieland. What a beautiful recording!
And what astonishing performances by these great, great players. I've got umpteen recordings by this trio, and yet this one is one of the very finest. It's a very special album indeed. Electrifying performances and pristine, sparking sound. Highest recommendation.
Have been listening to it for years, never got tired of it.
Live CD from the Grammy Nominated Gretchen Peters.
Trio Live,Gretchen Peters,Curb,Country/Bluegrass
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The Trio of Doom Live
Trio of Doom Manufacturer: Sony Legacy ProductGroup: Music Binding: Audio CD  General
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ASIN: B000QEIM7S Release Date: 2007-06-26 |
Tracks:
- Drum Improvisation (Live)
- Dark Prince (Live)
- Continuum (Live)
- Para Oriente (Live)
- Are You the One, Are You the One? (Live)
- Dark Prince (Studio)
- Continuum (Studio)
- Para Oriente (Alternate Take One/Studio)
- Para Oriente (Alternate Take Two/Studio)
- Para Oriente (Studio)
Amazon.com
Recorded at the 1979 Havana Jazz Festival, this short and powerful set, with Miles Davis alumni, drummer Tony Williams and guitarist John McLaughlin, and Weather Report bassist Jaco Pastorius, was one for the ages. The previously unreleased selections, one through five, are explosive, but mis-miked live tracks. Williams' "Drum Improvisation" segues into McLaughlin's fuzz-toned "Dark Prince," which does not swing in a silent way. Pastorious' theme song "Continuum" is scaled down to its essential twilight textures, while the drummer's "Para Oriente" - which later became a stable in V.S.O.P's book, and was recast as "Angel Street" - is rendered here in a funky, pre-grunge mode. The guitarist's "Are You the One, Are You the One?" previews the jam band craze. The rest of the cuts were recorded a week later in a New York studio, But the warts-and-all original sides are unmatched for their primal power. --Eugene Holley, Jr.Customer Reviews:
Trio Of Delight.......2007-07-18
Glad to hear it finally make it from the vault.......2007-07-12
unrealized potential (and other thoughts).......2007-07-11
Trio of Doom vs Havana Jam 1/2.......2007-07-07
Legendary meeting, a bit less than legendary performance........2007-07-05
McLaughlin's concerns may have been a bit extraneous-- the live performance has its flaws, to be certain (Jaco wanders off key briefly on "Dark Prince", "Are You the One, Are You the One?" threatens to fall apart), but there's a rare energy and power to the performance that really can't be underestimated, starting with Williams brief drum solo intro that sets the mood for high tension before welcoming his band mates on a racing "Dark Prince". For me, as a Jaco fan, the highlight is "Continuum", performed with grace as Pastorius and Williams stick true to the studio recording and McLaughlin offers a superb commentary that sounds both new and natural.
The studio material, particularly when presented next to the live takes sounds a bit sterile. "Dark Prince" probably best illustrates this-- live, it has an energy and urgency to it, McLaughlin's guitars sound dirty and fierce, Pastorius and Williams explode full of energy. In the studio, McLaughlin's tone, while still overdriven, cleans up and the rhythm section gets a bit too lockstep.
All of the material has been remastered and sounds fantastic-- the live material in particular is notable, clearly the source tapes were in good shape, this could have been recorded yesterday. The set is augmented by brief liner notes by McLaughlin and an essay discussing the performance and subsequent studio session.
This recording is difficult to rate-- the sentimental part of me wants to give it five stars and an endlessly positive, glowing review, but in all honesty, while this is a great recording and one that I'm ecstatic to have, it's not exactly the sort of jaw-dropping performance you'd hope it'd be. Fans of any of the three artists will want this, but don't expect something that'll shake the world.
