Ascension [Original recording remastered]

Amazon.com
Few works remain genuinely controversial 35 years after their inception, but Ascension can generate as mixed a response today as it did when it was released. In May 1965, Coltrane assembled 10 other musicians for one of his most ambitious recordings, a 40- minute piece that was a landmark in the free-jazz movement and a key moment in Coltrane's sponsorship of the younger members of the New York avant-garde. Along with his regular rhythm section--McCoy Tyner, Jimmy Garrison, and Elvin Jones--the band includes trumpeters Dewey Johnson and Freddie Hubbard, tenor saxophonists Archie Shepp and Pharoah Sanders, altoists Marion Brown and John Tchicai, and Art Davis playing bowed bass. The improvised ensembles shout and cry with galvanizing power, their tension testifying to Coltrane's influence and the saxophone's dominance in the style. It's both brilliant and flawed work, however, in ways that go to the heart of Coltrane's musical thought. It's rooted in modal music, with a brief pentatonic figure (a variation on the opening motif of A Love Supreme) as its basis. While it's broken up by the intense ensembles, the string of solos seems too close to a Jazz at the Philharmonic approach to free jazz. The horns stretch toward energy music, while the rhythm section, particularly Tyner, seems rooted in modality. As a result, the soloists often come off the soaring blowouts to find themselves with little more support than a reiterated chord, and they sometimes seem to merely run out of steam. It's still startling music, though, and necessary listening, whether for the sheer power of the ensembles, the sustained creativity of Coltrane and Sanders, the stylistic contrasts in the horn players, or the acerbic understatement of Tchicai, so effective in the midst of the maelstrom. Coltrane couldn't decide on which of the two versions he preferred, and Edition II was covertly substituted for Edition I during the run of the original LP. This CD manages to include both. --Stuart Broomer

Tracks:

Your Song
Sparkling Diamonds [Original Film Version]
One Day I'll Fly Away
The Pitch (Spectacular Spectacular) [Original Film Version]
Come What May [Original Film Version]
Like a Virgin [Original Film Version]
Meet Me in the Red Room [Original Film Version]
Your Song
The Show Must Go On [Original Film Version]
Ascension/Nature Boy (From the Death and...)
Bolero (Closing Credits) [Original Film Version]

Amazon.com

There are but two kinds of people in the world: Those captivated by Baz Luhrmann's heady, postmodernist musical romp Moulin Rouge--and everybody else. Oddly, the film's initial soundtrack release may have been the project's most traditional element, marketing a slate of pop-star contributions that gave listeners a sometimes-skewed perspective on its true musical charms. This follow-up corrects much of that oversight, offering original film versions of "Sparkling Diamonds" (the lavish, Nicole Kidman-performed medley of "Diamonds Are a Girl's Best Friend" and "Material Girl"), Jim Broadbent's and Richard Roxburgh's loopy take on "Like a Virgin," as well as the lively Offenbach "Can Can" parody "The Pitch (Spectacular Spectacular)." It also pays homage to the efforts of composer Craig Armstrong, whose quietly compelling underscore often binds the film's other far-flung musical influences together, be they stately orchestral readings of Elton John's "Your Song," a dramatic arrangement for Kidman and Ewan MacGregor's original film duet of "Come What May," or his dark, melodramatic take on Queen's "The Show Must Go On." The first Moulin Rouge soundtrack collection flaunted the film's bold, cross-genre ambitions; this one chronicles its nakedly emotional heart and soul. --Jerry McCulley

Album Details

Volume Two Includes the Memorable Renditions of 'like a Virgin' and 'your Song' and 'the Pitch (Spectacular Spectacular).' It also features a Mix of the Nicole Kidman Song 'one Day I'll Fly Away.'

Customer Reviews:

Wow........2007-01-15

I must say...I was very glad when they released Part Two of the Moulin Rouge soundtrack. Don't get me wrong...the first part was great and all, but it was nothing spectacular. I was specifically looking for certain songs from the movie, and I was completely disappointed when they were on there. The release of a second soundtrack was, in my opinion, an absolute necessecity.

The highlights of the album are:

-Your Song (Instrumental)
-Sparkling Diamonds (original film version)
-Come What May (original film version)
-The Show Must Go On (original film version)

In my opinion, "The Show Must Go On" is the best song on this album...it was just so perfect for the ending of the movie, and I fell in love with the song. I was so disappointed that it wasn't on the first soundtrack. This song is part of what makes the second soundtrack so amazing...the song is fierce!!

If you love the movie and are a fan of the first soundtrack, then definitely, get this one. Many of the songs are versions taken straight from the movie - I recommend this with 4.5 stars...you will NOT be disappointed!

Love this CD.......2006-07-04

I love everything about this movie. The music is amazing and the instrumental songs on this CD are perfect. The first CD seemed to be more for a bunch of teenyboppers that wanted to hear the worst song on the whole CD (Lady Marmalade). If only they could combine the good songs from the first CD into this one.

I gave this 5 stars even though it's about a 4.5 because they split the soundtrack over two seperate cds.

Could it get any better?.......2006-03-02

So i thought that the first instalment in these soundtracks was great (and it was) but the purchase of this sequel is a must if you want the full effect. With the original film versions of these songs, sung by the stars of the movie, you get the real feel that was the magnifisence of Moulin Rouge! Ewan McGregor is still by far the star, with his talent spilling over the dramatic lovesong 'Come What May' and 'Your Song', but Nicole's brilliant performance as Satine definatly takes front and center in 'One Day I'll Fly Away' and the film version of 'Sparkling Diamonds'...I have noticed that many complain about how the first soundtrack did not include the film version of this song...well you need this CD then...you will not be dissapointed. Other highlights include 'Like a Virgin' which is downright histarical, and the dark cover of 'the show must go on' which highlights the tragidy behind this tightly woven tale. THis is one must have soundtrack for your ever growing collection. A perfect companion to soundtrack number 1!

Moulin rouge tried to fill up the GAP.......2006-02-12

This contains many great tracks missing from the original soundtrack, including Like A Virgin, Spectacular Spectacular and The Show Must Go On. I thought the inclusion of two instrumental versions of Your Song might be a bit redundant, but upon listening to them I really enjoyed them and they are quite different from one another. OK, it's not the best soundtrack that could have been put out. But it's pretty darn close. One thing that many DEDICATED fans of the movie (including myself) said is that the original movie soundtrack lacked the actual original movie score. There are 10+ songs in "Moulin Rouge" and many didn't make the final cut.

Baz did the smart thing, taking the audiences favorite music, a few gems from the first soundtrack such as "Come What May" and "Sparkling Diamonds" as well as a few new songs, like "Like a Virgin", "The Show Must Go On" and "The Pitch (Spectacular Spectacular)" and releasing the Original Film versions, allowing for the amazing vocal performances of the actors, including the fabulous Jim Broadbent, to be shine through. Also, released is background music "Meet Me in the Red Room", played during Christian's arrival in the elephant, marking the only non-actor/orchestral piece within the context of the CD.

One thing that this soundtrack included that I didn't expect was several orchestral pieces that were mostly used as background music throughout the film. "Your Song - Instrumental" (#1) has personally become a favorite and is constantly being repeated in the CD player. Also included is the ending credits music "Bolero" and the final piece ... known as "Ascension/Nature Boy". Also included is a remix of "One Day I'll Fly Away", and like all MR remixes, is a little tough to listen to at first but after repeat listening, it becomes music to your ears.

To all you MR diehards out there: this is a must. Not like I could stop you anyways. To others who haven't been introduced to the spectacular (spectacular) world of Moulin Rouge, this is a great introductory piece, especially side-by-side with the first soundtrack.

ahahahahaha.......2006-02-01

Everything the other customers are saying is true: more music from the film, thankyouverymuch, not irritating pop conceits like the first. However, I would not have reviewed this album unless I found it absolutely necesary to point out that, in the climactic moments of track 5 "Come What May," Ewan MacGregor's voice is for some reason missing and replaced by a bizarre, operatic man's voice. It truly had me crying with laughter the first few times I heard it, and I wanted to share this wondrous discovery with the world.

Average customer rating:

Another gem from Schwartz
so happy to have found this
Massage Music that my clients LOVE
Soul Satisfying
Powerful interpretations of classics for modern ears.

