Live, Vol. 2 [Live]

1. Chambre Trois

2. Blue Rondo a la Turk

3. Aliento

4. Three + Four

5. Poéte et la Danseuse

6. Haze

7. Libertango

8. Oblivion

Tracks:

Song for Darnell
Grew's Tune
Farewell to Dogma
Old Folks
Eleventh Hour

Album Description

In the fall of 2002, the prestigious John F. Kennedy Center for the Performing Arts (Washington, D.C.) opened an intimate venue, The KC Jazz Club, on the roof level of its facility. The Club celebrated its opening with two weekends of selected MAXJAZZ artists. The highly acclaimed pianist, Mulgrew Miller, and his trio featuring Derrick Hodge (b) and Rodney Green (d) were the featured performers on the Club's opening night, Thursday, September 5, 2002. MAXJAZZ is proud to present the second of two sets from that magical evening recorded by the late David Baker.

Tracks:

Ocean
Pale Blue Eyes
Heroin
Some Kinda Love
Over You
Sweet Bonnie Brown/It's Just Too Much
White Light/White Heat
I Can't Stand It
I'll Be Your Mirror

Amazon.com

It's the rarest of live albums whose songs add anything to the majesty of the original studio recordings. This one adds immeasurable data to the Velvet's story. Without 1969: Live we might never have known that they were more than just an art outfit, that they could actually rock with fury. Check out Reed's strumming on "What Goes On" if you want to have your mind blown. None of these staples of the V.U. catalog can be truly known without hearing these fully formed, fleshed-out versions, so for history's sake alone we must treasure this. History's tragedy of course is that we get to hear the excruciatingly light applause--it sounds like there's only 10 people in the room at some points--after each course in ass kicking. They were wrongly under-appreciated in their time, and for this we must all pay forever by playing this record constantly. --Gene Booth

Customer Reviews:

It nearly drives me crazy...".......2007-01-04

The Velvet Underground's lack of commercial success is proof positive that the record-buying public has no idea what it's doing. Not only was Lou Reed one of the greatest songwriters and guitarsts of the 60s, but he was at the head of one of the most accomplished musical groups ever assempled: Drummer Maureen Tucker was capable of turning simplicity into a thing of great beauty, lead guitarist Sterling Morrisson was worth a few thousand Jimmy Pages, while multi-instrumentalists John Cale and Doug Yule (the latter was hired to replace the former after he left the band shortly before this album was recorded) excelled on everything from the electric organ to the electric viola.

Recorded in the early days of Yule's tenure with the group (but released much later than that), the two volumes of Live 1969 show the Velvets moving away from the experimentally inclined post-psych of their first two albums and towards a more direct, rock and roll-oriented sound. The Velvets, fantastic rock group that they are, sound awesome on these two records: They're capable of both astounding, energetic jams ("Ocean" opens this volume gorgeously, awash in swirling drums and guitars, while "Heroin" is a cathartic, explosive epic that shows off the group's more experimental edge), gorgeous ballads (The version of "Pale Blue Eyes" found here is every bit as heartbreakingly beautiful as the studio rendition, while "I'll Be Your Mirror" closes the proceedings on a haunting, ethereal note), and straightforward rock 'n' roll ("Sweet Bonnie Brown/ It's Just Too Much" is pure speed-addled rockabilly insanity, while "White Light/White Heat" is an explosivly greasy master stroke).

Still, my personal favorite moment on the album is "Over You," one of the group's most under rated and overlooked tunes. At a painfully brief two minutes and seventeen seconds, "Over You" whispers it's way through a couple of simple, understatedly beautiful verses, a delicatly emotional chorus, and a downright haunting guitar solo. This hidden gem is the very definition of beauty-in-simplicity, and it's one of rock's many unheralded masterpieces.

