They Come Dancing

1. They Come Dancing

2. Nanabush

3. Little One

4. Welcome Home

5. The Beauty Way

6. Creation Song

7. Until We Meet Again

8. The End Of The World

9. Creation Story

Editorial Reviews

About the Artist
Michael Jacobs is a thought-provoking Cherokee songwriter - a painter with words and music. He has a distinctive voice and his skills as a guitarist are impressive. His music is a fusion of contemporary and traditional sounds, and the colors and textures are the joys, heartaches, hopes and dreams particular to Native America, but also common to every human being.

He seeks to affect our future in a positive way by connecting us with the virtues of our long-lost past and drawing our hearts in love to Creator and one another.

Product Description
Powerful follow-up to Nammy-award winning CD, Sacred Nation.

Rock-n-roll guitars with pow-wow drums, Native flute, beautiful intrumentals, ballads, and spoken-word piece

They Come Dancing,Michael Jacobs,Independent,International,Thought-provoking contemporary Native American music bridging traditional sounds with folk and acoustic rock. "A jaw-dropping, chilling and unforgettable melding of the powerful Native spirit with contemporary rock"-Tamara Turner, CD Baby

Carmen (Sung in English)
Average customer rating:

English is an asset and a drawback

You Will Love Opera After Hearing Carmen In English

A wholly credible "Carmen" -- finally!

I love Carmen!

Carmen (Sung in English)
Bizet , Bardon , Gavin , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
Similar Items:

Mozart: The Magic Flute

The Barber of Seville / B. Ford, D. Jones, A. Opie; G. Bellini [in English]

Verdi: La Traviata

Mozart: The Marriage of Figaro

Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00007JGRN
Release Date: 2003-03-11

Tracks:

Prelude
In The Plaza
Just Look At That Delicious Morsel
Here Come Our New Soldier Boys
Jose! There Was A Girl Here Looking For You Just Now
Off With You Old Soldier Boys
Corporal! Sir!
We Have Heard The Bell Summon Us To Meet Here
Ah, Just Look!
But Why Hasn't She Come, Our Carmencita?
Love's A Bird Wild As Any Rebel
Carmen! We Will Follow You High And Low!
The Cheek Of It!
Give Me News Of My Mother!
Your Dear Mother And I Were Leaving Church This Morning
I See My Mother's Face!
Wait A Moment - I'm Going To Read The Letter
Come And Help
So, Corporal: Tell Me What Happened
Well, Carmencita: What Do You Have To Say For Yourself?
Where Are You Taking Me?
There's An Old Bar In The City
Careful - It's Lieutenant!
Entr'acte
From Far Away Mysterious Sounds
Bravo, Bravo! More! Keep Dancing!
Hurrah! Hurrah! The Torero!
Who's That? It's Escamillo, The Bullfighter From Granada
Hurrah! Hurrah! The Torero!
You're Most Kind
We'll Come With You, Senor Torero
Toreador, Be Ready!
At Last! We Got Rid Of Them As Quickly As We Could
There's A Little Job That We're Starting!
Being In Love Is Not A Reason

Tracks:

To Bid You Welcome To Our Bar
La La La La La La La La...
Back To Camp!... Go At Once!
That Flow'r You Threw To Me I Treasured
No, It's Not Love At All!
Hello! Carmen!
Lieutenant Fair, It's True
The Sky Above The Open Road
Entr'acte
Keep Going, Dear Old Friend, Kep Going!
Right! Let's Stop For A While
Shuffle! Cut Them!
In Vain You Would Avoid The Bitter Things They're Saying
You're Back!
As For That Man, It Should Be Easy!
Is This The Place?
I Say That There's Nothing To Fear
It's Him! I'm Sure It's Him Over There!
Escamillo Is My Name, And I Come From Granada
She Had A Lover Here
Hola! Hola! Jose!
You Should Take Care, Carmen
Alas! Jose, Your Mother Is Ill
Entr'acte
A Few Cuartos! A Few Cuartos!
Here They Come! Here They Come!
If You Love Me, Carmen
It's You! It's Me!
Viva! Viva! What A Corrida!