Aria 3: Metamorphosis
Aria , and Paul Schwartz
Manufacturer: Koch Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Meditation | New Age | Styles | Music

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General | Vocal Pop | Pop | Styles | Music
Similar Items:

Aria, Vol. 2: New Horizon
Aria
State of Grace II: Turning to Peace
State of Grace
Earthbound

ASIN: B0002PUH7Y
Release Date: 2004-09-21

Tracks:

OMBRA MAI FU
FURIOSO
SOGNO
METAMORPHOSIS 2: DANAE
BALLO
INTERLUDE:L'ORCHESTRE ENGLOUTIE
AMAMI
LASCIA
FAREWELL
METAMORPHOSIS 3:CYANE
ASCENSION
METAMORPHOSIS 1: ARACHNE
FURIOSO: instrumental mix
OMBRA: chilled mix

Amazon.com

Souping up the classics with whatever contemporary music pulse is current at the moment has a long history. Some artists, like Emerson, Lake and Palmer, aspired to classical grandiosity. Others, like Michael Murphy and his discofied "A Fifth of Beethoven," turn classical melodies into pop hooks. Paul Schwartz falls somewhere in the middle with his Aria project, of which this is the third. Electronica grooves and effects angle their way through songs "based" on operatic works by Handel, Verdi, Puccini, and Monteverdi. Schwartz begins with a bar set high by some of these melodies, beautifully sung by soprano Rebecca Luker. Whether singing solo or in multi-tracked choirs, her voice opens heavens' gates, but she has to slog through some pedestrian arrangements to get there. Schwartz understands the difference between an orchestra and a synthesizer and with only a few exceptions--like the cheesy opening to "Ombra Ma Fu"--deploys each in appropriate measures. "Ascension," based on a Monteverdi aria is particularly striking with its underlying electronic ostinatos cycling through the breathtaking refrain. But too often, Schwartz's strings are saccharine and his rhythms clichéd in a music that uses high art only to reach for the facile. Like most classical-pop crossovers, time usually renders a verdict of kitsch in the first degree. --John Diliberto

Customer Reviews:

Another gem from Schwartz.......2007-02-21

Much like Aria 1 & 2 this is another gem, presenting a unique interpretation of classic arias. It is an awesome compilation. I look forward to Aria 4 (is there one in the works?)!!

so happy to have found this.......2006-12-31

This CD is one of Paul Schwartz's best; it's definitely the best out of all 3 Arias. I really hopes he continues making State of Grace and Aria CDs because they are amazing.

Massage Music that my clients LOVE.......2006-08-05

I now have all 3 CDs in the "Aria" famiy, and this one, like its predecessors is truely GREAT massage music! My clients love the entire Aria family of CDs. I've been a big fan of Rebecca Luker for quite sometime now and she SHINES like the truely elegant vocal star that she is on this album. A buy that is DEFINATELY well worth it!

Soul Satisfying.......2006-04-29

I love this CD. It's especially wonderful when it's rainy outside and I'm curled up by the fire inside. My son who is 16, blind and autistic loves it and plays it over and over. I think he taps into the immediate relaxation and beautiful blend of classical with technology.

I'm with all the others. Who cares if this somehow "interprets" the classic correctly or not? It is pleasing to the ears and that's all that matters.
Minneapolis, MN

Powerful interpretations of classics for modern ears........2006-03-18

As in Aria 1 and Aria 2, the incredible lyric soprano voice of Rebecca Luker delivers excellent music, song after song. She gives us an interpretation of Handel's Serse; a selection from Puccini's La Rondine; another selection from Verdi's La Traviata; an aria from Handel's Rinaldo; another nice selection from Puccini's Madame Butterfly; and a final selection from Monteverdi's L'Incoronazione.

The CD also has 6 instrumental works, arranged by Paul Schwartz. There is a very nice interpretation of Handel's tragic Sarabande, with vocals by the Joyful Company of Singers and words from Psalm 7. This piece reminds me of the tragic majesty of Carmina Burana.

Paul Schwartz consistently delivers powerful reinterpretations of classical music for modern ears.

Average customer rating:

Another World
Yet another forgotten musical genius. Beautiful music
A Monument of Early Violin Music
An Inordinately Beautiful Recording of the Biber Mystery Sonatas
Hauntingly beautiful Baroque fare

Biber: The Mystery Sonatas

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Biber: Violin Sonatas
Biber: Unam Ceylum /Holloway * Assenbaum * Mortensen
Biber: Harmonia Artificioso - Ariosa; Tam Aris Quam Aulis Servientes
Schmelzer: Unarum Fidium /Holloway * Assenbaum * Mortensen
Biber: The Rosary Sonatas

ASIN: B00005UNXG
Release Date: 2002-12-23

Tracks:

Praeludium
Aria And Variations
Adagio
Finale
Sonata
Presto
Allamanda
Presto
Sonata
Courente
Double
Adagio
Ciacona
Praeludium
Allamanda
Guigue
Sarabanda
Double
Lamento
Aria
Adagio
Allamanda
Variatio
Sarabanda
Variatio
Sonata
Presto
Guigue
Double I
Double II
Sonata
Courente
Doubles I & II
Finale
Praeludium
Aria
Variatio 1 - 2
Variatio 3 (Adagio)
Variatio 4 - 5

Tracks:

Sonata
Surrexit Christus Hodie
Adagio
Intrada
Aria Tubicinum
Allamanda
Courente
Double
Sonata
Gavotte
Guigue
Sarabanda
Praeludium
Ciacona (Aria)
Guigue
Sonata
Aria
Canzona
Sarabanda & Double
Passagalia

Customer Reviews:

Another World.......2007-03-29

Biber heartily embraced gypsy tavern violin virtuosity long before Dvorak or Brahms. This is magnificent music full of elegant and earthy contrasts. The sonatas that employ unconventional tuning open up new worlds of harmonic splendour, yet the crowning piece, the Passagalia, which does employ conventional tuning but isn't part of the Mystery Sonatas, is thankfully included as the final work of a two disc journey that soars the heights of heaven and plunges the depths of human experience. I have the original release of this music with its sumptuous and informative booklet: booklet or not, these are exceptional performances combined with an exceptional recording.

Yet another forgotten musical genius. Beautiful music.......2007-03-04

Heinrich Ignaz von Biber was a wonderful composer. The so-called "Mystery Sonatas" also known as the "Rosary Sonatas" have an aire of perfection rarely seen in classical baroque music. Biber has been all too conveniently forgotten and I am not sure why. As with Erik Satie (another of my favorite, yet unknown composers) Biber has managed to shrink in to the darkness of history while his legacy of work should be celebrated.
His work is haunting, exhilarating, enriching and somber. His music conveys a sadness and a joy that few musical works are able to convey. Biber's understanding of orchestration, the workings of instruments in compliment of each other, is astonishing to me. He had an ability, a gift, that only God himself could have given him. If you don't believe in God, then just accept that he was a prodigy of the finest degree and his work was sent from a deep place inside that immediately crawls inside of you. I, personally, call it a religious musical experience.
Absolutely stunning music.

A Monument of Early Violin Music.......2006-12-17

This version of Biber's stupendous ROSARY SONATAS (this is the more correct translation of the original German title) is marked first of all by the stunning virtuosity and graceful lyricism of violinist John Holloway. Simply to master the notes of these sonatas is an immense task in itself: playing scordatura is sort of like ventriloquism, since you are miming a certain set of notes while other notes are sounding. To have worked up these difficult pieces into an intensely expressive, dramatic experience, as Holloway has, is breathtaking. Then there is the variety of continuo instruments arrayed for each sonata. In various tracks we hear organ, harp, lute, violone, lirone (a gamba viol sounding to these ears somewhat like a harmonica) and regal (a small, portable organ with a rasping, nasal sound, used to great effect in the "Crowning with Thorns" sonata). Finally, the fact that this recording is priced far lower than any of the other major versions (Goebbel, Manze) makes it doubly attractive. I was disappointed by the scarcity of program notes, understandable given the budget price: we are not informed, for example, of the scordatura tuning of the individual sonatas, and I would have liked a more detailed discussion of the pictorial and symbolic elements used by Biber in the sonatas. However, the notes include a link to Virgin's website promising "a more detailed introduction".

Perhaps it's best not to take in this colossal work all at once. For a sampler, try tracks 14-15 of CD 2 (the "Assumption" sonata) and hear some of the most buoyant, joyous violin playing in existence. You'll be instantly mesmerized.

