Standard Time

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Red Hot Pepper
New Orleans Bump
King Porter Stomp
The Pearls
Deep Creek
Mamanita
Sidewalk Blues
Jungle Blues
Big Lip Blues
Dead Man Blues
Smokehouse Blues
Billy Goat Stomp
Courthouse Bump
Black Bottom Stomp
Tom Cat Blues

Amazon.com

Wynton Marsalis's century-closing series of jazz and classical recordings isn't nearly the pulse-quickening excursion one might expect, what with all the fanfare and all the years the vaunted trumpeter has spent in the limelight. That said, his nod to Jelly Roll Morton is probably one of the better Marsalis recordings available. It's got enough rules built in--compositional economy, instrumental variation, etc.--that it disciplines the trumpeter's more ambitious tendencies. In the liner notes, Marsalis describes Morton dually as a jazz intellectual and a streetwise hustler, and anyone familiar with Morton will know the characterization is apt. Marsalis's read of Morton, however, skips the street hustle and instead focuses on cleanly drawn portraits that amount to fine repertory pieces, works akin to chamber music in their ultimate impact. That's not so much of a putdown as it might seem, as African-American composers are so rarely treated the way European and Euro-American composers are. Morton knew this and wrote his way around it, much as Duke Ellington and Charles Mingus did. And Jelly Roll's stomping-good-time melodies are here to show his knowledge of both his audience and his compositional chops. But if you're expecting something innovative or hair-raising in the way of Marsalis rediscovering an untapped Jelly Roll vein, you'll be greeted instead with full-bore, horn-rich charts that swing strongly. And that ain't half bad. --Andrew Bartlett

Customer Reviews:

Fabulous Reference level recording.......2007-01-12

I am an audio dealer, manufacturer, and enthusiast and a friend introduced this redbook CD to me. I ended up purchasing 6 or 7 more Wynton Marsalys' Standard Time, Vol. 6: Mr. Jelly Lord CDs. I kept one and sent the others to customers, friends, and industry insiders. The music is exciting and the recording quality is reference level. Depending on one's system, this CD can exhibit a very dynamic, exciting, and very real sense of liveliness. Several others have claimed to use it as one of their reference recordings to demonstrate their system's sonic presentation to customers and associates.

I've since purchased several more of the very talented Wynton Marsalis' CDs and have found nearly equal musical excitement and and engineering in these CDs as well.

One of my favorites and a must have.

Mr. Smushy Lord.......2006-05-17

Since the liner notes insist that all jazz is "modern", you'd think Marsalis & Co. would try to put some fresh spin on Jelly Roll's compositions, or at least capture the nuances of the original sides. But no, this is just corny Dixieland oom-pah mush, the stuff tourists hear at Disney World. To appreciate Mr. Morton you will do much better with his original recordings. As Linus screamed to Lucy: "Great art should not be smushed up!"

UNDERATED IS THE APT WORD--CLASSIC IS ANOTHER.......2005-02-13

I am "knocked-out" and down....floored. This CD will be a classic among classics, and it ".....proves that all jazz is modern"---Stanley Crouch's linernotes

Absolutley wonderful, perfect, and underatted.......2004-12-28

I still can't believe I actually bought something from Wynton Marsalis. I never thought I would purchase something from a "new" jazz artist (I listen to all jazz, mainly Duke Ellington, Sam Rivers, Albert Ayler, Elvin Jones, Charles Mingus), but my love for New Orleans music is great, so I figured I give this a shot. Damm, these guys are all from New Orleans and it sounds like it. These guys play these song PERFECTLY, there is no "nostalgia" or any other negatives other than the ocassional alto sax solos which dont really fit in as well as plunger muted tumped, trombone, soprano, and the huge vibrato of New Orleans clarinet. These songs by Jelly Roll were perfect to start and they are taken with care and joy. They actually capture the feel of the original recordings, like Louis Armstrong's Hot Fives and Sevens. Wynton may be anoying, pretenious, stuck up, ect., But he can play a hell of a trumpet (whatever that means) and his group is killer.

Wynton At His Best.......2004-06-20

I purchased the minidisc version of this album, and I must say that it is simply astounding. I cannot get enough of this album. The performances are simply superb. If you are looking for an execellent traditional jazz album, to add to your collection, this one is highly recommended.