Customer Reviews:

English is an asset and a drawback.......2004-07-20

The best thing about this recording of Carmen is the libretto. Conductor David Parry penned this facile and dramatic English translation. He avoids the pitfalls of literal translation to achieve an idiomatic flow that matches the rhythm of the original lyrics. I use this as a reference libretto for any of the French Carmens.

Unfortunately, the performance suffers from being sung in English. The singers declaim their parts with such proper British diction that Carmen comes across as a school marm. The spoken dialog is delivered beat for deliberate beat and is dripping with reverb. It makes the plaza, tavern and mountain pass all sound like a sewer pipe.

This is a good first Carmen for someone trying to understand the work. The libretto itself is a good investment for further listening. For an enjoyable performance with an emphasis on character and action, I recommend Regina Resnik on the London Double Decker set.

You Will Love Opera After Hearing Carmen In English.......2004-02-09

What a perfect introduction to opera. This newly released recording will surely get you hooked into opera. Carmen, a French opera by Georges Bizet, is the most recognizable and most popular in the opera world. It's famous melodies- the overture, the Habanera, The Toreador Song have all been featured in everything from cellular phone ring tones to Superbowl Commercial (last year's Superbowl with The "Opera In English" label has been making Italian operas into English for a number of years now. Also on the market are Verdi's La Traviata in English (with soprano Valerie Masterson as Violetta) Handel's Julius Caesar with Janet Baker and even Wagner's epic Ring Of The Nibeling sung in English. This is a terrific recording and I highly recommend it if you want to get into opera. Listen to this version first and then try the real, original French version Bizet had written. Patricia Bardon is sensational, sexy and dramatic as Carmen.

The real strength of this version is the dynamic drama. With the advantage of being sung in English, we get better insight on characters' emotions and motives, and we understand the drama a lot better. Carmen is all about great drama. Bizet drew the plot from the French writer Prosper Merimee's dark short story. Carmen is the ultimate femme fatale- a devil-may-care, sexy Gypsy living in Spain, seduces the conservatively raised soldier Don Jose, stealing him away from his fiancee, the passive Micaela, living a life of underground smuggling and rowdy taverns. "Habanera" and "The Gypsy Song and Dance" are very expressive of Carmen's extraordinarily liberal lifestyle. Don Jose, however, has fallen deeply in love- as he shows us in his song/aria "The Flower Song". But Carmen soon becomes tired of his constancy. Don Jose wants a committed, monogamous relationship with Carmen. But Carmen will not submit to love, since she is first and foremost a carnal creature. Eventually, she falls for the handsome Toreador Escamillo. Don Jose, consumed by jealousy, stabs Carmen at a bullfight after Carmen declares her love for Escamillo and rejects Don Jose's love. Don Jose's crazed, obscessive personality shines through in the English version as well. This tragedy has been done in English before so don't think this is the first time. Back in the 50's, there was a film, starring black actors "Carmen Jones" which was treated the same way as this opera- more like an English Broadway musical and with the dubbed singing voice of Marilyn Horne as Carmen. All in all, this recording is excellent.

A wholly credible "Carmen" -- finally!.......2003-09-17

This recording really sells "Carmen" as a drama. Although I have two other recordings of this opera and have seen it performed several times, it never quite worked for me dramatically. But thanks to the fine performances, conducting, and translation here, I've become a "Carmen" convert. Producing a good English-language performance of a foreign opera, especially a warhorse like "Carmen," is much more difficult than it might appear. You need performers who not only can sing the parts (of course) but also can sing *English* and make it halfway intelligible and make it sound like English and make it dramatically convincing to English-speakers. The singers on this recording do an excellent job all around. Don't be put off if you don't recognize their names -- they are up to the task musically and (especially) in their acting. Admittedly, as with *all* English-language recordings, some passages are very hard to understand without reading along, but most of the time the words are clear and effective. I would recommend this recording to any opera beginner or opera lover, even those who normally turn up their noses at performances in translation.

I love Carmen!.......2003-08-15

I do. I can think of no other opera with more melodic inventiveness, and few others with so sure a dramatic pulse. Carmen is popular and it thrills me to say that it is also a very good opera - not always true of popular things.