An Inordinately Beautiful Recording of the Biber Mystery Sonatas.......2006-09-22

Much can be written about the difficulty of this music form the 17th Century by Heinrich Ignaz Franz Biber - and other reviewers here have given superb descriptions of those complexities - but the end result of works such as this is in the response it produces in the listener.

Biber wrote these Mystery Sonatas to represent the three sets of mysteries from the Bible: the Birth, the Crucifixion, and the Resurrection of Christ. The recording is by Tragicomedia with Davitt Moroney and John Holloway in this impeccably performed recording of impossible music: the music is impossibly difficult to play and impossible not to draw and emotional response from the listener. Some may find this version a bit dry sounding, but for this listener that only enhances the other-worldly sense of the music.

The sixteen sonatas are named as follows: Part I: The Annunciation, The Visitation, The Nativity, The Presentation, The Finding in the Temple Part II: The Agony in the Garden, The Scourging of Jesus, The Crowing of Jesus with Thorns, Jesus carries His Cross, The Crucifixion Part III: The Resurrection, The Ascension, The Descent of the Holy Ghost, The Assumption of our Lady, The Crowning of the Blessed Virgin Mary, and Passacaglia. With the simplest combination of instruments Biber was able to elicit the feelings of each of these mysteries.

For those who love Period Music this recording is a complete success and a treasure to own. For those who have yet to step into this ethereal world, this is a very fine beginning. Highly Recommended. Grady Harp, September 06

Hauntingly beautiful Baroque fare.......2004-02-23

I own three versions of Biber's Mystery (Rosary) Sonatas, and a fourth recording (by Manze) of other Biber sonatas along with the famous passacaglia that concludes the set. All of the versions (the other two being by Rheinhard Goebel on Archiv and Suzanne Lautenbacher on VOX) are beautiful, because the music is. Perhaps the passacaglia is the most beautiful 8 to 12 minutes (depending on performer) in the entire musical library. I rate the Holloway version as the best in terms of the passacaglia. The pacing seems perfect (Goebel is fast and almost dancelike, Manze quite slow but with more flare) and is about the same as that of Lautenbacher, the latter being performed on a modern instrument with her usual good taste and limited vibrato. Certainly the Holloway version has the most delicious ending to the passacaglia, when the minor key resolves to a major that brings tears to my eyes every time I hear it. The Goebel and Manze versions both have a decorative flourish on the final note that, while beautiful, detracts in my opinion from the simple beauty of the key resolution. How two reviewers could give this recording only a single star is beyond comprehension! Even if one grants that Moroney is not as "lively" a harpsichordist as the performers on the other versions, my response is, "So what?" Maybe if you're a harspichord fanatic you drop the ranking from five stars to four, but the work is overwhelmingly a violin piece with harpsichord ACCOMPANIMENT. To downgrade the ranking of the entire recording to one star completely ignores the fantastic beauty, technical perfection, and haunting introspection of Holloway's performance on the violin. Besides, it's not as if Moroney actually is "incompetent." The descrition I would use is "tastefully understated, recognizing that this is primarily a violin recording." In contrast to the fun Goebel version and the good but more yeoman (yeoperson?) Lautenbacher version, Mr. Holloway plays with greater sensitivity but still with plenty of guts (not referring to the strings here) when drama or a discordant double-stop are called for. Again, ALL of the versions I've heard are great, and I'm tempted to buy yet another, but I always recommend the Holloway to my friends.

Beyond Chant: Mysteries Of The Renaissance

Average customer rating:

Great literature... but thats about it
Essential listening.
Captivating!
Lofty music
Slow down Maestro !

Beyond Chant: Mysteries Of The Renaissance

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

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

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

Voices Of Ascension: From Chant To Renaissance
The Greatest Choral Music of Palestrina: Prince of Music
Mysteries Beyond: Songs and Chants in Praise of Mary
Duruflé: Requiem Op.9/Messe Cum Jubilo,Op.11
Josquin Desprez: Motets & Chansons

ASIN: B0000006ZN
Release Date: 1994-05-23

Tracks:

Sicut Cervus
Ave Maria
Justorum Animae
Jesu Rex admirabilis
Exultate Deo
Exultate Justi
Jesu,Dulcis Memoria
Ave Verum Corpus
Psalm 90
Psalm 96
Hodie Christus Natus Est
O Maria Virgo Pia
Tu Pauperum Refugium
O Sacrum Convivium
If Ye Love Me,Keep My Commandments
Hosanna To The Son Of David
O Quam Gloriosum
Selig sind die Toten
Heu Nos Miseros
Exaltabo Te
O Sing Joyfully
O Magnum Mysterium
Laudate Nomen
Cantate Domino

Amazon.com

Go right to the first track and prepare for one of the most masterful and stylish performances of Palestrina that you'll ever hear. It's not flashy music nor is the singing especially virtuosic, but the unified phrasing, ideal balance among sections, and overall ensemble technique is impressive, and Palestrina's little motet simply opens and displays itself like a beautiful flower. The rest of the program, which includes a variety of beautiful flowers from composers such as Josquin, Sweelinck, and Tallis, maintains the same standard. Anyone looking for an introduction to Renaissance sacred choral music will find much here to encourage further exploration--standards like Byrd's "Ave verum corpus" and Victoria's "O magnum mysterium"-- and lesser known tiny masterpieces such as Victoria's "Jesu, dulcis memoria." The Voices of Ascension ranks with the world's finest choirs, and this recording reflects both the highest standard of choral singing and the highest standard of choral composition during the Renaissance. --David Vernier

Customer Reviews:

Great literature... but thats about it.......2007-06-17

This cd was mildly dissapointing, to say the least. The literature is fantastic. Some of the greats are featured on here with some of their best works. No doubt a great taste of the Renaissance, especially for someone new to it. However, I'm sorry to say that the performance is second-rate, at best. Dennis Keene apparently is either unaware, or just simply understudied when it comes to the Renaissance. He shows an incredible lack of messa di voce, which was what drove the counterpoint of the Renaissance. His interpretations rob this music of its deeply personal purpose. I would suggest the Hilliard Ensemble over any ensemble for Renaissance literature, and find it dissapointing that so many people praise such emotionless, understudied Renaissance ensembels such as the Voices of Ascension, the Tallis Scholars, and the Oxford Camerata, just to name a few. Very good literature... But always pick the Hilliard Ensemble or Anthony Rooley's Consort of Musike when you have the option. It seems like Paul Hillier and Anthony Rooley are the only two true Renaissance scholars currently conducting ensembles.

Essential listening........2007-03-05

This was my first CD of Renaissance choral music, as it undoubtably has been for a great many people. It offers the best possible introduction to the genre for 2 main reasons: 1. No other CD of Renaissance choral music contains such a varied cross-section of early to late Renaissance sacred music styles. 2. The performance and recording quality are fabulous.

Keene uses a variety of different voicings and numbers of singers according to the needs of each particular piece, sometimes with only 2 on a part. The ensemble heard on this recording is a select professional core of The Voices Of Ascension, one of the best choral groups in the country. The voices are all very rich and resonant, and the intonation through the entire CD is unquestionably on par with the best in the world. The singing is, for the most part, completelly vibratoless and extremely smooth, which creates a gorgeous purity that allows this music to shine. However, it does become strident at times, which may put off some choral conductors who are strongly against straight-tone singing.

Of particularly high quality and beauty are the Viadana "Exultate Justi", Byrd's "Ave Verum Corpus", Tallis' "O Sacrum Convivium", and the Victoria and Sweelinck pieces. Another extraordinary track is Leonardo Leo's "Heu Nos Miseros", a late Baroque piece included because of its influence from earlier styles. It is a 9 part double choir piece full of extravigant dissonances and emotion, performed breathtakingly.