Anyway, both volumes of Live 1969 are fantastic. Anyone with the slightest interest in rock should give them both a listen.

it's really lovely.......2006-02-27

This LP in it's original Double-album form was one my favorites of the era (the early seventies being a little sparse and sometimes unoriginal), but when the CD's came out, they split the thing into 2 separate discs. So this one has lots of dreamy, drug induced pop ("pale blue eyes', "I'll be your Mirror') , and some atmospherics ('Ocean')as well as the classics ("Heroin, White Light/White Heat').
Good for fans, good for people who liked their studio stuff, also.

Amazing........2005-01-17

Basically, if you're into the vu, you'll be into them live. There's almost no other way of looking at it. Their live performances are the most innate I've ever heard. So, if you're having some sort of dilemma regarding which live albums to spend your hard earned currency on, here's a suggestion: 1969: The Velvet Underground Live Vol.'s 1 & 2, Live at MKC, and the Quine Tapes. Those are the best live performances I've heard from the band. My personal favorite is the 1969: The VU Live Volume 1, but it's all personal preference.
I suppose I've gone off on a bit of a tangent - forgetting this was a review for 1969 Vol. 2. Well, the album is amazing. You're really doing yourself an injustice by not buying it. Trust me, the technicalities don't need to be described: just buy it, listen to it, and be inspired by it.

No collection is complete without it.......2003-05-09

The version of "Ocean" on this album is mind-blowing. You have to buy the CDs just for that. The rest of the Vol. 2 CD is excellent, as is Vol. 1, but that recording of "Ocean"...oh, it's impossible to do any justice to it here.

THE BEST Velvets Album.......2003-04-30

This is one of the rare cases when volume 2 is better than the first. Of course, it would be best to buy both but if you have to pick one, pick this volume.

This is the album that made me really appreciate the Velvets. I love live music and this album really captures the band as they were meant to be heard -- Jamming, Moody, Rock and Roll. The first 3 songs especially (Ocean, Pale Blue Eyes, and Heroin) have reverberated in my musical memory for a very long time.

Tracks:

Pretty Girl From Annapolis
Love Like The Movies
Walking For You4. Do You Love Him
I Killed Sally's Lover
Smoke In Our Lights
A Lot Of Movin'
November Blue
Wanted Man
Old Joe Clark
My Last Song To Jenny
The Traveling Song
Offering
A Gift For Melody Anne
Complainete D'vn
Pretty Girl From Raleigh
Please Pardon Yourself

Customer Reviews:

FUN that grows on you . . . .......2007-06-02

This was the first Avett Brothers CD that I heard. I have never seen them live (although I will - in 2 weeks! can't wait!) I admit, there are times on this recording when they are pretty out of tune, and they are more yelling instead of singing. And the sound quality of the last couple songs is pretty bad. BUT, the sheer joy of playing for their fans came across so powerfully, and their raw energy just burst out of my speakers - and I was totally struck down with Avett Brothers fever. I have played this one ALOT. It's not for everyone, but if you want to take a chance on a "punk band with banjoes" give it a listen.

You gotta love those boys!.......2007-03-13

It doesn't get any better than TAB Live, trust me. If you've never seen them perform, you're missing out. Make it happen.

This album is great.......2006-11-16

This is my favorite Avett Brothers record. They are a wonderfully energetic live act, and this is the perfect gift for any youthful, open-minded bluegrass fan.

The last reviewer sucks.......2006-05-09

The Avett Brothers put on one of the best live shows I have ever seen. Don't let your jealousy get the best of you, buddy.

Bad Karaoke.......2006-04-30

It's like paying $15 to listen to karaoke in a bar full of drunks. The picking is good (just like karaoke) but the Avetts insist on opening their mouths and trying to sing (just like drunks at a karaoke bar). One of the brothers even screws his voice up on purpose just to make the bad worse.

If you are in to this stuff, I would recommend that you spend the $15 at the nearest karaoke bar, at least then you get some beer out of it.