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Try! John Mayer Trio Live in Concert
John Mayer Trio , John Mayer , Steve Jordan , and Pino Palladino Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B000BJS4SU Release Date: 2005-11-22 |
Tracks:
- Who Did You Think I Was
- Good Love Is On The Way
- Wait Until Tomorrow
- Gravity
- Vultures
- Out of My Mind
- Another Kind of Green
- I Got A Woman
- Somethings Missing
- Daughters
- Try
Amazon.com
Longtime listeners have seen it coming: it was only a matter of time before John Mayer dropped the pop star pretense and proved he could really bring it. Chalk it up to one too many Dave Matthews comparisons, or the cupcake-sweet residue stuck to his image after the success of "Your Body Is a Wonderland"--but something convinced Mayer it was time to take him game to the next level. With help from studio pros Steve Jordan and Pino Palladino, he succeeds on Try. If the muscled-up covers of Jimi Hendrix's "Wait Until Tomorrow" and Ray Charles' "I Got a Woman" don't scream "no more Mr. Nice Guy" loud enough, the brawn of blues-rock opener "Who Do You Think I Was" does for sure. Mixed in with the Stevie Ray Vaughan and Eric Clapton-esque stuff are a few mellow numbers--"Daughters," most notably, returns from Heavier Things alongside "Something's Missing"--but even those songs seem hopped up on rock-God hormones. This newfound sizzle can't fix everything; that segment of the music-buying public that would accuse the singer of having a voice like "a whispering midget" (to quote a customer review of Mayer's work) won't want to add this disc to their collection. The good news for Mayer, though, is that anybody with an ear for genuine rock'n'roll chops will. --Tammy La GorceCustomer Reviews:
Good album if you like live music and John Mayer.......2007-07-19
All and all if you are looking for some different John Mayer stuff and you already like him this would be a great addition to your collection.
This album has a blusey feel to it much like his latest album has.
Better than expected.......2007-05-30
There are old favorites here, but again- he never sings the same song twice, and has a lot of fun with his music! His music is so dam good people buy cd's with the same tracks just to hear them a different way!
Live Album.......2007-05-26
Eh.......2007-05-13
Maybe I should have gotten it for 99c from I-tunes
Not a bad album, but not GREAT imho.
Loved it!.......2007-05-13
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Live at the Village Vanguard
The Bill Charlap Trio Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000PC6FP2 Release Date: 2007-05-22 |
Tracks:
- Rocker
- Autumn In New York
- Godchild
- The Lady Is a Tramp
- It's Only a Paper Moon
- My Shining Hour
- All Across the City
- While We're Young
- Last Night When We Were Young
Customer Reviews:
4 ½ stars.......2007-06-04
Speaking of "My Shining Hour," let me not be guilty of the same Charlap-centered commentary I lamented earlier. As the liner notes point out, "the incandescent playing captured here is made possible by trust," a trust which in turn is only possible thanks to the rock-solid foundation provided by Peter Washington on bass and the combustible energy released by Kenny Washington on drums. Although I feel that Peter has not yet been ideally captured on recording, it is quite evident from this album and others that Kenny sets the fire under the band and leads them to "Shining Hour" heights. The very swinging feel of a potentially square tune like "Rocker" and potentially static arrangement of "While We're Young," as well as "Last Night While We Were Young's" magical coda, owe much to Kenny's fire, too.
It should be no surprise, then, that numbers like "Lady is a Tramp" cook when the Charlap Trio plays `em, and ballad arrangements like "All Across the City" are so good they almost hurt. But "While We're Young" also provides indisputable proof that this group can play in 3. So let's hear some more waltzes, and more of that glorious ebb and flow that another pianist named Bill inspired at the same Village Vanguard :) How about more bass and drum solos too?!? (come now, 2 bass solos and 1 drum solo really are not enough for a whole album). Then, consider the possibilities of straight 8, Latin, funk, mixed meter...you know these guys can do it. To me, this would make a visit to see them at the Vanguard or Dizzy's Club Coca-Cola that much more memorable - and their group that much better.
A Great Snapshot of an Excellent Trio.......2007-06-01
In all, this is a most welcome document of an exceptional group in action. It is also long overdue, so let's hope that volume two will follow in short order!