Captivating!.......2006-04-12

I was christened as a choral music fan once, as a college student, I heard the music of the Cambridge Singers. Inundated with classical music for years, how could I never have heard such music?! It was as if my musical senses were born anew: for it was with the same awe as a child encountering the world for the first time, that I discovered this novel and fascinating world of a cappella choral music. There were landmark discoveries along the way: Choir of Trinity College, Cambridge; Concordia Choir; St. Olaf Choir; the Dale Warland Singers; the Kansas City Chorale; Kantorei; the West Coast Mennonite Chamber Singers...and (as you expected!) I must end with the Voices of Ascension. The clarity of their pure voices can only be paralleled by the Choir of Trinity College, Cambridge. Chant haters, do not avoid this CD - you will find no chants here! Chants hold absolutely NO intrigue for me and I cannot endure listening to them for long periods of time. By contrast, this music, aptly named "Beyond Chant," truly does uncover hidden musical treasures of the Renaissance for those who would ordinarily avoid such music. The intricately woven a cappella harmonies are captivating and satisfying. I highly recommend this CD to all choral music fans.

Lofty music.......2005-10-14

Some of the earliest pieces of Christian music are the various kinds of chant. These hearken back to synagogue singing; there were various kinds of chant, including Gregorian, Old Roman, Mozarabic, Cistercian and Anglican chant. These tend toward the monophonic, singing with a single 'tune' or lone. They are generally without regular beats or set meters. However, in the Renaissance, monophonic chant grew into a polyphonic form, and this is one of the most glorious eras of music. (My shelves at home are filled with CDs of this sort.) Composers in this era include many represented on this disc - Palestrina, Desprez, Victoria, Lassus, Byrd, Gibbons and Tallis were some of the leading lights of the time. Lesser known but still glorious include Tye, Viadana, Sweelinck, Hassler, Batten and Schutz.

One of the interesting features of this disc is that it includes three pieces by Sweelinck, two psalm settings and 'Hodie Christus Natus Est'. (Sweelinck is very under-represented in recording and performance today). Some pieces are very well known - Byrd's 'Ave Verum Corpus' is perhaps one of the most familiar pieces from this period, as is Palestrina's 'Exultate Deo'. This is a collection that draws from the breadth of the Western Christian tradition of music from this time, with composers from Britain, Italy, the Netherlands, France, Germany, and Spain.

The composers here wrote liturgical music for Masses and other worship services, as well as other pieces - motets and other kinds of new music. This disc represents music that is two or three steps removed from plainsong and basic forms of chant - some are quite a bit distant. Viadana's composition for 'Exultate Justi', for example, was actually composed later, and despite being done in a more Renaissance style, shows decided influences of the Baroque (this might also be part of the performance of the Voices of the Ascension that gives this impression).

The Voices of Ascension, under the direction of Dennis Keene, grew out of the choir of the Church of the Ascension in New York City. Many of the singers are active soloists in addition to being part of this group (whose numbers vary, but often around 40). Keene is a conductor, organist and teacher (not an uncommon combination). Trained at Juilliard, he has led the Voices of Ascension through many outstanding recordings and performances.

This is a performance that is definitely uplifting, and a good collection of music in its breadth to introduce the glories of Renaissance polyphony to those who with little exposure to it. The recording quality is very good, and the choir is quite full and well suited for the music. Some have commented upon the tempo, but this was not a concern for me, and did not stand out as unusual or a problem upon listening (indeed, there were a few points at which I might wish for it to be a bit faster, rather than slower).

A collection that soars!

Slow down Maestro !.......2004-01-04

Another reviewer writing about another album by Dennis Keene wrote:

"Yet the performance is not the slowly flowing honey usually served up by, say, the Tallis Scholars (as good as that is). Particularly in the Gloria and Credo of the Mass, Dennis Keene deliberately de-emphasizes the rise and fall of the different voices' lines in favor of a more naturally speech-like declamation of the long Latin texts. This means a surprisingly fast tempo--and some rhythmic spring and syncopation one might not expect in Palestrina. Some (not all) of the motets get a similar treatment: it works well in joyous pieces like the Pentecost motet Dum complerentur, but listeners might miss that melodic rise and fall in some of the slower works. The singers of Voices of Ascension are quite skillful, and the slight edge in their tone helps make the different melodies unusually audible. Very worthwhile, but not your father's Palestrina."

As a matter of fact, I used to like this album quite much although it was certainly not my favorite. That was until I listened to Robert shaw's "O Magnum Mysterium", which is amedley of Renaissance, negro spiritual, Russian and Western contemporary religious music. I was struck by Shaw's profoundly spiritual interpretation of the pieces by Victoria and Tallis that are also recorded on "Beyond Chant".

From then on I could no longer listen to this cd without feeling feeling increasingly dissatisfied. I tried to find a precise reason and not being a music specialist I was quite at a loss until I found the review above. Maybe the quick tempo is the key to my dislike.

I definitely feel that Dennis Keene and his singers do not have the depth of the Robert Shaw Festival Singers although the booklet accompanying the cd claims that the audience was spellbound by their performance, which took place in a cathedral in New York.

Tracks:

Magnificat in D, BWV243: Chor: Magnificat - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Aria: Et Exultavit Spiritus Meus - Emily Van Evera
Magnificat in D, BWV243: Aria: Quia Respexit Humilitatem - Evelyn Tubb
Magnificat in D, BWV243: Chor: Omnes Generationes - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Aria: Quia Fecit Mihi Magna - Simon Grant
Magnificat in D, BWV243: Duetto: Et Misericordia - Caroline Trevor/Howard Crook
Magnificat in D, BWV243: Chor: Fecit Potentiam - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Aria: Deposuit Potentes - Howard Crook
Magnificat in D, BWV243: Aria: Esurientes Implevit Bonis - Caroline Trevor
Magnificat in D, BWV243: Chor: Suscepit Israel - Taverner Consort & Players/Andrew Parrott/Emily Van Evera/Evelyn Tubb/Caroline Trevor
Magnificat in D, BWV243: Chor: Sicut Locutus Est - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Chor: Gloria Patri - Taverner Consort & Players/Andrew Parrott
Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Lobet Gott In Seinen Reichen - Taverner Consort & Players/Andrew Parrott
Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Der Herr Jesus Hub Seine Hande Auf - Wilfried Jochens
Lobet Gott In Seinen Reichen, BWV11/249b: Recitativo: Ach, Jesu, Ist Dein Abschied Schon So Nah? - Stephen Charlesworth
Lobet Gott In Seinen Reichen, BWV11/249b: Aria: Ach, Bleibe Doch, Mein Liebstes Leben - Margaret Cable
Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Und Ward Aufgehoben Zusehends - Wilfried Jochens
Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Nun Lieget Alles Unter Dir - Taverner Consort & Players/Andrew Parrott
Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Und Da Sie Ihm Nachsahen/Recitativo: Ihr... - Wilfried Jochens/Stephen Charlesworth/Margaret Cable
Lobet Gott In Seinen Reichen, BWV11/249b: Aria: Jesu, Deine Gnadenblicke - Emma Kirby
Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Wenn Soll Es Doch Geschehen - Taverner Consort & Players/Andrew Parrott
Nun Ist Das Heil Und Die Kraft, BWV50: Chor - Taverner Consort & Players/Andrew Parrott

Tracks:

Christ Lag In Todes Banden, BWV4: Sinf - Taverner Consort & Players/Andrew Parrott
Christ Lag In Todes Banden, BWV4: Versus I: Christ Lag In Todes Banden - Taverner Consort & Players/Andrew Parrott
Christ Lag In Todes Banden, BWV4: Versus II: Den Tod Neimand Zwingen Kunnt - Emily Van Evera/Caroline Trevor
Christ Lag In Todes Banden, BWV4: Versus III: Jesus Christus, Gottes Sohn - Charles Daniels
Christ Lag In Todes Banden, BWV4: Versus IV: Es War Ein Wunderlicher Krieg - Taverner Consort & Players/Andrew Parrott
Christ Lag In Todes Banden, BWV4: Versus V: Hie Ist Das Rechte Osterlamm - David Thomas
Christ Lag In Todes Banden, BWV4: Versus VI: So Feiren Wir Das Hohe Fest - Emily Van Evera/Charles Daniels
Christ Lag In Todes Banden, BWV4: Versus VII: Wir Essen Und Leben Wohl - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Sinf - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Adagio - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Chor: Kommt, Eilet Und Laufet - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Recitativo: O Kalter Manner Sinn! - Emily Van Evera/Caroline Trevor/Charles Daniels/David Thomas
Osteroratorium, BWV249: Aria: Seele, Deine Spezereien - Emily Van Evera
Osteroratorium, BWV249: Recitativo: Hier Ist Die Gruft - Caroline Trevor/Charles Daniels/David Thomas
Osteroratorium, BWV249: Aria: Sanfte Soll Mein Todeskummer - Charles Daniels
Osteroratorium, BWV249: Recitativo: Indessen Seufzen Wir - Emily Van Evera/Caroline Trevor
Osteroratorium, BWV249: Aria: Saget, Saget Mir Geschwinde - Caroline Trevor
Osteroratorium, BWV249: Recitativo: Wir Sind Erfreut - David Thomas
Osteroratorium, BWV249: Chor: Preis Und Dank - Taverner Consort & Players/Andrew Parrott

Amazon.com

Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's "choral" music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, however, good balance without good judgment isn't enough. Parrott rips through the piece so quickly that the singers have no time to do anything interesting with their parts. The Ascension Oratorio comes off better, with tempos that are brisk but not dizzying, as well as fine solos by Cable and Kirkby.