Average customer rating:

2nd part of a great Live show
Not on the level of Live Cream but still pretty good
Subtract a star for Steppin' Out
Not as good as it could've been, but hey, it's still Cream!!!!!!!!
A Big Disappointment

Live Cream, Vol. 2
Cream
Manufacturer: Polydor / Umgd
ProductGroup: Music
Binding: Audio CD

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Live Cream
Goodbye
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Disraeli Gears

ASIN: B0000067L6
Release Date: 1998-04-07

Tracks:

Deserted Cities Of The Heart
White Room
Politician
Tales Of Brave Ulysses
Sunshine Of Your Love
Steppin' Out

Customer Reviews:

2nd part of a great Live show.......2006-11-04

I was suprised that Polydor separated this Live concert into 2 LPs.
I was more suprised when they released it on CD and did they same!
Well they got it right anyway. The sound is great, crisp and thundering. Turn this one up!
They put some of the less well known Cream on this one: Deserted Cities of the Heart, Politician and Steppin' out. I suppose that's why Vol. 1 sold more. As a compliment they included the classics: White Room, (a scorching rendition), Tales of Brave Ulysses and Sunshine of Your Love. From the first song this one smokes. If you like Clapton and if you like to hear long versions of old songs, this one is for you!

Not on the level of Live Cream but still pretty good.......2006-10-18

Released in 1972, Live Cream Volume 2 was the second posthumous live album released after the supergroup announced their breakup in 1968. Apparently, the band was still missed as like their first live album, Live Cream, it would reach the Top 40 in the U.S. However, the difference between them is evident almost from the get go. While Live Cream showed the band at their magical jamming best, Volume 2 reins in the excitement as the live tracks stay close to the originals. That's not to say that it isn't a strong album as the excellent interplay between Jack Bruce, Ginger Baker, and Eric Clapton is still intact and the performances are still very strong. The opening track, "Deserted Cities of the Heart", is by far the most energetic song here as the band's performance sounds like a train that threatens to run off the tracks. Even though it clocks in at less than 5 minutes, the performance makes you look forward to the passion and experimentation that made the live disc of Wheels of Fire, Live Cream, and even the live songs on Goodbye so special. However, the band plays it straight for the next four tracks, particularly on "White Room" and "Politician." The album does redeem itself a little with Clapton's wah-wah solo on "Tales of Brave Ulysses" and the long closing jam on "Sunshine of Your Love." The closer "Steppin' Out" is not only Clapton's showcase but also the main reason to pick up the album. Easily one of their best live tracks, Clapton lets out a long bluesy solo for the first 4 minutes as Baker and Bruce change things up throughout. However, the best is yet to come. While Bruce takes a seat, Clapton lets out an a capella solo for around a minute before Baker slowly works his way in. As the track continues, Clapton's playing changes moods throughout while Baker's drumming provides the perfect accompaniment before reaching its dynamic end at the 13:38 mark. All told, while this is a fine live release, it's not quite on the level of their other live releases. However, if you can't enough of Cream, this won't disappoint you.

Subtract a star for Steppin' Out.......2006-02-03

Sorry, but it's true. Steppin' is a clever combination of long (nearly fourteen minutes) and boring (It loses steam about three minutes in). But once we get past that one minor gripe, this is actually a good album. They burn through Deserted Cities of the Heart, Tales of Brave Ulysses, Politician and Sunshine of Your Love like it's nobody's business and cut an enjoyable version of White Room (needs the cellos, though). Too bad Steppin' stretches for an eternity-and-a-half, the rest of the album is fine and highly recommended.

Not as good as it could've been, but hey, it's still Cream!!!!!!!!.......2005-12-17

Much like the first Live Cream album, this Volume 2 was released as a "quickie" album to milk Cream's ample fan base of their cash. That statement may sound a bit harsh; however, the music is DAMN good for being part of a rip-off album released without the consent of Eric, Jack and Ginger.