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Live at Birdland
Steve Kuhn Trio Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000MM0L7S Release Date: 2007-02-20 |
Tracks:
- If I Were A Bell
- Jitterbug Waltz
- Two By Two
- La Plus Que Lente/Passion Flower
- Little Waltz
- Lotus Blossom
- Stella By Starlight
- Slow Hot Wind
- Clotilde
- Confirmation
Amazon.com
Even though he accompanied any number of legends during the late 1950s and '60s, Steve Kuhn doesn't have the name recognition of other jazz artists who came of age during that period. But few pianists have maintained as high a standard as he has in the mainstream trio setting. Live at Birdland, which occasions the reunion of one of his best threesomes--the bassist is Ron Carter, the drummer Al Foster, both Miles Davis alumni--is one of his most consistently engaging albums. A keen intelligence and lively wit is at work on this tuneful terrain, which ranges from the shifting tempos and tones of "Jitterbug Waltz" to the luminous reflection of Carter's "Little Waltz" (which the bassist graces with a lovely solo) to the lovely intersection between Billy Strayhorn's "Passion Flower" and a Debussy waltz, "La Plus Que Lente." There's a romping aspect to the set as well: In his late 60s, Kuhn has lost nothing in speed or agility, rendering Kenny Dorham's "Lotus Blossom" with light-fingered brilliance. If another pianist hadn't stolen the "State of the Art" tag, he certainly could hang out that shingle on this album, one of the most enjoyable in this vein in quite some time. --Lloyd SachsCustomer Reviews:
a nice evening out.......2007-06-28
Very Appealing Live Trio Set.......2007-06-05
Best CD I've bought this year........2007-05-26
Hail the Return of the Great Steve Kuhn Trio.......2007-04-12
But "Live at Birdland" is not a mere re-do. If, at the time, the Village Vanguard sessions proved a high-water mark for the pianist's career, he proceeded to follow it up with an uninterrupted flow of excellent live and studio recordings that showed him stretching his vocabulary and developing his prowess in ways one had previously not expected from him. "Live at Birdland" is a masterful culmination of such experiments. He has more confidence than ever before, which enables him to solo more effectively.
"Jitterbug Waltz" was a highlight of the first record. It was a restrained, elegant classic that underwent a series of impressive tempo shifts without ever undergoing a change in mood. Here it acheives all this plus more: in the opening solo Kuhn states the theme more fully. The trio then treat it to a number of variations and tempo shifts. At roughly the seven-minute mark, there is a terribly exciting kick into another gear for several minutes, which then cools down into the closing section.
There are inevitable comparisons between the two recordings, since Kuhn decides to use a handful of the same tunes for each. Thankfully, this decision is not repetitious. And, when Kuhn does introduce new material, it startles. The final tune, a driving rendition of Parker's "Confirmation," will leave you breathless.
Solid and Stylish.......2007-03-16
would still go first for his trio albums with David Finck and Billy Drummond (mostly on Reservoir I think), or some of the ECM titles for their 'experimentalism.' This one shows another side though. Very fine stuff.
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Live at Saint Gallen
John Butler Trio Manufacturer: Atlantic ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B000EGD27I Release Date: 2006-03-28 |
Tracks:
- Treat Yo Mama
- Company Sin
- Somethings Gotta Give
- What You Want
- Band Introduction
- Oldman
- Ocean
Tracks:
- Peaches & Cream
- Pickapart
- Betterman
- Hello
- Zebra
- Take
Customer Reviews:
Amazing.......2007-07-07
This is one of my favorite live albums.......2007-06-01
Can't Stop Listening to This CD.......2006-04-24
The "Live at St. Gallen" CD was just released in the U.S. I have never heard anyone play an 11-string acoustic guitar (no G-string) like he does. He also plays the Banjo and Lapsteel on this CD. For those who enjoy instrumental's, Disc One captures "Ocean", an 11+ minute favorite of JBT fans...but a song that must be enjoyed live and in-person to truly appreciate the talent of this band. Hearing this CD is one thing, but getting a chance to see this band perform "Ocean" live is just incredible. The is really no one song that I don't like on this CD. Other fav's: Peaches & Cream, Treat Yo Mama, Somethings Gotta Give, What you Want, Company Sin.