The Taverner Consort and Players really shine, however, in the Easter works. The opening Sinfonia of Christ lag in Todesbanden (taken surprisingly slowly) is breathtaking, as is the soprano-alto duet; the Sinfonia and opening chorus of the Easter Oratorio fairly rollick along, while Emily van Evera (sensitive and beguiling) and Caroline Trevor (athletic and almost giddy) do themselves proud in their arias, and tenor Charles Daniels, cushioned by flutes and strings, paints a magical picture of heavenly rest. If you just can't stomach the idea of Bach done by a madrigal consort (as some would have it), you'll do well with Ton Koopman or Philippe Herreweghe. But at such a reasonable price, these commendable performances are more than worth a try. --Matthew Westphal

Customer Reviews:

The Extreme End of the Minimalist Spectrum: The Purity of Bach.......2006-12-16

Andrew Parrott conducts the Taverner Consort and Players is a very affordable set of discs that allow everyone to experience the 'non-choral' choral Bach. Instead of the usual chorus (even the pared down choruses of 16 - 30 members the way most 'authentic' performances use) the works are assigned to one person per part. The result is light, airy, transparent, and very lovely Bach.

Case in point: for the Magnificat 'for 5 voices, 5-part chorus, orchestra & continuo' in D major, Parrott conducts or rather inspires Emily van Evera, Evelyn Tubb, Taverner Consort and Players, Howard Crook, Caroline Trevor, Simon Grant in a new way to hear this gracious work. That Bach can be interpreted in so many ways gives credence to his importance in musical history. This performance, as pure and gracious as it is and a wonderfully fresh way to hear the work, is not the only 'authentic' way to hear Magnificat. In a stunning recent performance with members of the Los Angeles Philharmonic conducted by Bernard Labadie and his own La Chapelle de Quebec (30 members strong) and soloists Marie-Nicole Lemieux, Brett Polegato, James Taylor, and Mary Wilson the Magnificat offered was another 'option' used in Bach's time: four German Christmas carols were inserted between pertinent movements the way Bach made the work 'German' in his Leipzig Lutheran performances of his day. Another wholly satisfying and refreshing way to enjoy this great work.

Parrott does make his case for the single voice per part in the other works on this set with exquisite readings of the Ascension Oratorio, with Wilfried Jochens, Stephen Charlesworth, Evelyn Tubb, Emma Kirkby, and Margaret Cable, the 'Cantata No. 50 and Cantata No. 4 (Christ lag in Todes Banden) with Emily van Evera, Charles Daniels, David Thomas, and Caroline Trevor, and the 'Easter Oratorio' with Emily van Evera, Charles Daniels, Caroline Trevor, and Peter Kooy.

Every Bach lover should include this set in the library. It is yet another way to hear the Master's works in as pure a state as possible! Grady Harp, December 06

Simply wonderful.......2006-06-26

All my reservations I had against Parrott in Bach are completely gone with these discs.

I did like his Mass in B, but I found it at the same time a bit too fast paced and lightweight in the sound of both orchestra and singers and the recording itself sounds a bit thin too.
Then I got Parrott's St. John which I like very, very much and which is my favorite St. John along with Gardiner's and Herreweghe's 1st recording (haven't heard his 2nd yet).
The recording has much more substance and the orchestra has more weight.

Now, these performances of Magnificat, Ascension Oratorio and Easter Oratorio are truly wonderful.
The Magnificat is rather on the fast side, I prefer Herreweghe, but the equal attention Parrott gives to his orchestra and singers, just like Herreweghe, I like very much.
The sound is solid, warm and natural.
Parrott is more expressive than Herreweghe, thanks to his one voice per part reading I suppose, it sounds more enthusiastic and spontane.

The Easter Oratorio is more sensible paced and is very similar to Herreweghe's pacing, although "Sanfte soll mein Todeskummer" is taken too fast by Parrott, Herreweghe I like better and his orchestral accompaniment too, which is unearthy sounding in its polish and repeating figures.
Solists are great and I prefer Emily van Evera for Parrott over Herreweghe's Barbara Schlick.

I don't miss a bigger force (choir) at all, the Easter Oratorio as a whole I like better the way Parrott (and his 'one voice per part' method) performs it than Herreweghe - with the exception of "Sanfte soll..."

Simply wonderful.

One-Voice-Per-Part At It's Best.......2002-07-31

I've never been a fan of Bach's works being performed One-Voice-Per-Part, until I listened to this recording.

There is much to be praised about this recording. While I'd much prefer to hear the soprano and alto lines sung by trebles and boy altos or countertenors, the female singers here are superb. Emma Kirkby shines as usual. The Taverner Consort is very clean as well.

The Magnificat is very good here. This is no quick-paced interpretation with an obviously minimalistic sound (like McCreesh's). It even has the fervor of a larger ensemble, surprisingly. I never thought an athletic movement such as the "Fecit Potentiam" could be pulled off using One Voice Per Part, but Andrew Parrot does it very well.

BWV 4 is indeed taken surprisingly slowly, and I prefer the Konrad Junganel rendition on Harmonia Mundi much better. This Andrew Parrot rendition is well-done nonetheless, as I am a big fan of his alto-soprano duo. BWV 50 is also a rare surprise (It is, without a doubt, my favorite number on these discs). As a worthy finale to this two-disk set is "Preis Und Dank" from the Easter Oratorio. Highly reccomended.

One of the finest Bach recordings in the catalog.......2000-10-10

At the moment, this is my favorite Bach recording. I am a big fan of the one-voice-per-part approach ("OVPP"), and I truly feel that, where its use is appropriate, a small consort of voices offers better results than a traditional chorus (current evidence suggests that OVPP was likely used at least in Bach's early cantatas and in Passions). If you listen to this recording with an open mind, you might be able to recognize the merits of this approach: clarity of lines, better balance between the vocalists and the instrumentalists, and a potential for a finer insight into the meaning of the text. Some tempo issues aside, this recording is nearly as good as they come (besides, tempi are, to some extent, a matter of personal preference). Andrew Parrott's direction is generally well judged, and the cast he assembled is superb. I particularly enjoyed the contributions of Charles Daniels (one of my favorite tenors) and Caroline Trevor. I have to admit to a bit of a bias in favor of male altos, but Caroline Trevor is so superb that few countertenors can compare. Her Saget, saget, mir geschwinde, for instance, is definitely the best I've heard. --gggimpy@yahoo.com

Average customer rating:

That That Is
Amazing live album and great new tracks
You had to be there...
Yes - 'Keys To Ascension' (CMC International)
Unbelievable!! !!! Amazing !!! !! After 30 years!! !! !

Keys to Ascension
Yes
Manufacturer: Cmc International
ProductGroup: Music
Binding: Audio CD

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Keys to Ascension, Vol. 2
Keys to Ascension, Vol. 2
The Ladder
Going for the One
Yesshows

ASIN: B000001Y9T
Release Date: 1996-10-29

Tracks:

ROUNDABOUT
STARSHIP TROOPER
BE THE ONE
THAT, THAT IS
AWAKEN

Tracks:

Roundabout
Starship Trooper
Be The One
That, That Is

Customer Reviews:

That That Is.......2007-06-22

A fantastic Cd for a Yes fan. The 5 stars are mainly for That That Is though. I don't get some of the reviews for this song. Classic Yes has always been about long form songs. I played this song for a few musician friends of mine a few years ago and they were plainly blowed away by the Steve Howe extended jam near the end. These guys are in a new Metal band and never really listened to Yes. After I played this for them they wanted to hear some other stuff by Yes so I played Tormato for them. I think I ruined a perfectly good metal band that day? Oh well

Amazing live album and great new tracks.......2007-03-11

I think that both Keys (Vol 1 & 2) have the best live sound that I ever heard. Great classic in Vol. one like "Siberian Kathru", "Revealing science of God", "Awaken", "Roundabout" and "Starship Trooper"
Powerful version of "America" with a top performance of Steve Howe on guitar. "Onward" is beautiful and a lot better that the original.
The two new track (thirty minutes of new music) is also very well done.
A jewel in my cd collection.