And what of this recording? Carmen sits well in English, so it is good to hear in translation, although some of the detais in the text jar. Escamillo refers to Jose as "my dear", which sounds rather peculiar, and the guide's line to Micaela: "it's not exactly inviting, is it?" sounds distinctly Middle England rather than Rural Spain. Some of the performers, not least Carmen herself, make the words work, although there are long tracts, especially with the chorus, where the language is distinctly indistinct.

The soloists are, by and large, strong. Patricia Bardon's deep, Handel-friendly voice adapts well to Carmen and she colours the music with phenomenal detail, sounding sexy and provocative from the start with an edge of pride and anger that emerges as the show goes on. She is out of her depth above the stave, though, and some extra top notes in the second act don't show her off to her best advantage. I have previously said that Julian Gavin is poorly served by recordings, though here he sounds much more even and gives a thrilling and musical performance (but his wooden spoken lines let him down). Mary Plazas is a lovely Micaela, rich-voiced and sincere (and word-perfect), but Garry Magee sounds miscast as Escamillo, lacking the ballast at the bottom of the voice to do justice to this tricky role.

The supporting cast is good (Mary Hegarty seems to do nothing but Frasquita these days!) but the really treasurable thing is the conducting. Stepping out of Italian Ottocento, David Parry turns his hand to this French Comedie with an appropriate lightness of touch. His pacing and handling of the set pieces is exemplary and the enrtractes go with a real swing.

Tracks:

Overture
Watch Your Step
What Is Love
Let's Go Round The Town
Come To The Land Of The Argentine
I Gotta Go Back To Texas
Bird Of Paradise
Lock Me In Your Harem
They Follow Me Around
I Love To Have The Boys Around Me
When I Discovered You
Show Us How To Do The Fox Trot
I'm A Dancing Teacher Now
Syncopated Walk
Lead Me To Love
I Hate You
Metropolitan Nights
Opera Medley
Homeward Bound
Move Over
Settle Down In A One Horse Town
Simple Melody - Old Fashioned Wedding - Your Just In Love
Encore - Simple Melody
Bonus Track

Customer Reviews:

Great, obscure old Berlin!.......2002-08-07

As a cast member on this album, I'm a little bit biased, but it's this is really a chance to get a listen to some really fabulous Berlin. This is Berlin's first Broadway show and has some great gems like "Have the Boys Around Me" and a bunch of great catchy tunes. It's a wide mix of Berlin and if you're a big fan, it's a great chance to hear him in still somewhat developmental stages. A couple songs from this show were later re-worked and put into other shows. It's also has a great feel for the period and shows the influences around the time he was writing: opera (Opera Melody), cowboys (I Gotta Go Back to Texas) and Hawaii (Honolulu Girls). It's a keeper!

Tracks:

Fanfare For The Common Man
Midnight In Moscow
Duke Elington Medley
Dacing In The Dark
Casbah Shuffle
New York City Ghost
Sweet Georgia Brown
Mold, Mold
Humpback Boogie
Tiger Rag
Souvenir De Puerto Rico
Requiem
Buglers' Holiday
Take Me Out To The Ballgame
Also Sprach Zarathustra

Customer Reviews:

This is DEFINITELY worth a listen!.......2007-01-16

I am a sax player as well as a music teacher and have found this CD to be well worth the money! Not only do you get a wide variety of styles, but you also get to hear one of the rare saxophone orchestras who use uncommon instruments. You can tell that these players have a lot of fun together, which makes it all the more enjoyable to listen to as well as teach with. There are slight intonation problems on the occasion, but when you think about all of the things they are doing - I think I'll let that one slide! Don't miss out on this unique and enjoyable group! My personal favorite track is Casbah Shuffle. I hope you enjoy!

DO NOT BUY THIS CD!!!.......2005-09-18

What a major disappointment. Has this group ever heard of intonation, vibrato, or articulation? There are several spots on this CD where the "ensemble" is just not even close to being together. I don't know what these other reviewers are talking about. Don't buy this CD "just to hear the contrabass sax." I have heard better sounds from my lawn mower running over tree branches. The Nuclear Whales should pull this recording off the market to avoid any more embarrassment. I will not buy any more of their recordings, and urge you to do the same. Save your money for gas.