I would highly recommend this CD among the others the band has released, worth every penny!!! The band/artist has received awards for Best Blues & Roots, Best Independent release, and Best Male artist in Australia.
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Martha Argerich and Friends: Live from the Lugano Festival, 2006
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Quartets
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ASIN: B000PFU9OM Release Date: 2007-06-05 |
Tracks:
- I: Sostenuto Assai/Allegro Ma Non Troppo
- II: Scherzo: Molto Vivace
- III: Andante Cantabile
- IV: Finale: Vivace
- I: Allegro Assai Vivace
- II: Allegretto Scherzando
- III: Adagio
- IV: Molto Allegro E Vivace
- I: Zart Und Mit Ausdruck
- II: Lebhaft, Leicht
- III: Rasch Und Mit Feuer
Tracks:
- I: Mit Energie Und Leidenschaft
- II: Lebhaf, Doch Nicht Zu Rasch
- III: Langsam, Mit Inniger Empfindung
- IV: Mit Feuer
- I: Introduzione: Adagio Mest/Allegro
- II: Scherzo
- III: Largo
- IV: Finale: Allegro Vivace
Tracks:
- I: Nauges
- II: Fetes
- I: Andante
- II: Allegretto
- III: Largo
- IV: Allegretto Scherzando
- I: Overture
- II: Idylie
- III: Cadenza
- IV: Menuet
- V: Finale Alla Marcia
Amazon.com
This inexpensively priced 3-CD set of music from the 2006 Lugano Festival with pianist Martha Argerich at its center presents a fascinating cross-section of chamber music, expertly performed. In addition to Argerich, we hear from 15 other instrumentalists - pianists, cellists, violinists, violists, a flugelhorn player (who plays along with Argerich in three of Schumann's Fantasiestücke, to very strange and not very welcome effect), and a wind ensemble made up of members of the Orchestra della Svizzera Italiana that plays with cellist Gautier Caupcon in Friedrich Gulda's Concerto for Cello and Wind Orchestra: a jazzy, definitely eclectic, and playful finale to the third CD. The infrequently played but rapturous Schumann Piano Quartet is a particular treat. Ravel's transcriptions of two Debussy Nocturnes for two pianos played by Sergio Tiempo and Karin Lechner are a delight as well. This is an off-the-beaten-track collection that will fascinate true devotees of chamber music. --Robert LevineCustomer Reviews:
Lots of Schumann, not much Argerich, plus some real oddities.......2007-06-08
The dominance of works by Schumann reflects Ms. Argerich's personal fondness for him, and she appears in the Piano Quartet, which has enjoyed a wonderful, highly personal reading by Glenn Gould and the Juilliard Qt. (Sony), among others. This one displays every virtue of live musicmaking, with Argerich's fervent, spontaneous playing leading the way. Compared to earlier sets, the 2006 collection contains more rarities and because of all the sSchumann, less representation by great composers. The flugelhorn arrangement of Schumann's Fantasiestucke for clarinet sounds like a joke. The once unknown Tanayev Piano Quintet gets a committed reading that should help to boost its popularity. The Debbusy Nocturnes actually bring pleasure in the two-piano arrangement. You won't be prepared for Gulda's concerto for Cello and Piano, which sounds like three-beer night at your local German jazz club. But its worth a smile and a listen.
In the end, however, this installment might be best left to connoisseurs while newcomers to Argerich's summer festivities should begin with the earlier, more conventional editions.
Here's the listing of works and personnel since Amazon doesn't supply it:
Martha Argerich / Renaud Capucon / Lida Chen / Gautier Capucon - Piano Quartet in Eb op.47 (Schumann).
Gautier Capucon / Gabriela Montero - Sonata for cello and piano No.2 in D op.58 (Mendelssohn).
Sergei Nakariakov / Martha Argerich - Fantasiestucke op.73 - version for flugelhorn and piano (Schumann).
Nicholas Angelich / Renaud Capucon / Gautier Capucon - Piano Trio in D minor op.63 (Schumann).
Lilya Zilberstein / Dora Schwarzberg / Lucy Hall / Nora Romanoff-Schwarzberg / Jorge Bosso - Piano Quintet in G minor op.30 (Taneyev).