The album starts off very slowly, with the first three tracks coming from what could be construed as Cream's worst recorded concert performance: Oakland 10/4/68. That night was the group's first show in nearly four months and they hadn't had a decent rehearsal since June 1968. Most of the music from that concert is sub-par by Cream standards (especially the still-unreleased "Passing the Time" from that night) but better than many bands at their peak. "Deserted Cities" is out-of-tune and inferior to the WOF studio (it doesn't work as effectively without Bruce's cello lines), "White Room" isn't all that hot either, but "Politician" is definitely an improvement in terms of energy and technical precision, and though the orgy of soloing guitars of the WOF version is missed, this tune works very well live.

The next three tracks were recorded in March 1968 at the same Winterland shows that produced the live disc of WOF. The Winterland performances are Cream at their absolute peak, the polar opposite of the sub-par Oakland show. "Tales of Brave Ulysses" and "Sunshine of Your Love" are superlative, energetic performances and are among the best versions I have ever heard of these songs. The obvious highlight of the latter tune is the ending jam on the song's final A major chord, though it is rather short compared to other performances of the song (a 17 minute version with a 12 minute (!) ending coda is available on bootlegs).

Which brings me to "Stepping Out," the highlight of the entire album. At 13 minutes, it's definitely not for anyone with little or no patience, but this is certainly a great Eric performance. It's not the best performance of this Clapton solo piece (that would go to Brandeis), but it certainly is respectable and a welcome addition to the live Cream cannon.

Now, of course, there will always be gripes over this album, since it obviously, as stated before, was quickly thrown together with little regard to Cream fans. However, the excellent quality of these recordings must be cherished, since soundboard recordings of Cream in the '60s are a rarity and most fans like me have to listen to poorly-made, hissy audience tapes to hear Cream in their full live glory. Forget the 2005 reunited Cream and take a gander at this. It's well worth getting.

A Big Disappointment.......2005-08-02

Aside from the last track, "Steppin' Out," this disc really doesn't have much to offer. "Steppin' Out" is the only jam on the CD, and I really think that they could've done a better job putting this compilation together. I rate this CD mediocre at best, because Cream was so great live (or at least they were supposed to be) and I think that they did a terrible job of making an album that was supposed to be representative of their live performances.

For me, the biggest disappointment was "White Room," which is only 5 1/2 minutes long. I really wanted to hear a long jam. But oh well.

If it weren't for "Steppin' Out," I would want my money back.

As for my recommendation, I think that your money would be better spent somewhere else. You'll be paying 10 bucks (at least), and really, only one song is worth it. Buy something else.

Average customer rating:

Equally wonderful in acoustic

Live From the Women's Club Vol. 2

Manufacturer: Jayhawks
ProductGroup: Music
Binding: Audio CD

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Live From The Women's Club Vol. 1
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ASIN: B000A1EBB8

Product Description

The second of The Jayhawks live acoustic bootleg series includes selections from the 04/26/02 Women's Club acoustic show in Minneapolis, MN and four extra demo tracks and outtakes! Previously only available at shows. Track list: 1 One Man's Problem 2 What Led Me To this Town 3 The Man Who Loved Life 4 Tampa to Tulsa 5 Somewhere in Ohio 6 Settled Down Like Rain 7 Angelyne 8 Jennifer Save Me 9 Clouds 10 All The Right Reasons 11 Reason to Believe 12 Gypsy in the Mood 13 Okhee's Theme 14 Save Me From Myself 15 Boston Maid

Customer Reviews:

Equally wonderful in acoustic.......2006-11-16

This second volume of bootleg recordings maintains the exceptionally high standard of the first. The Jayhawks' strength has always been the outstanding vocal harmonising and this is evident throughout this recording. The true mark of a song is that it sounds equally wonderful in acoustic form and these acoustic versions are even better than those on each of their terrific studio albums. Every song is excellent and beautifully performed though my personal high points are 'Settled Down Like Rain', 'Angelyne' and 'Jennifer Save Me' the Louris penned track that featured on the second Golden Smog album 'Weird Tales'. This is a must for all fans of the band. It doesnt get much better than this!