You had to be there..........2005-04-02

No- I wasn't at the show. But I will NEVER forget the moment I walked into my music store in late 1996 and found this masterpiece. This was, and is- the YES Grand Finale'. The first CD arguably may be the most dynamic CD side of Prog ever on one CD. The versions of the songs are precise, and yet in true YES fashion, they completely roam freely, especially Squire and Wakeman. This improvisation is especially evident on CD Two, when YES roars through Roundabout and then devours "Starship Trooper." The closing solo set between Wakeman and Howe is far and beyond the 1973 Yessongs release as both trade solos and then the band shifts into a higher speed near the end.
Sadly, all good things must end, and in the case of Steve Howe- this, other than his classical work, is the zenith of his career, he has lost his speed, tone and virtuosity.
The two studio tracks were a delight. "Be the One" reminds one of what YES had missed all the years the band wasn't intact. "That, That Is" is SEVERELY underappreciated as a real YES classic, sprawling 19 minutes and with some words of true depth- I consider it a true blue YES concept piece, and would love to include it on a music DVD with all other Yes music of great length. The song is befitting to end the greatest YES album in 19 years. I was so happy with the artwork and sound, it will always be dear to my heart (along with Keys 2) as the Swansong of YES.

Yes - 'Keys To Ascension' (CMC International).......2004-07-17

This beautifully-packaged 2-CD release was recorded live over the course of a three night stand performance in San Luis Obispo,California in March,1996.It boasts of a gem of a line-up of:Anderson,Squire,Howe,Wakeman and White.I wasn't even aware that Howe or Wakeman had anything to do with Yes anymore.Newly recorded tracks include "Onward","Be The One" and the twenty-minute epic "That,That Is".I sort of dug the Paul Simon tune they play,"America".Anderson's vocals certainly give the classic a nice touch.The only two tracks here that I recognized were "Roundabout" and "Starship Trooper".'Keys To...' is pretty much aimed toward BIG-time Yes fans.Perhaps a little to artsy-fartsy for some.Great sound mix and production.

Unbelievable!! !!! Amazing !!! !! After 30 years!! !! !.......2004-02-25

King Crimson? - no way! ELP? Where are they? Genesis? They did the world a favor and finally split up! And there some others but YES remains the ultimate band for this type of music! And I can say that after 30 years they actually sound better than they used to! I watched the DVD that goes with this CD and I must say I was amazed at how good they are- in a "live" setting they would always make small errors or missed or goofed notes. Not this time-they are perfect. And unlike most "Classic" rock bands that just slow stuff down and sing in lower keys and generally leave out the hard stuff that made it great in the first place.....................YES does it spot on! Better than ever! This album will make you like them all over again and spend all your money on RHINO reissues. If you get the chance to see them on the 2004 spring tour I recommend it!

Average customer rating:

Incredible !
mostly bland and inoffensive
YES reached for the keys and are unlocking Heaven's door!
Best of Yes - Classic and Contemporary
These Dinosaurs Rule

Keys to Ascension, Vol. 2
Yes
Manufacturer: Cleopatra
ProductGroup: Music
Binding: Audio CD

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Keys to Ascension
Yesshows
Open Your Eyes
Going for the One
Union

ASIN: B000001JLV
Release Date: 1997-11-18

Tracks:

I've Seen All Good People/Your Move/All Good People
Going For The One
Time And A Word
Close To The Edge/The Solid Time Of Change/Total Mass Retain/I Get Up, I Get Down/Seasons Of A Man
Turn Of the Century
And You And I/Cord Of Life/Eclipse/The Preacher The Teacher/Apocalypse

Tracks:

Mind Drive
Foot Prints
Bring Me To The Power
Children Of Light/Lifeline
Sign Language

Album Details

Includes New Solo Material & Classic Live Hits. Features the Classic Yes Line-up of Rick Wakeman, Steve Howe, Chris Squire, Jon Anderson, & Alan White.

Customer Reviews:

Incredible !.......2007-03-11

The first disk contains the most amazing version of "Close to the edge" and "And you and I" that I ever heard. The sound is amazing with deep bass on my home theatre system. "Turn of the century" is a jewel. Cristal guitar sound from Steve Howe. "All good people" and "Going for the one" are beautiful also.
The cd 2 is a studio album containing one beautiful new epic "Mind Drive"
The other songs are good but no more than this.
Overall, just for the live cd, this is a must have.
Close to the Edge is the greatest creation of the band and this version is simply the best you can have.

mostly bland and inoffensive.......2007-02-12

I bought this to listen to the latter days Yes studio tracks. While I find them a step or two above Big Generator, they are not as good as the classic stuff, nor as good as the surprising Magnification album. The live tracks are well known classics, just better recorded and produced than past versions. If you're like me and don't mind buying used cds, you might find interesting the fact that it's cheaper to get the two "Keys to Ascenscion" double cds than the single "Keystudio". I've read that the mix is a little different, but honestly, does that matter to most of us?

YES reached for the keys and are unlocking Heaven's door!.......2005-06-02

Keys 2 (spec. ed. with the Roger Dean poster) is quite a package! I am a long-time YES fan but only recently got this...what a shame I waited! I find the whole first disk live show to be revelatory in the slowed down refined energy of the (over 50) band members. They are spot on in 95% of the CA show, despite an occasional harmony falter or whatever the boys are shining their brilliant light again to YES fans obvious pleasure (live audience sounds orgasmic). Instrumentally the show is in the sublime category with Squire leading the way with his incredible melodic bass playing and harmonic sensibility. Squire missing on the Evening of YES music made it clear that YES is incomplete and lacking w/o Squire's additions on many levels! Jon Anderson inspires with his very uplifting peaceful attitude and inspired delivery (of the classics w/o too much alteration). Howe's moments of enlightened fretting trip over eachother with pure musical energy (very creative approaches abound). Still going strong many years after this - check out Natural Timbre to see the continuing brilliance! Welcome back Rick Wakeman! The keyboards are really back on the mother ship and taking the songs higher again. I was concerned during the early nineties that the magic was never to be regained (ABWH was missing something more than just Squire). And, as always, Alan White has shown himself to be the YES drummer that goes where the bands spiritual energy takes him without resisting...Many bands haven't relaxed into their identity - YES has!

The slowed pace and extra attention to nuance is what these later concerts are all about. The versions of these songs are just gorgeous! Time and a word is the best I've heard! CTTE on here is powerful! And You And I is incredible with its mystical beauty as is Turn of the Century - melodic heaven has been reached! YES clearly believes in this long-time project called YES and cares deeply for its fans as is very evident on this fine live performance. I won't get into a lengthy discussion of each songs juicy details, but all of the songs are performed beautifully in my opinion.

This is not 70's YES, which I love, but a progression of the bands strengths taken to new but familiar places. Now, on to the studio disk...a bit harder to comment at this early stage since I have only listened to disk 2 a few times. I need to absorb new songs for a longer period but my initial impressions are very favorable. For now I will say that they are a very welcome addition to this great package, I'll update later.

One has to wonder why the Keys live shows from 1 & 2 weren't put together and had the studio tracks only on Keystudio? I guess the one comment was right that the record co. didn't feel confident in our old buddies to be able to sell new songs w/o adding nostalgia. I do kind of like this approach though since the package has more interest - getting some old and new (there seems to be a combined package that includes it all on 4 disks if you can find it). The gatefold case with the great Roger Dean artwork is some of the best album art in awhile. Highly recommended to YES fans who don't expect everything to be just like it was. Thank you YES for the great gift of your music!