Sergio Tiempo / Karin Lechner - Three Nocturnes : Nuages / Fetes (Debussy transcribed for two piano Ravel).
Alissa Margulis / Polina Leschenko - Sonata for violin and piano No.1 (Schnittke).
Gautier Capucon / Alexander Rabinovich-Barakovsky - Concerto for cello and windband (Gulda).
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The John Butler Trio: Live at St. Gallen
John (Trio) Butler Manufacturer: Jarrah Records/MGM Distribution ProductGroup: Music Binding: Audio CD General
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ASIN: B000CEXQI2 Release Date: 2005-12-12 |
Tracks:
- Peaches & Cream
- Pickapart
- Betterman
- Hello
- Zebra
- Take
- Bound To Ramble
- Attitude
- Treat Yo Mama
- Company Sin
- Seeing Angels
- Ocean
- Peaches & Cream
- Betterman
- Something's Gotta Give
- Zebra
- Interview With Audience
Album Description
2 CD set. Australian Exclusive! Recorded on 2-inch tape and unbeknownst to the John Butler Trio at the time, comes one of the best shows they performed in 2005, recorded live at the Open Air Festival, St. Gallen, Switzerland, on July 3, 2005. The strictly limited edition package also includes a bonus DVD (PAL/Region 0) of JBT's 2004 Sydney Opera House performance for the Max Sessions. Live at St. Gallen features a stunning version of 'Oceans' that runs for over 20 minutes and a 15 minute version of 'Betterman' plus much more! *Please note you will need an All Code DVD player to view. Jarrah. 2005.Album Details
Limited Edition Live Album of the John Butler Trio 'live at St Gallen' Open Air Festival in Switzerland 2005, featuring a Stunning Version of Oceans that Runs for Over 20 Minutes and a 15 Minute Version of "Betterman"! Not Only Do You Get the 2cds, but also a Bonus Dvd (Pal/Rc-0) 'max Sessions - Live at the Opera House' and Some Pretty Special Packaging to Boot.Customer Reviews:
one of the best live CD's.......2006-05-31
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The Art of the Trio, Vol. 2: Live at the Village Vanguard
Brad Mehldau Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B0000062VD Release Date: 1998-03-10 |
Tracks:
- It's Alright With Me
- Young And Foolish
- Monk's Dream
- The Way You Look Tonight
- Moon River
- Countdown
Amazon.com
This live set, recorded at New York's Village Vanguard in the summer of 1997, presents pianist Brad Mehldau with bassist Larry Grenadier and drummer Jorge Rossy, the same personnel as on The Art of the Trio, Volume One. This is hardcore jazz, with tunes by Cole Porter, Thelonious Monk, Jerome Kern, Henry Mancini and Johnny Mercer, and John Coltrane. Mehldau hasn't yet earned a place in the highest rank of the jazz pantheon, but if he keeps making recordings of this caliber, he'll blow away a lot of the opposition. He doesn't wear his influences on his sleeve but, with the support of Grenadier and Rossy, executes harmonic reconstructions of standard texts. --Stanley BoothCustomer Reviews:
notes on a controversy.......2005-01-18
Some of Mehldau's points (e.g., racial troping and the role of the bassist) are repeated in a well-written review on this page. I'd like to respond to a few of those points--because methinks it has gotten to the point where Mehldau (and some of his fans) doth protest too much.
Let me grant three points immediately: 1) Mehldau is a unique and gigantic talent. His personal expression is not in any way invalidated by similarities or differences with Bill Evans or any other pianist. 2) Harmonically, Mehldau is not an impressionist the way Evans was. 3) Collective improvisation is not the key to the Mehldau Trio as it was to Evans's best trios.
But!
The comparisons to Evans did not come out of the blue, and racial troping (or "profiling") seems to me something of a red herring. I mean, if it were that simple, why isn't Mehldau also frequently compared with George Shearing, Dave Brubeck, Vince Guaraldi, and Chick Corea?