Average customer rating:

GROUNDBREAKERS [The Wynton Marsalis Quartet]/Standards Vol.I
Beautiful Jazz Tunes
Fine modern and straight ahead album
Intense swinging with top quality sound from a premier jazz quartet
Standard Wynton

Marsalis Standard Time, Vol.1
Wynton Marsalis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music
Similar Items:

Standard Time, Vol.2: Intimacy Calling
Standard Time, Vol.3: The Resolution Of Romance
Standard Time, Vol.5: The Midnight Blues
Standard Time, Vol. 4: Marsalis Plays Monk
Standard Time, Vol. 6: Mr. Jelly Lord

ASIN: B000002683
Release Date: 1990-10-25

Tracks:

Caravan
April In Paris
Cherokee
Goodbye
New Orleans
Soon All Will Know
A Foggy Day
The Song Is You
Memories Of You
In The Afterglow
Autumn Leaves
Cherokee (Version)

Customer Reviews:

GROUNDBREAKERS [The Wynton Marsalis Quartet]/Standards Vol.I.......2007-06-01

[The Wynton Marsalis Quartet]/Leader
Wynton Marsalis-trumpet
Marcus ['J Master']Roberts-piano
Robert Leslie Hurst III-bass
Jeff 'Tain' Watts-bass

Caravan(D.Ellington)
April In Paris(Vernon Duke)
Cherokee(Ray Noble)
Goodbye(Gordon Jenkins)
Autumn Leaves(Mercer-Prevert)
Soon All Will Know(
Foggy Day(Gershwin/Gershwin)
The Song Is You(Kern-Hammerstein)
Memories Of You(Eubie Blake)
In The After Glow(

This Quartet is bringing you some great new approaches to the classic standards of the past.This session is 'chock-a-block' with some very creative and inventive ideas.Jeff 'Tain' Watts,throws these rhythmic approaches at you,sumperimposed time signatures,twists and turns from every corner,but always knows exactly where he is!This gentlemen is one of the foremost drummers on the circuit,along with
Marcus Roberts+Robert Hurst,two other great talents.This album deserves [special attention].Wynton,I believe,had the same talents as Miles.That 'sixth sense' of choosing the right players for the project at hand.Pick and choose.You can't teach that.Marsalis is one of a kind,as he covers a hell of lot of ground.Versatile,full of ideas and approaches,always thinking ahead,and a survivor.We owe a lot to him.
Enjoy.

Highly reccomended.A great collaborative effort.Great charts,superb
playing all around.Enjoy.

Beautiful Jazz Tunes.......2007-05-16

Last week Wynton Marsalis received an honorary doctorate from NYU and adorned the commencement ceremony with a lovely jazz address. The sea of graduates, faculty and guests at once calmed down enjoying his beautiful live performance. This memorable experience inspired me to buy my first jazz album and learn a little bit more about the genre. As a jazz novice, I find the tunes quite enjoyable and recommend it to anyone who wants to experience a jazz album for the first time.

Fine modern and straight ahead album.......2007-05-09

Marsalis interprets jazz standards and few (neo-classical) originals with dexterity and feeling, mostly relying on the bop and (mainstream) neo-bop language, only marginally using (or even ignoring) the stylistic achievements of the classical jazz and of the 70's avant-guarde.

That is to say: this is a coherent and well thought through, not just well played album (by a well-rehearsed and more than competent band).
The dominant mood is somewhat sombre and gloomy, not just because many of the standards are ballads, but check out the two witty and relaxed versions of "Cherokee", a swing standard that became a favorite bop property....

Incidently, the booklet cites Johnny Mercer as the author of the well known French tune "Autumn Leaves" (music by Kosma, lyrics by Prevert)... Mercer may be the author of the English lyrics (not used here - there are no vocal tracks on the album).

Intense swinging with top quality sound from a premier jazz quartet.......2007-01-28

This swings wonderfully all the way through, with top musicians improvising on great tunes. I have owned this CD for many years, and it still gets regular play; it is good both for parties and for very stimulating private listening. Ignore that arrogant cr*p about this being a "fine starting point for Jazz novices". THIS IS A GREAT JAZZ CD FOR EVERYONE.

Wynton's trumpet is joined by piano (Marcus Roberts), bass (Bob Hurst), and drums (Jeff Watts). This intimate quartet format allows direct and vivid connection to the music. There is no "free jazz" or old style New Orleans stuff; every track is quite pleasurable to the casual modern ear. Recorded in May and September of 1986 at RCA studios, the sound quality is excellent. This record won a Grammy Award in 1988 for "Best Jazz Instrumental Performance, Group". This is absolutely first rate, straight ahead jazz.