Best of Yes - Classic and Contemporary.......2005-01-26

Of Disc #1 - The cool thing about Yes is that they are all business when playing live. Although these are live recordings, they might as well be studio cuts for their musicianship and precision in the details. The mix captures the punch in Alan White's rock drumming and showcases the elegance of Jon Anderson's still-strong voice. Classic Yes fans will appreciate these new recordings of the better songs from their 1970's period. The bridge between "Your Move" and "All Good People" just roars. "Close to the Edge" is just amazing and the recording admirably captures the power of its live performance. "Going for the One" can be a bit twangy on the original recording, but this performance fattens the rock edge. "Time and a Word," "Turn of the Century," & "And You and I" shine for all their beauty. I liked "Yessongs" as well as the previous reviewer, but the recording technology is so much better here that "Keys" eclipses that classic effort.

Of Disc #2 - Anything that Yes has put out since 90125 has always been a bit controversial for fans of the older stuff. Personally, I love the "West Coast" incarnation with Trevor Rabin as well as the ABWH et.al. crew. That said, however, even I will admit to the glaring inconsistencies when they have tried to duplicate their epics (15+ minute songs). Not so here. The "Mind Drive-Footprints-Bring Me the Power" epic falls slightly short of "Close to the Edge," "Starship Trooper," and the marathon "Tales from Topographic Oceans," but it still is worth the price of the recording all by itself. The rest is very good as well.

Highly Recommended for Fans and Neophytes Alike!

These Dinosaurs Rule.......2003-08-24

Keys 2 is one of the rare occasions when the classic lineup produces new music that both rocks and has the depth of nuance to be called art. Too often Yes songs of the past 20 years have veered too close to soft rock and modern jazz(aka muzak without the strings.) Perhaps these guys were just afraid of sounding like the band that was labeled as pretensious dinosaurs in the 70's. But dinosaurs aren't just old. Dinosaurs are also awesome.
For the most part, the live recordings of the old songs sound as good and often better than the original recordings. No doubt there was some serious dubbing in post production. But when you get through the 18 minutes of the new 'Mind Drive' you realize that these guys can still combine the spirituality and intensity that is inherent in the best of their work. Get it while you can.

Heigh-Ho! Mozart: Favorite Disney Tunes In The Style Of Great Classical Composers

Average customer rating:

Just amazing
A Disney Classic!

Heigh-Ho! Mozart: Favorite Disney Tunes In The Style Of Great Classical Composers
Eugenia Zukerman , Shanghai Quartet , Los Angeles Guitar Quartet , Anthony Newman , Paul Barritt , and Voices Of Ascension
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

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Bibbidi Bobbidi Bach: More Favorite Disney Tunes
Ragtime at the Magical Kingdoms
Symphonic Suites of the Animated Classics
Beauty and the Beat: Favorite Disney Tunes in Steelband Style
Disney Spectacular

ASIN: B0000006UX
Release Date: 1995-06-16

Tracks:

Colors Of The Wind, from Pocahontas, in the style of Anton Dvorak
Heigh-Ho! from Snow White and the Seven Dwarfs, in the style of Wolfgang Amadeus Mozart
Beauty and the Beast, in the style of Sergei Rachmaninoff
The Second Star from the Right, from Peter Pan, in the style of Thomas Tallis
Under the Sea, from The Little Mermaid, in the style of Scott Joplin
I Wanna Be Like You, from Jungle Book, in the style of Heitor Villa-Lobos
Can You Feel The Love Tonight, from The Lion King, in the style of Piotr Ilyitch Tchaikowsky
With a Smile and a Song, from Snow White and the Seven Dwarfs, in the style of Frederic Chopin
Who's Afraid of the Big Bad Wolf, from The Three Little Pigs, in the style of Johann Strauss
A Dream Is a Wish Your Heart Makes, from Cinderella, in the style of Edvard Greig
Main Street Electrical Parade, in the style of Antonio Vivaldi
Feed the Birds (Tuppence a Bag), from Mary Poppins, in the style of Johannes Brahms
Little April Shower, from Bambi, in the style of George Frederick Handel
Winnie The Pooh, in the style of Sergei Prokofiev
Prince Ali, from Aladdin, in the style of Bela Bartok
When You Wish Upon a Star, from Pinocchio, in the style of Richard Strauss

Customer Reviews:

Just amazing.......2001-08-08

This album I got at Disneyland Paris. I saw it and just knew that I had to have it. It's classic disney tunes in the style of the great composers. And it really do remind of them. As a lover of classic music and disney music, this couldn't be a better album.

A Disney Classic!.......2000-03-09

This cd is a great introduction for little ones into the world of classical music. My children ages 6 and 4 have "worn out" their first copy of this lively cd. If you enjoy disney music, this is a must for your children's music library.

Average customer rating:

Delightful Disney Music
Uncle Walt would be quite honored!
Fabulous CD
sleeping to Disney
this is a treasure

Heigh-Ho! Mozart

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

Wedding Music | Miscellaneous | Styles | Music

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ASIN: B000000709
Release Date: 1995-06-16

Tracks:

Colors of the Wind in the Style Of - English Chamber Orchestra
Heigh-Ho! In the Style Of - Shanghai Quartet
Beauty and the Beast in the Style Of - English Chamber Orchestra
Second Star to the Right in the Style Of - Voices of Ascension
Under the Sea in the Style Of - Millar Brass Ensemble
I Wanna Be Like You in the Style Of - Los Angeles Guitar Quartet
Can You Feel the Love Tonight? - English Chamber Orchestra
With a Smile and a Song in the Style Of - Carol Rosenberger
Who's Afraid of the Big Bad Wolf? [In the Style Of] [In the Style Of... - English Chamber Orchestra
Dream Is a Wish Your Heart Makes in the Style Of - English Chamber Orchestra
Main Street Electrical Parade [in the Style Of Mozart] [In the Style of - Los Angeles Guitar Quartet
Feed the Birds [In the Style Of...] - Shanghai Quartet
Little April Shower in the Style Of - Anthony Newman
Winnie the Pooh in the Style Of - Shanghai Quartet
Prince Ali in the Style Of - Millar Brass Ensemble
When You Wish upon a Star in the Style Of - English Chamber Orchestra

Customer Reviews:

Delightful Disney Music.......2007-03-28

These Disney tunes done in the style of classic composers are so much fun. Children and adults alike will enjoy these songs over and over.

Uncle Walt would be quite honored!.......2006-12-20

For many a baby boomer, Walt Disney meant animation. But, besides that, music played an important part in the telling of the story. So interested in music was the animator that he fashioned one of his greatest triumphs ("Fantasia") on the works of the great masters.

Well, Donald Frasier and a bevy of musicians have compiled a wonderful collection of interpretations of familiar Disney tunes, many from Walt's time, along with a few latter day compositions.

Every selection is a winner, destined to make the listener reflect and recall the films from which they came. And if one is familiar with composer whose musical style is "copied" here, the album is a treasure.

Fabulous CD.......2006-10-04

Being a classical music connoisseur, I often listen to my local public classical radio station to hear the works of the great composers of old and of today. One day the station played "Colors of the Wind" and announced it was from this CD. I fell in love with it. I am a huge Disney fan who has over 350 Disney songs on my iPod. Pretty much the only music I listen to is either classical or Disney. And having them combined makes this CD euphoria for the ears.

Each song is in the style of a different classical composer, and usually in the style of one of their more specific songs. One with a trained ear will hear chords and melodies in almost perfect similitude of the original.

I can listen to this CD over and over and never get bored. How could you be bored when you're hearing all of your favorite old Disney songs in a new exciting way?

sleeping to Disney.......2006-07-30

I am really pleased that there is a classical music cd that has only Disney classics so that I can play them for my infant daughter while she sleeps. We are big Disney fans and it's fun to play these instead of the regular classical music. They sound just like the original songs. I would have given 5 stars but I wish they would have had all instrumental music, one of the songs has a choir singing, but it still sound good.

this is a treasure.......2003-05-11

Disney music is always uplifting. Classical music is beautiful. Combine the two - and you get THIS! "Colors of the Wind" is glorious, followed by the enchanting title track. "Beauty and the Beast" is true to the romance of the original. "The Second Star to the Right" is magical. Everything is awesome - and flawless. I initially bought this because I love The Main Street Electrical Parade music, and that is definiely a highlight here - but so are ALL the other songs! This is GOOD STUFF! It is so excellent that it can be a very beneficial introduction to classical music - for kids AND adults.