Reel Chill: The Cinematic Chillout Album

Average customer rating:

"cinema's main stay themes prevail ~ City of Prague"

Reel Chill: The Cinematic Chillout Album

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

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Reel Love: The Cinematic Romance Album
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ASIN: B0002IQGT4
Release Date: 2004-08-10

Tracks:

Sarabande [From Barry Lyndon]
Main Theme [From Midnight Cowboy]
Promenade Sentimentale [From Dive] - Mark Ayres
May It Be [From the Lord of the Rings: The Fellowship of the]
Women of Ireland [From Barry Lyndon]
Adagio for Strings & Organ [From Gallipoli [
Romeo/Love Theme [From Romeo & Juliet)
Balcony Scene [From Romeo + Juliet]
Main Theme [From Chariots of Fire] - Mark Ayres
Main Theme [From Bilitis] - Mark Ayres
Main Theme [From Merry Christmas Mr. Lawrence] - Mark Ayres
Main Theme [From Cinema Paradiso]
Main Theme [From Once Upon A Time in the West]
Deborah's Theme [From Once Upon A Time in America]
Suite: The Mission/Gabriel's Oboe/On Earth as It Is in Heaven ... - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus

Tracks:

Suite: Mountains and Sunsets/The Wedding/You Only Live Twice [From You
Heart Asks Pleasure First [From The Piano]
Agnus Dei [From Platoon] - Crouch End Festival Chorus
Vide Cor Meum [From Hannibal]
Adagietto from Symphony No. 5 [From DeAth in Venice]
Any Other Name/Dead Already [from American Beauty] - Rick Clark,
Into the West [From the Lord of the Rings: Return of the King]
Where Dreams Are Made [From Artificial Intelligence]
Main Theme [From Somewhere in Time]
We Have All the Time in the World [From on Her Majesty's Secret ...]
Electronic Battlefield [From Patriot Games]
Now We Are Free [From Gladiator]
Intermezzo from Cavalleria Rusticana [From Raging Bull]
Cavatina [From the DeErhunter]
Main Theme [From Out of Africa]

Customer Reviews:

"cinema's main stay themes prevail ~ City of Prague".......2004-08-15

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

Romance Of The Violin (Live From New York In Concert)

Average customer rating:

Excellent performances, both audio and video
Great music, lousy format!

Romance Of The Violin (Live From New York In Concert)
Joshua Bell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00076ZZB6
Release Date: 2005-02-08

Tracks:

O mio babbino caro from Gianni Schicchi
The Girl With Flaxen Hair
Nocturne
The Swan
Serenade
Casta Diva from Norma
Andante from Piano Concerto No. 21 in C Major K. 467
Dance of the Blessed Spirits from Orfeo ed Euridice
Nocturne from String Quartet No. 2 in D Major
Songs My Mother Taught Me
Pur ti Miro from 'L'incoronazione di Poppea
Elegie: O doux printemps d'autrefois
Trerei

Album Description

CD AUDIO SIDE: Entire Album

DVD SIDE: * Entire album in Enhanced LPCM Stereo * Video of highlights from Joshua Bell Romance of the Violin Live from Lincoln Center with the Orpheus Chamber Orchestra * Complete Discography This disc is intended to play on standard DVD and CD players. May not play on a limited number of models.

Customer Reviews:

Excellent performances, both audio and video.......2007-01-09

I was delighted with this Dual Disc. Performances are excellent, both audio and video. Recording quality is very good.

I must report some problems with CD side (cracks) on older CD player.

Great music, lousy format!.......2007-01-03

I love the music, but was VERY unhappy to be unable to play this CD on my computer. The DVD side works okay, but I can't load this to itunes on my macintosh. And I can't load the DVD to my computer and store this disk at home. If I had it to do over, I'd buy the plain vanilla CD!