Totally enthralling!.......2000-09-30

If you only have one saxophone ensemble CD, it should be from the Whales. And if you don't like saxophone, buy this anyways--you will still like it. Good music is music that sounds good, right?

This CD starts, appropriately enough, with a fanfare (Fanfare for the Common Man), which makes great use of the soprano lead. The lower voices are gradually layered in, but they don't bring out all the horns until the second track, which rotates the leads among all the players, including Don Stevens on the Contrabass.

To put it mildly, the Contrabass sax is more than a bit unusual, and there are only a few in existence. Stevens' horn was fortuitously discovered in a New Jersey warehouse just before demolition. The difference between a more standard quartet and this orchestra is the addition of 50% more players and additional voices. The Whales always supplemented the standard 4 saxes (soprano, alto, tenor, and bari) with sopranino and bass. Adding the contrabsss makes this pure magic. Nobody can listen to a contrabass sax without cracking a smile.

I'm a sucker for Ellington, so when it is played by a talented group of musicians like this--especially a sax ensemble--its irresistable to me. The Ellington medley is exquisite, with a tearful interpretation of "Come Sunday" immediately followed by a novel rendition of "Caravan."

The contrabass totally rocks on "Casbah Shuffle". That thing just kind of thwops-it is almost percussive, which makes a great effect in conjunction with the tabla (the Indian drum that goes `dweep, dweep, dweep') and tam tam. With a soprano lead, it has a real Don Ellis "Electric Bath" kind of feel. This is fun stuff-I can't imagine anyone not liking this.

No group located in a tree-hugging locale like Santa Cruz, CA would name themselves Nuclear Whales if they didn't have a sense of humor, but a novelty number like "Shuffle" is immediately followed by a completely serious number, "New York City Ghost," which is so haunting it gives me goose bumps. Interestingly, they don't identify the soloists, and I'm not sure which of the 3 soprano-players does the lead in this one. For the most part, they arrange their own stuff, but this one is arranged by Lennie Niehaus.

Back to another upbeat number; "Sweet Georgia Brown" must have been written with the saxophone in mind. This is the thwoppiest chart for the contrabass. It's followed by an original vocal piece by baritonist Ann Merrell called "Mold, Mold" that would be perfect for some of the Louis Jordan-inspired swing bands that were popular a couple years back.

The rest of the album is more of the same, alternating grit, swing & jazz with Richard Strauss and Louis Gottschalk. This group can play anything, and it sounds great.

Much Larger Than Whales!!.......1999-04-07

Folks, this is simply ensemble sax at it's finest! It don't get much better!

Being a lover of Bass Sax, the Contrabass only added more musical jucies to my ears and pulled untold watts from my system!

UNBELIEVABLE arrangements! GENIUS! More genius are the artists! You have no idea what takes as a musician to get to this plateau, and beyond that, get THIS many together as a group and WHALE away!

The NW are the Canadian Brass, only with reeds! And MORE! A MUST if you are an audiophile! If you are a reed player, you already own it. If not, GET IT!

From Dixieland to Classical and everything inbetween, they have it all. The campiness of various tunes exude artististic virtuosity and push the creative envelope!

You MUST hear this on a high end system as I have. Bozak 310-B Concert Masters do very fine with this range of frequences. (28 cycles required--minimum, to hear it all!).

CRANK IT! You will feel things you never felt before! The arrangements are spectacular!!!

A VERY good HIGH quality recording. No limiters or balonery! Just a PURE sound without distortion.

I can't say enough. Simply the best stuff I have heard in YEARS!

I'm in Milwaukee. If you are near or get by here, look me up and HEAR this correctly!

That's how strongly I feel about the Nuclear Whales! Simply a joy and acts as auricle viagra!

Greg Kalkhoff

Call me: 1-414-447-7500 Let's talk Whales!

You will NOT be dissapointed!