Average customer rating:

One thing's for sure: this is NOT My Favorite Things
Approach this beautiful chaos with the most open mind you can have....
SCREAMING BEAUTY
This ain't no Love Supreme, folks!
A 'Big Band' Like No Other

Ascension
John Coltrane
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music
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ASIN: B00004TA40
Release Date: 2000-06-06

Tracks:

Ascension-Edition II
Ascension-Edition I

Amazon.com

Few works remain genuinely controversial 35 years after their inception, but Ascension can generate as mixed a response today as it did when it was released. In May 1965, Coltrane assembled 10 other musicians for one of his most ambitious recordings, a 40- minute piece that was a landmark in the free-jazz movement and a key moment in Coltrane's sponsorship of the younger members of the New York avant-garde. Along with his regular rhythm section--McCoy Tyner, Jimmy Garrison, and Elvin Jones--the band includes trumpeters Dewey Johnson and Freddie Hubbard, tenor saxophonists Archie Shepp and Pharoah Sanders, altoists Marion Brown and John Tchicai, and Art Davis playing bowed bass. The improvised ensembles shout and cry with galvanizing power, their tension testifying to Coltrane's influence and the saxophone's dominance in the style. It's both brilliant and flawed work, however, in ways that go to the heart of Coltrane's musical thought. It's rooted in modal music, with a brief pentatonic figure (a variation on the opening motif of A Love Supreme) as its basis. While it's broken up by the intense ensembles, the string of solos seems too close to a Jazz at the Philharmonic approach to free jazz. The horns stretch toward energy music, while the rhythm section, particularly Tyner, seems rooted in modality. As a result, the soloists often come off the soaring blowouts to find themselves with little more support than a reiterated chord, and they sometimes seem to merely run out of steam. It's still startling music, though, and necessary listening, whether for the sheer power of the ensembles, the sustained creativity of Coltrane and Sanders, the stylistic contrasts in the horn players, or the acerbic understatement of Tchicai, so effective in the midst of the maelstrom. Coltrane couldn't decide on which of the two versions he preferred, and Edition II was covertly substituted for Edition I during the run of the original LP. This CD manages to include both. --Stuart Broomer

Customer Reviews:

One thing's for sure: this is NOT My Favorite Things.......2007-07-19

After A Love Supreme, Coltrane took his music in a new, controversial direction: the avant-garde. Up until then, he was a widely respected figure in jazz, but Ascension marked the point where he fully moved into free jazz, never looking back, with total disregard to what his fans would think. Ascension is arguably his most challenging work in the avant-garde, if just for the sheer length of the composition: both takes run either close to or over forty minutes. This is not an instant gratification album, as several of Coltrane's earlier albums (Blue Train; Giant Steps; My Favorite Things; A Love Supreme; etc.) had been. It takes a couple of listens to assimilate, I'll grant: the first time I heard it, I liked it, but that liking was more out of respect to the creative, daring nature of the music than actual enjoyment. In plain English, I thought it was just noise. But what noise!
This is one powerful album, that's for sure. The closest thing to a traditional "chorus" is three tenor saxes (including Pharaoh Sanders), two alto saxes and two trumpet players blasting away. And that's about all the traditional structure you'll hear on the song. It's screaming to be mocked, yes, but the level of emotion and intensity put into this piece is very much what makes it work. I'm a big fan of soulful music (and "soul" music, the offshoot of R&B, but that's off-topic), and Coltrane and his group put all his soul into recording this. The original liner notes described it as "strong stuff", and indeed that's accurate. Excellently performed, too: there is not a single wasted note in any of the numerous solos. On the contrary, this is some of the best playing I've ever heard the group do, especially the wonderful piano playing McCoy Tyner (incredibly talented guy!) contributes near the end. And the use of two basses does not muddle the sound, as I have found multiple basslines often do: rather, it adds to the wonderful pseudo-cacophony that is this album. Oh, and the "bass duet" near the end is amazing.
To be honest, I'm not quite sure which take of the two I prefer, but I think the drum solo on the slightly shorter "Edition 1" adds a lot to the music's power. Originally, Coltrane released one take of Ascension (don't know which), then changed his mind and put out the second. Both are essential additions to Coltrane's catalog. Both are found here. Do not make this your first Coltrane purchase, though: Try A Love Supreme, Giant Steps, Blue Trane, Village Vanguard or My Favorite Things first, as they make for a much more user-friendly introduction to the man. But please, give this a chance. You may love it, you may hate it, but it should be listened to just once either way.
For the record, while Ascension on its own is a highly recommended release, if you can find the double-album Major Works of John Coltrane (which contains both takes of Ascension, as well as other key free-jazz items Om, Kulu Se Mama and Selflessness), buy that instead. Not to detract from the music here though, which is excellent.
Those interested in Coltrane's avant-garde period should also try Meditations; Sun Ship, Stellar Regions and the oddly restrained, but still quite avant-garde Expression, an interesting alternate look at the free-jazz genre and Coltrane's last recorded work. All are of a very high quality, very recommendable for those who enjoy the avant-garde sound of later John Coltrane, arguably the best and most controversial musician to ever work in the jazz genre.

Approach this beautiful chaos with the most open mind you can have...........2007-07-17

As many know, John Coltrane really became a practioneer of free jazz in his later years, and this is the greatest example of it. It is not an easy listen even for those who love free jazz, as Coltrane took what Ornette Coleman had laid down and went further with it. This is really intense music, something that any casual listener of jazz should stay away from. There are 11 musicians who play here (3 tenor saxes, 2 altos, 2 trumpets, 2 bassists, one pianist, and one drummer), and while on the surface it sounds like a collosal musical tsunami, it actually is quite moving and spiritual. As much as I like Ornette Coleman, I feel Coltrane really took free jazz further than he did. Coltrane infuses a sense of spirituality in his works that Coleman really only hinted at. The song Ascension (here in the 2 takes that were recorded. Coltrane wanted to record a third one, but the musicians just couldn't do it again) is all things, beautiful, sad, shocking, violent, amazing, frustrating, just about every emotion known to us. All Coltrane fans and jazz afficiandos must listen to this many, many times. I personally loved "edition 1" of Ascension. I felt it was more intense and precise (in its own way).

For the record, it would be cheaper to buy The Major Works of John Coltrane than this. It's only a few dollars more, and it contains both takes of Ascension, in addition to 3 other tracks (Om, Kulu Se Mama, and Selflessness). If you have those 3 tracks (which were released on other albums), then just buy this one. But get one of the CD's. You have to.

SCREAMING BEAUTY.......2007-05-25

I think this is the kind of recording you either love or hate. But one thing is for sure: you're not going to stand indifferent when encountering this record.
I, as you can assume from my rating, love this album. Period.
If you hate this album, you hate it. Period.
But, one thing must be said. This must be taken seriously. Those reviews that state that the musicians sounded as if they didn't know how to play, or that you can put a bunch of kids with instruments in a room playing as loud as they can and they'll sound the same are absolutely ridiculous.
You can enjoy this music or not, but it deserves respect.
Not easy to digest, I think, but beautiful music on the long (and not so long) run.

This ain't no Love Supreme, folks!.......2006-11-22

Either you love this album or you hate it. Although I would not listen to this album on a regular basis, I do, in a way, "understand" it. Throughout his career, Coltrane was constantly exploring new ways of achieving higher artistic and spiritual ground. With "Ascension" Trane explored free jazz (inspired by Ornette Coleman), and began a new direction in his music. To this day, Trane's avant-garde period still pisses off even the most hardcore jazz enthusiasts.

Despite it sounding like total chaos (drummer Elvin Jones doesn't even have a consistant beat throughout the record), there is somewhat of a structure to it. It begins with five notes that run as a motif throughout the record, and then everyone plays whatever they like at once. Between these chaotic moments, each player takes turns soloing. First off is Coltrane, who's "sheets of sound" are still mind-blowing Freddie Hubbard is amazing, too. The only annoying solo is Pharoah Sanders on Edition 2. He plays like a dying duck.

If you're brave enough to give is a try, I suggest borrowing it from the library first. It's not as good as "A Love Supreme" or "Blue Train," but it's still an important album.

A 'Big Band' Like No Other.......2006-05-12

Purchased this album one evening. The next morning I drove from Indianapolis, Indiana to Columbus, Ohio while playing this album front-to-back and on repeat. Ever since that day my driver's seat has had a skidmark on it.

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