Wynton Marsalis made two other recordings at RCA studios in the 1980s with a similar sound that also won Grammys: "J Mood", (recorded Dec 1985) featuring the same set of musicians, and "Black Codes from the Underground", (recorded Jan 1985) which includes his brother Branford on tenor sax.

Standard Wynton.......2006-03-10

For those that are not familiar with Wynton Marsalis, this is a great starting point. Everything on this album is straight-ahead, and really swings. Surprisingly, no dixielandesque tunes, considering that most of his albums include one or two from that time period.

He is joined by Marcus Roberts on piano, who is one of my favorite modern jazz pianists; Robert Hurst on bass; and drummer Jeff "Tain" Watts, another favorite of mine.

There are two takes of "Cherokee" on this album, both taken at breakneck speed as what would be expected of Wynton. Though both are fairly short in length (both under 2 1/2 minutes), he plays some incredible lines on the trumpet and just cooks with the rhythm section. It took me a few listens to get that Marcus is playing the melody at the beginning, and Wynton was simply playing a rhythmic figure on top of it... for whatever reason.

However, in my opinion, Wynton has not made much of an improvement since this early recording from an improvisational standpoint. He obviously knows his way around the horn, but his playing to me anyway seems to lack direction.

Standard Time, Vol.5: The Midnight Blues

Average customer rating:

Gorgeous, full of feeling, like the horn of love itself...
Wynton is great, but brass and strings don't go together
Far from his best work
Among his Very Best
Slower Jazz

Standard Time, Vol.5: The Midnight Blues
Wynton Marsalis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Standard Time, Vol.2: Intimacy Calling
Standard Time, Vol. 4: Marsalis Plays Monk
Standard Time, Vol.3: The Resolution Of Romance
Standard Time, Vol. 6: Mr. Jelly Lord
Marsalis Standard Time, Vol.1

ASIN: B0000062HE
Release Date: 1998-04-28

Tracks:

The Party's Over
You're Blase
After You've Gone
Glad To Be Unhappy
It Never Entered My Mind
Baby, Won't You Please Come Home
I Guess I'll Hang My Tears Out To Dry
I Got Lost In Her Arms
Ballad Of The Sad Young Men
Spring Will Be A Little Late This Year
My Man's Gone Now
The Midnight Blues

Amazon.com essential recording

Opening curiously with the classic reveler's benediction "The Party's Over," this 12-selection program of standard material finds Wynton Marsalis's buttery trumpet elegance in the superb company of Eric Reed on piano, Reginald Veal on bass, and Lewis Nash on drums. Augmenting this debonair quartet is the delicately balanced string orchestration of Robert Freedman, who some may recall from Marsalis's original with-strings date, Hot House Flowers. Removing the CD from its jewel-case tray reveals an inside back-cover photo of a recently vacated bed, leaving little doubt that this is another in Wynton's ongoing subseries of romantic interludes. His trumpet is aptly broad and gorgeous in tone, seeking the beauty spots inherent in these romantic short stories. "Baby Won't You Please Come Home" indeed! --Willard Jenkins

Customer Reviews:

Gorgeous, full of feeling, like the horn of love itself..........2007-05-20

This is one of the most beautiful jazz albums, or any album, I've ever listened to. I listen to it often (I've had it for years), when I'm lying down to sleep or just relaxing, and every note sounds like Wynton's singing through that amazing horn of his ... it's like he's talking, caressing, holding and tickling the most gorgeous, love-thirsty woman and making her feel loved, making her feel desirable, making love with every note. His tone is full and round and warm; his technical command of the trumpet and his brilliant use of effects that sound effortless, are astounding and downright shake-you-head stunning. I am in awe of his virtuosity, and am stilled to a silent closed-eyed reverence when I hear the rendentions of the ballads on this album. If you stop and relax, put down the daily movements of the world, and listen to the beauty and power of this work, it will grab you with a soft hand and cover you like a warm blanket. And if you're in the mood for love, put this record on in the background, turn down the lights and spread those candles, and invite your lover into the sound of this world....

Wynton is great, but brass and strings don't go together.......2006-08-14

After buying and listening to Wynton's Standard Time Volumes 1-3, I was anxious to get Volume 5. I was not thrilled with the CD. Wynton is fantastic as always but the trumpet in my opinion did not go with the strings at all.

Far from his best work.......2005-05-02

This CD was a big disappointment. It was one song after another that sounded like the last. By the time I was halfway through a song, I found myself fast-forwarding to the next track. It would be OK as background music but otherwise I find it pretty musically boring.