Beyond the obvious facts of performing in a trio and playing in a Romantic, introspective manner, Mehldau is frequently compared to Evans, I believe, mainly because of his choice of repertoire. On his very first album, for instance, Mehldau recorded two Richard Rodgers classics--"It Might as Well Be Spring" and "My Romance"--that had long been associated with Evans. In fact, Evans recorded "My Romance" many times, starting with *his* first album. And on this album (AotT2), Mehldau plays "Young and Foolish," which Evans recorded several times.
Beyond such specific examples, there is a general similarity in what they play, a mix of high-quality standards (Rodgers, Porter, Gershwin, etc.), originals, and unexpected works by contemporaries. That might sound generic enough to be true of nearly any jazz performer--but if you look carefully at what Mehldau plays, you will see it resembles the things Evans recorded much more than it resembles what most other jazz performers, pianists or otherwise, play. Keep in mind, too, that using the "great American songbook" as the basis for major league jazz improvisations (and writing pieces in a similar vein) was quite unusual and not exactly fashionable during Evans's peak years, which coincided with the free jazz and fusion movements. It's less unusual now, after the Keith Jarrett and Wynton Marsalis standards collections, but there is no question that Evans is an important link between pre-bop and contemporary performance of standards material.
Mehldau and Evans also resemble each other in the things they play that are off the beaten path (for the jazz world). Mehldau has covered material by such elder statesmen of the rock establishment as Paul McCartney and Paul Simon--which is still a little unusual for a jazz performer. But the Paul Simon song he recently covered, "Still Crazy After All These Years," comes from the same album that the Simon song Evans liked to cover ("I Do It for Your Love") does. Also, Mehldau has gotten a lot of attention for covering tunes by Nick Drake and Radiohead--just as Evans received attention for covering Johnny Mandel's Theme from M*A*S*H and songs by Burt Bacharach (before he was considered one of the "old masters"). In both cases, they saw the lyrical value of material that others wouldn't might not have thought to convert into jazz.
So the claim that there are "no similarities" between Evans and Mehldau just doesn't ring true. In addition to their similar choice of repertoire--which suggests a great amount of temperamental affinity if not necessarily direct influence--both are classically trained pianists, and you can easily hear that (although I don't think Mehldau's touch is quite as refined as Evans's was).
Also, the claim that Mehldau has "a fire that Evans never envinced [sic]" doesn't wash with me. Miles Davis said he hired Evans specifically because he wanted Evans's "quiet fire." And that fire wasn't always all that quiet, as anyone who has heard Evans's early recordings with George Russell (e.g., "Concerto for Billy the Kid" and "All About Rosie") well knows. Evans was perfectly capable of barnstorming when he wanted to. This was a man who played Beethoven's Third Concerto at his senior recital and who liked to play Rachmaninoff's Third Concerto for his own private enjoyment. If you think you can play those virtuoso masterpieces without fire in your belly, guess again.
Okay, those are my points. I just think the pendulum has tended to swing too much from uncritical comparisons to (blindly following Mehldau's own not disinterested lead) uncritical disavowals of all affinities. Hey, it's a massive compliment to be compared to Evans. And it shouldn't mean that Mehldau isn't his own man, because he most definitely is. It's just that given what he's playing (esp. in a jazz piano trio format), Evans is the obvious point of reference and will remain so, just as Verdi would be an obvious point of comparison for Puccini. Sure, let's be aware of the crucial differences between them. Let's look for and celebrate everything that's distinctive in Mehldau's playing (because there's plenty of that). But when we look through the musical universe, to whom are we likely to compare Mehldau? Verdi? Madonna? Bill Monroe? Stuff Smith? No one picked Evans's name out of a hat.
P.S. If you love piano jazz, get all of Mehldau's albums, including this one (well, maybe except Largo). You see, he's this great contemporary jazz pianist, a little like Bill Evans, only different . . .
Fine piano trio music.......2004-03-28
Volumes 1 and 3 are studio recordings; volumes 2 and 4 are live (I don't have volume 5, yet, another live volume, this one on 2 CDs). I think Mehldau is great, and I especially like the studio recordings. They are lyrical and melodic, whereas the live recordings tend more toward pyrotechnics and displays of virtuosity.