The Collectable King Crimson, Vol. 2 Live in Bath 1981

Average customer rating:

Two more collector's club releases
First live show Crimson played and one of the best "Beat" performances--mixed sound quality on one, excellent on 2nd

The Collectable King Crimson, Vol. 2 Live in Bath 1981
King Crimson
Manufacturer: Inner Knot
ProductGroup: Music
Binding: Audio CD

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The Collectable King Crimson, Vol. 1
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ASIN: B000N2G1QW
Release Date: 2007-03-26

Tracks:

Discipline
Thela Hun Ginjeet
Red
Elephant Talk
Matte Kudasai
The Sheltering Sky
Indiscipline
Frame By Frame
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Tracks:

Thela Hun Ginjeet
Red
The Howler
Frame By Frame
Matte Kudasai
The Sheltering Sky
Discipline
Elephant Talk
Indiscipline
Neurotica
Heartbeat
Sartori In Tangier
Larks' Tongues In Aspic: Part II

Customer Reviews:

Two more collector's club releases.......2007-05-15

As with the Collectable Vol. 1, This is made up of two releases that were/are available through the band's website. These were originally done back when you had to have a membership in the King Crimson Collector's Club in which you paid in advance for a certain number of releases and then you had the option of picking which ones you wanted. The nice thing about them being released this way is the fact that now you know before you get them what they sound like thanks to the rating on the back.

The first show here from the Moles Club in Bath is from an audience tape and that might be offputing to some. However, being someone familiar trading concert tapes over the years(IE Grateful Dead, King Crimson, and so on)I don't think the sound on here is that bad. The band was still calling itself Discipline at the time and that's what you get. Early versions of what would become the Discipline album with the first live Red and a cool Larks part 2. The performances are a little rough due to the fact that this is this lineup's first performance.

The second performance on here from Philadelphia was taken and mixed from the band's own multi track recording(8 tracks) tapes. You get different versions of the material on disc one plus four songs from the Beat album. Given the fact that this performance was professionally recorded, I doubt many people will have a problem with the sound quality as it's superb.

The short, all the performances are very good to excellent and the sound for the most part is top notch.

First live show Crimson played and one of the best "Beat" performances--mixed sound quality on one, excellent on 2nd.......2007-04-26

This two CD set documents two pivotal concerts by the 80's line up. The first concert features the band when they were still known as Discipline (before Fripp realized that this could a viable new version of Crimson)appearing at Moles a small concert club in Bath, England. The band performs material that would form the basis for their first album and recorded much of it getting out to hone their chops live. The performance sounds fair--it is drawn from a restored audio cassette so is presented in mono with limited fidelity. It still is worthwhile for some of the stunning, loose performances here. This is before the songs had been honed to perfection by constant live playing. It features the bulk of "Discipline" as well as two 70's era Crimson compositions "Red" (which would become a staple of this line up)and "Larks Tongues in Aspic: Part II".

The second disc is from one of the band's best performances during their 1982 tour (although I prefer their last show in Berekley for personal reasons--I was there). Capturing the band at peak intensity, Belew is on fire during this performance and the rest of the band follows him down that hot trail. Featuring "The Howler" (a song that would later be sadly retired from many live shows), the bulk of the second 80's Crimson album "Beat" and once again "Red" & "Lark's Tongues in Aspic", this was one of the four pieces best captured performances. Recorded on 8 track the sound quality varies from extremely good to excellent as it was pulled from the band's recordings and sounds much as the show would have sounded live. My only complaint about the second concert is that Tony Levin's bass is occasionally buried in the mix but otherwise the sound is exceptional.

Crimson biographer/blogger Sid Smith provides separate liner notes (as he did for the individual releases)for both in the booklet and they are excellent. I didn't realize that Smith never caught the 80's version of KC live (at the time he preferred the last incarnation with John Wetton, Fripp, Brufford and Cross)but he does confess that he didn't get into them until after they had split up again.