Among his Very Best.......2004-10-19

Don't let the "quietness" and "laid back" nature of this music fool you; there's a lot going on here. Wynton's playing here is blues based jazz at its best, and the supporting cast here is simply terrific. Production value is top notch, and the song selection is clever and the arrangements challenging.

This is wonderfully accessible music that is clearly played by highly practiced and intelligent people, and its mood reflects the space artists can reach when they have done all of the necessary preparation. A feast for the ears and other senses, this is intelligent mood music (and I mean that in its very best sense) that can be appreciated in a practically unlimited number of ways.

Slower Jazz.......2002-11-20

This album is much slower than Marsalis' other albums. Many of his other pieces are vibrant and enthusiastic. I personally prefer livelier jazz, which you could call afternoon blues, but this album was still a nice break from what I normally hear. Definitely quality music.

Standard Time, Vol. 4: Marsalis Plays Monk

Average customer rating:

Great Jazz?
Wynton Marsalis, A Jazz Giant
Monk minus Monk = this album
Good effort with a couple of gems
Pretty Good but it ain't Monk

Standard Time, Vol. 4: Marsalis Plays Monk
Wynton Marsalis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

4-for-3 Jazz | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Standard Time, Vol. 6: Mr. Jelly Lord
Standard Time, Vol.5: The Midnight Blues
Standard Time, Vol.2: Intimacy Calling
Standard Time, Vol.3: The Resolution Of Romance
Marsalis Standard Time, Vol.1

ASIN: B00000J280
Release Date: 1999-05-18

Tracks:

Thelonious
Evidence
We See
Monk's Mood
Worry Later
Four In One
Reflections
In Walked Monk
Hackensack
Let's Cool One
Brilliant Corners
Brake's Sake
Ugly Beauty
Green Chimneys

Amazon.com

On this 1994 recording, trumpeter Wynton Marsalis and trombonist Wycliffe Gordon arrange the music of Thelonious Monk in a warm and witty neoclassic setting that typifies Marsalis's tradition-in-transition approach to jazz. Joining Marsalis and Gordon are drummer Herlin Riley, bassists Reginald Veal and Ben Wolfe, tenor saxophonists Walter Blanding and Victor Goines, Wess Anderson on alto and soprano sax, and pianist Eric Reed.

Monk's unconventionally structured blues and riff-based compositions are an important part of the jazz canon and Marsalis and company rise to the task of interpreting them. The 4/4 opener, "Thelonious," features a parade-style, stop-time intro with Anderson's ornithological, Charlie Parker-inspired tones, and Marsalis's burnished brass. The tap-dance feel of "Evidence" is maintained courtesy of the rhythm section, while the whimsical "We See" swings with Anderson's soprano sax and Reed's piano dancing on the melody. "Brake's Sake," "Green Chimneys," and "Worry Later" are solidly set in Riley's Congo Square-Latin-tinged drum work, Marsalis's laughing wah-wah sounds and clarion open horn solos, and Goines's towering tenor. A boppish horn line sets off "Four in One" and "Brilliant Corners" and is brilliantly decoded, while Marsalis's tune "In Walked Monk" (a play on Monk's "In Walked Bud") is reminiscent of Tadd Dameron's ensemble sound. The ballads include the dirgelike "Monk's Mood," with Marsalis's hazy mute, and the twilight-toned "Reflections." On "Ugly Beauty" Marsalis duets with Reed, who throughout this recording synthesizes Monk's dark tonal clusters and stride-piano techniques into his own fleet-fingered keyboard conception. --Eugene Holley Jr.

Customer Reviews:

Great Jazz?.......2003-08-16

I love Monk to death and am always exicited when I see/hear someone playing Monks Music. He is simply one of the greatest composers ever, period! He had more imagination and creativity in his writing and playing than anyone else, no discussion needed. Having said that I was disappointed in this CD (unforunately). I always thought Wynton needed to loosen up on his jazz playing and had hoped that in playing Monk's compositons he would be able to do that. Even though he was exposed to Jazz at an early age it almost seems like he learned his classical musicianship too well as he seems like a classical musician playing jazz. It just misses being great jazz. My feeling is why listen to almost great jazz when there is so much great jazz around that you can listened to. I also thought some of the horns tone and overall sound were a little bright sounding and didn't have the richness it needed for Monks music. I am not sure if this is a recording issue or playing issue. As always though he has a great rhythm section behind him. I have heard a liitle of his live CD's at the Village Vanguard and have liked what I have heard and will be buying that. Maybe he just needs to record his jazz live only.