If you like the kind of music Bill Evans played, you'll certainly like volumes 1 and 3. You may prefer the live ones, especially if you're into Keith Jarrett (at least Mehldau doesn't grunt and squeal all the time). In any case, this is great music, well played and the trio has a great rapport.
The guy is really good, so take a chance on him..........2003-08-16
Today's Most Challenging and Refreshing Jazz Trio........2001-11-20
The album is definitely a highlight of the Trio's material and it brings Mehldau's outstanding musical virtues as a pianist directly into the audience. One of the best way to evaluate the musician is live, in direct with no studio cosmetics or second chances. Mehladau not only passes the test -or any test you wish to give him- but also exceeds any expectations you may have weather you are a Bill Evans, Keith Jarrett or Corea follower. Critics impose a heavy stigma on Mehldau when they compare him to Bill Evans and claim that he is the next successor to the throne. I never buy or reject any artist's music because of his influences, similarities, or differences, but rather on his own capabilities. Within the piano jazz trio format, Mehldau is extremely creative, very sharp, takes risks, very moving, a virtuoso when it comes o technique, and takes jazz into music boundaries where very few artists can go. Without getting into the similarities or differences with the other piano masters, having heard all of the Evans, Jarrett, Corea, and Hancock albums I recommend you that if you appreciate free format jazz piano trios, include this CD in your collection. It will either be one of your best and favorites ones throughout time of the most challenging one if you are an extremely conservative listener. I celebrate that modern jazz has a young pianist with such talent and capacity.
The repertoire is composed of six "covers" and does not including any of Mehldau compositions -as he did in the Trios Vol IV: Back at the Village Vanguard-. During the CD's one hour twenty minutes, the tunes range from "Monk's Dream" (T. Monk) and "Countdown" (J. Coltrane) to classic standards like "Moon River" (Mercer-Mancini) or "It's Alright with Me" (C. Porter) allowing Mehldau to expand his creativity to the max.
Lastly, try not to get to involved with Mehldaus' very extensive comments and reflections that appear in the inside of the CD's cover, like some reviewers who have rejected and criticized Mehldau's thoughts as if the item offered were a book instead of a jazz piano CD. Believe me, Mehldau's language is the piano and his thoughts make a lot of sense when he plays "his jazz" into our souls. Keep speaking Mr. Mehldau, your playing came just in time as jazz piano was getting monotonous.
Major, major jazz.......2001-09-19
As a pianist, Mehldau is a virtuoso, secure in both hands and with an effortless variety of articulations at any speed. But he's no Oscar Peterson, he has plenty to say. Plenty.
To his own frustrated bemusement, Mehldau has often been compared to Bill Evans [even among the professional editorials on Amazon] yet that is a shallow case of racial-profiling. Other than being a white piano player, there are no real similarities. Mehldau is lyrical and introspective in the Evansian sense only in the manner with which jazz musicians call ideas from out of themselves. He has a fire that Evans never envinced and a style that is unique and refreshing. Like a lot of modern jazz artists, he has gone to the classical repertoire to expand his harmonic range and his improvisational sense, but where for most jazz players, the classical touchstones are Stravinsky, Bartok and Debussy, Mehldau has turned back to the 19th century, especially the piano music of Robert Schumann. So instead of expanding jazz harmonics by extending tonalities, he uses the more subtle but richer approach of placing simpler chords in an overall harmonic structure that is more complex; basic inversions that give a sense of false cadence, diatonic harmonies over extended pedals to create ambigiuous key relationships, etc. These are all composers' concerns, and that is what Mehldau often does, his improvisations are re-compositions. He frequently takes apart the structure of a tune, examining it from many angles, and does so with tremendous vitality and swing. The approach is more like Sonny Rollins, with the advantage of the harmonies a piano provides. And it's tremendously gripping and exciting, rich in detail and imagination. There is the sense in listening to him that you are discovering what he is right along with him.