An excellent release and an essential purchase for Crimheads just be aware that the Moles show isn't perfect before buying. It's worth having because the performances are terrific. 4 stars for the Moles performance 2 stars for the recording; 5 stars for the Philly show and 4 stars for the recording.

Saturday Night Live: 25 Years of Musical Performances, Vol. 2

Average customer rating:

excellent live material although not SNL's best
FIRE THE CLOWN, THAT DID THIS!!!!!!!!!!!!!!!!
Attention: Neil Young Freaks
YOU'VE GOT TO BE KIDDIN' ME
A rare set of performances

Saturday Night Live: 25 Years of Musical Performances, Vol. 2
Various Artists
Manufacturer: One Way Records Inc
ProductGroup: Music
Binding: Audio CD

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Saturday Night Live: 25 Years Of Musical Performances, Vol. 1
Live On Letterman : Music From The Late Show
Live From 6A : Late Night With Conan O'Brien
Woodstock 94
Concert for the Rock and Roll Hall of Fame

ASIN: B00001QGNV
Release Date: 2001-10-15

Tracks:

Rape Me - Nirvana
No More - Neil Young
Losing My Religion - R.E.M.
Doll Parts - Hole
Sabotage - Beastie Boys
Been There Done That - Dr. Dre
Creep - TLC
Tennessee - Arrested Development
Acquiesce - Oasis
When I Come Around - Green Day
Nobody's Fault But My Own - Beck
I'll Stand By You - Pretenders
One Hand In My Pocket - Alanis Morissette
Reminisce - Mary J. Blige
Any Time, Any Place - Janet

Amazon.com

While Volume 2 of Saturday Night Live: The Musical Performances claims to draw on 25 years of history, all but one track is taken from the 1990s. The exception is Neil Young, who performed "No More" all the way back in 1989. A rundown of the rest of the tracks reads like a roster of the 1990s always-on-the-radio club. The delights on this disc are few and far between. Beck's George Harrison impression on "Nobody's Fault But My Own" is a great turn for the man associated with funky stoner grooves, but longtime fans of the show will remember George Harrison dueting with Paul Simon in the late 70s. That moment is neither here nor on Volume 1. If the companion volume strove for a bit of balance between the past and present, Volume 2 is shamelessly tailored for sales, and not as an archive. --Jason Josephes

Customer Reviews:

excellent live material although not SNL's best.......2007-01-18

If you're a fan of any of these artists, get this CD. Sound quality is superb.

FIRE THE CLOWN, THAT DID THIS!!!!!!!!!!!!!!!!.......2006-02-20

NO FEAR, NO SPECIALS, NO DEVO, NO LEON REDBONE, NO ZAPPA, NO B-52's, NO PRESERVATION JAZZ HALL, NO FULL BOWIE COVERAGE, NO BLUES BROTHERS!!!!!

RAP & OTHER WATERED DOWN CRAP FROM THE LATE 80's can take a flying LEAP!!!
WE WANT the AVANTE-GARDE/DADA PUNK/NEW WAVE of L.A./N.Y. during the reagun dictataorship!!!!

(...)

JUST ANOTHER CASE WHERE SOMEBODY WHO DOESN"T DESERVE TO BE IN THE POSTION THEY ARE IN, IS GIVEN AN OPP TO DO SOMETHING THEY HAVE NO IDEA of WHATS GOING ON!!!!!!!!!!!!!!!!!!!

Attention: Neil Young Freaks.......2005-07-27

Rockin' In The Free World may have been the more incendiary performance but No More is a very, very cool song from the Freedom record that seems to have fallen through the cracks. This is a nifty live version.

I picked this set up used for about 2 bucks, I certainly would not have paid full price but I sure have enjoyed putting this Neil Young song on mix tapes.