Wynton Marsalis, A Jazz Giant.......2001-07-18

An impressive treatment of Monk's music. This is what makes Wynton such a great artist. His respect for the masters is a lesson that every Jazz listener should learn. His tone, attack, and approach are flawless! His heart wrenching expression on "Reflections" proves that Wynton can be be very emotional. Words cannot express the expression of "Brillant Corners". Truly a great recording.

Monk minus Monk = this album.......2000-09-23

This album is Monk if you subtract everything that made him a true, quirky-but-methodical original, and the greatest jazz composer ever (or at least tied with Duke for the title). No edges, no grit, no shards...no "brilliant corners", you might say. To be fair, this sort of middling approach may have value to some listeners, and perhaps it will turn someone on to the originals, so perhaps it is not a total waste. At any rate, it's hard for these ears to take.

Why not buy a Steve Lacy record instead?

Good effort with a couple of gems.......2000-04-14

This CD is aptly titled in that it's Wynton's take (with the help of Wycliffe Gordon) on Monk --a commentary on the music. Nothing replaces the original, of course, but these are for the most part, strong interpretations of the music by Wynton and his well-known bandmates of the mid-'90s.

For a tribute CD to succeed completely, it has to find real wellsprings of inspiration that put a completely personal stamp on the original music, and "Marsalis on Monk" doesn't quite make that level. In fact, for a good comparison with this CD, check out altoist/flutist James Spaulding's "Brilliant Corners," which in my opinion is just a notch better than this in revisiting and reformulating Monk's work.

The music here is never stale, but many of the cuts strike me as simply very well-played covers of well-known Monk tunes. There are two notable exceptions, however. "Four in One," one of Monk's most challenging pieces is super-charged with energy, and Wynton tears off a brilliant solo near the end. I immediately hit the repeat button after I heard it for the first time. "Green Chimneys" is a terrific set closer, full of authoritative solos and rich group playing that puts to rest the notion that Monk's music can't swing.

I'd also give high marks to Wynton for the choice of material, which includes some infrequently heard minor gems, such as "Let's Cool One," "Reflections," and "Ugly Beauty."

This isn't Marsalis's best album and it isn't the best collection of Monk interpretations, but it easily delivers enough of the goods to make it a solid thumbs up.

Pretty Good but it ain't Monk.......2000-03-15

I respect Wynton Marsalis he is a musical Genius.but he has Limits.overall i like his classical stuff better than his Jazz stuff.but he does have some tight Jazz stuff but this one isn't it.Marsalis Musical style is more influenced by Louis Armstrong&Duke Ellington which is Wonderful they are two of the Greatest Teachers of Music Period.but Marsalis is too Conservative of a Musician to tackle on Monk's work.Monk was far more risky than anything that Wynton has put out thus far and it shows here.while some of the material works much doesn't.nice attempt but not his bag.and I hope he doesn't try to touch any of Miles Davis stuff cuz that's not in his League.certain folks you just can't touch.

Average customer rating:

Lonesome Standard Time Review.
A forgotten gem
Mix of gospel and classical country harmonies
Listen to this CD--and fall in love with Kathy's voice
An Honest Voice

Lonesome Standard Time
Kathy Mattea
Manufacturer: Mca Special Products
ProductGroup: Music
Binding: Audio CD

General | Contemporary Country | Country | Styles | Music

General | Country | Styles | Music

Outlaw & Progressive Country | Country | Styles | Music

Contemporary | Bluegrass | Country | Styles | Music

Country Folk | Country | Indie Music | Stores | Music

4-for-3 Country | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Walking Away a Winner
Untasted Honey
Time Passes By
Willow in the Wind
The Innocent Years

ASIN: B000001DVT
Release Date: 1994-09-27

Tracks:

Lonesome Standard Time
Lonely At The Bottom
Standing Knee Deep In A River (Dying Of Thirst)
Forgive And Forget
Last Night I Dreamed Of Loving You
Listen To The Radio
Slow Boat
33, 45, 78 (Record Time)
Amarillo
Seeds

Customer Reviews:

Lonesome Standard Time Review........2006-11-10

Kathy Mattea has a pretty voice,and this was the first album she made after recoveing from an operation on her voice.It acutally came out stronger than before.Her interpetation of Larry Cordle and Jim Rushings Lonesome Standard Time is great, as well as Knee Deep In A River.An album with good songs.