Also unlike Bill Evans, this is definitely a soloist-accompanist trio, not a collective. Grenadier and Rossy could not be more solid or sympathetic with the leaders approach, and they are vital in maintaining the ideas and energy. Pervious criticism is cloth-eared and unwarranted. Mehldau is fast becoming an essential part of the music, don't let him get away without you.
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Still Live
Keith Jarrett Trio with Gary Peacock and Jack De Johnette Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B0000260CN Release Date: 2000-06-06 |
Tracks:
- My Funny Valentine
- Autumn Leaves
- When I Fall In Love
- The Song Is You
Tracks:
- Come Rain Or Come Shine
- Late Lament
- You And The Night And The Music
- Extension/Intro/Someday My Prince Will Come
- Billie's Bounce
- I Remember Clifford
Customer Reviews:
Wondrous, beautiful playing - Stunning, vibrant recording.......2007-03-04
I couldn't agree more about the stunning performance of 'My Funny Valentine' noted by the reviewer below - it is absolutely spellbinding. It is truly superb, and for me it's simply one of the most moving and magical performances I've experienced in a lifetime of music.
This whole record shimmers with a radiance of some kind. There's an almost electric buzz in the air from start to finish, and it is superbly captured on this recording by ECM's first maestro of the recording art: engineer Martin Wieland. What a beautiful recording!
And what astonishing performances by these great, great players. I've got umpteen recordings by this trio, and yet this one is one of the very finest. It's a very special album indeed. Electrifying performances and pristine, sparking sound. Highest recommendation.
piano jazz trio.......2007-01-24
Have been listening to it for years, never got tired of it.
Possibly his best album.......2004-12-24
Still Live is one of the best by this trio.......2004-06-24
If you're not new to the trio, you won't be surprised to learn that the form is the same as ever, but that the music is fresh, and that under the immediate layer (the output as such) there's a symbolic layer hidden. That's how _I_ hear the trio: The structure, the melody, the notes, the drums means something more than just mere sound. A philosopher names Schopenhauer once said that "music is the only art form which created direct contact to the world." Call me crazy, but I like the music not for the melody of the songs themselves, but for the deeper thoughts hidden under the surface.
"Still Live" is one of the best by the trio (as I have said), but not the best. If you want the best, go for "Up For It". But "Still Live" is still better than many other by the trio, so buying these two discs won't be a bad decision. However, newcomers should propably start elsewhere.
Still LIve.......2003-06-29
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Trio, Live
Matt Schofield Manufacturer: Nugene Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000DNVR56 Release Date: 2006-03-13 |
Tracks:
- Uncle Junior
- Everyday I Have the Blues
- Bloody Murder
- Treat Me Lowdown
- Cissy Strut
- Travellin' South
- Sittin' on Top of the World
- Hippology
Album Description
This acclaimed debut album is a melting pot of Blues and powerful funk, building upon the format of the classic American organ trios of the fifties and sixties, adding the influence of the blues guitar greats (a nod in the direction of benchmark players such as BB King, Albert Collins and Robben Ford) and mixing in funky instrumental workouts. Nugene. 2006.Album Details
The Matt Schofield Trio is One of the Most Musically Dynamic Bands on the UK Blues Scene. On this Debut CD, the Trio Play a Selection of their Favourite Upbeat Blues and Funky Stuff.this Album Oozes Vibrancy and Energy, and is a Fine Showcase for the Talents of Messrs Schofield, Henderson and Jenkins. Guitarist and Singer Matt Schofield Has Been Described as the Finest New Generation Blues Guitarist in Britain. While Influenced by the Likes of Albert Collins, the Three Blues Kings (Albert, Freddie and Bb) and Robben Ford, Matt Has Evolved his Own Distinctive Style and Tone. His Feel for What He is Playing is Second to None.Music Album:
- Twilight
- Ultimate Aaron Tippin [Original recording remastered]
- Unleashed Live [Live]
- When Somebody Loves You
- Wildfire 1972-1984
- Written in the Stars
- Yes!
- 20th Century Masters - The Millennium Collection: The Best of Flat & Scruggs
- 40 Songs
- After a While