YOU'VE GOT TO BE KIDDIN' ME.......2003-10-08

One of the greatest if not the greatest live performance I've heard or seen is not presented on this CD. That's right the greatest. I don't know or have ever really know anything about Neil Young, but his live performance of ROCKIN'IN THE FREE WORLD on SNL almost put tears to my eyes. Utterly speachless. It was'nt that it was such an emotional performance or anything, but that the fact was that this old fart would have rocked Kurt Cobain's or anyone elses young butt. Trully a powerful and insperational song.

Get the DVD it's the only official release of the song.

A rare set of performances.......2002-09-08

Sorry that the majority of other reviewers focused on what performers were NOT included vs. reviewing the actual merits of this compilation. There are some excellent performances here. Neil Young, Pretenders, Beck, REM and Alanis are superb...all very well recorded. I like the incredible variety-there is no better CD for a long car ride. Highly recommended.

The Art of the Trio, Vol. 2: Live at the Village Vanguard

Average customer rating:

notes on a controversy
Fine piano trio music
The guy is really good, so take a chance on him...
Today's Most Challenging and Refreshing Jazz Trio.
Major, major jazz

The Art of the Trio, Vol. 2: Live at the Village Vanguard
Brad Mehldau
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Songs: The Art of the Trio, Vol. 3
The Art of the Trio, Vol. 1
The Art Of The Trio, Vol. 4 - Back At The Vanguard
Art of the Trio, Vol. 5: Progression
Introducing Brad Mehldau

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 Booth

Customer Reviews:

notes on a controversy.......2005-01-18

Sorry, this isn't really a review of this album. It's a few thoughts on the "controversy" over comparing Mehldau to Bill Evans (see, e.g., the "Major, major jazz" review on this page). Mehldau himself has disavowed the comparison on several occasions, most notably in the liner notes to Art of the Trio Vol. 4, in which he says he only listened to Evans "a little, when I was 13 or 14 years old"--and then goes on to provide a detailed analysis of how his trio functions in a different way than Evans's. If you take this at face value . . . (After I read Mehldau's liner notes, I was hoping someone would get him a copy of Harold Bloom's _The Anxiety of Influence_ for his birthday.)

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

As a serious fan of Bill Evans, but with little knowledge of the jazz world, I picked up the first four volumes of Mehldau's Art of the Trio recordings following a recommendation from a friend.

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

This is my first Mehldau CD, and I like it a lot. A piano trio live at the Village Vanguard? How can that NOT remind jazz lovers of the two famous Bill Evans' albums recorded live there 36 years earlier? Brad is not quite in that league perhaps, but he's a lot closer than I would have guessed. Of course, he does not want to be known as "almost as good as Bill Evans." He wants to see reviews of other respected young pianists described as "almost as wonderful as Mehldau." If you like piano jazz with an edge, this is for you. He plays standards, but with his own twist and a '90's sensibility. They are recognizable and pretty, but taken in some new directions as well. Kind of like Monk did, and Evans did, and that's great company. On this disc, the trio tackles a Monk original, and a Coltrane original, and a Mancini original, plus Cole Porter and Jerome Kern. The '30's and the '50's and the 60's in only six tunes. Even the few moments of these 73 minutes I don't love are still interesting. Check it out!

Today's Most Challenging and Refreshing Jazz Trio........2001-11-20

This album is the 2nd volume of the trio's production entitled: "The Art Of the Trio". It is also the first of the live recordings of the pianist Brad Mehldau with his partners Larry Grenadier (bass) and Jorge Rosy (drums) at the Village Vanguard in NYC, this time during a summer appearance in 1997.

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

It's easy to evaluate a jazz musician's career in retrospect, usually when they're in middle age, and declaring greatness over a large body of work and years of concerts. It's never so easy when faced with a still growing body of work from a contemporary artist. Bard Mehldau is one such artist, and even though he has made fewer than 10 discs, one can say without hesitation that he is a great jazz musician. The proof is in the playing, and this CD is one of many great doorways into that playing.

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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