A forgotten gem.......2003-08-04

Kathy's most successful years were the late eighties, but this 1992 album is every bit as good as the brilliant albums she recorded back then and the style of this album is similar.

The title track has a very upbeat tune that defies the sadness of its lyrics, but it is in that sense typical of the album - the music is bright and cheery, but the lyrics are often about loneliness and yearning.

The most famous cover here, Amarillo, is an amusing song about a woman who loses her man to a jukebox and a pinball machine. Amarillo was an Emmylou song that first appeared on her Elite hotel album in 1976.

Kathy's music may not be as popular today as it was in the late eighties, but it still sounds as good as ever and this is a fine example of her work despite the absence of any of her really big country hits.

Mix of gospel and classical country harmonies.......2001-10-14

This CD is a great mix of pure country and gospel tracks. The songs seem heart-felt and the voice is one-of-a kind.

Listen to this CD--and fall in love with Kathy's voice.......2000-04-05

That was the first CD from Kathy Mattea we had, and all the family, old and young, just fell in love with that voice. We still feel the need to listen to it over and over again. I wish she were better known in Europe and came here on a tour!

An Honest Voice.......2000-02-14

Kathy Mattea does not possess the same cover-model's looks that bless the likes of Shania Twain, but her voice and her material are more substantial than most of what one hears from the current crop of "airbrush beauties" that Nashville is dealing these days. Her interpretations on this CD are honest and mature, relating some common human experiences that are accessible to just about everyone. The wistful ballads "Seeds" and "Knee-Deep in a River" are emotionally affecting without being sappy, and the title cut and "33, 45, 78" are clever without being cutesy. No culls at all on this one. Some CDs are interesting for a while, but soon disappear. This one will stay in my "often-played" stack. I even plan to cover a couple of the cuts myself at my next gig.

Average customer rating:

It's Not Too Late
Superlative Jazz Trio
Swinging Elegantly
Heavenly

Pacific Standard Time
Alan Broadbent Trio
Manufacturer: Concord Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

Bebop & Post-Bop | Compilations | Jazz | Styles | Music
Similar Items:

Personal Standards
You and the Night and the Music
'Round Midnight
Every Time I Think of You
Arise

ASIN: B0000006OP
Release Date: 1995-08-15

Tracks:

Summer Night
This One's For Bud
Easy Living
Easy To Love
I Should Care
Django
Beautiful Love
In Love In Vain
Someday My Prince Will Come
I've Never Been In Love Before
Reets & I

Customer Reviews:

It's Not Too Late.......2005-04-29

It's not too late to dscover Alan Broadbent - I've just bought Pacific Standard Time, having listened to Alan Broadbent for the first time on Charlie Haden's album (Quartet West). I was well and truly hooked from the first track "Summer Night" and his rendition of "I've Never Been in Love Before" is sensational. Can't wait for my next Alan Broadbent CD to arrive from Amazon

Superlative Jazz Trio.......2002-08-04

This is a trio which shares a musical empathy that becomes obvious from the first selection on this cd. The result is a highly pleasurable listening experience.

Alan Broadbent is a highly lyrical and melodic be-bopper/ post- bopper who has a lot of similarity to the style of Tommy Flanagan. The music played on this cd are mainly standards but his improvisation somehow gives a fresh approach to each of these without sacrificing anything from recognition of the melody.

I'm surprised that he hasn't recorded more under his own name but apparently he has devoted a lot of his time as a composer and arranger. One of his compositions, "This One's For Bud" is included on this cd as a tribute to bop pianist Bud Powell.

He served a stint with Woody Herman as a writer, arranger and soloist and has been the pianist in Charlie Haden's Quartet West. You have heard him if you're familiar with this last group or on selected recordings of Woody's (1969-1972).

Whether you're familiar with his playing or you just enjoy good jazz piano trio, this will become one of your favorite cds.

Swinging Elegantly.......2001-12-16

Arranger, composer, sideman for the likes of Scott Hamilton, Broadbent deserves wider recognition. Not as cerebral as Evans or Mehldau, not stride like McKenna or Sutton, Broadbent reminds one more of Tommy Flanagan or Red Garland.

This cd, his own trio, does that risky thing of approaching those hoary old chestnuts with respect but not reverence, with wit but not self-indulgence. Some new twists, new spins, some surprising ideas, but never abandoning the essential melody lines. Still, there is nothing boring here; at no time does Broadbent lapse into the predictable--this might serve as background music, but to listen to it as such is to miss some of the quicksilver turns, the elegant musings. Broadbent's look at John Lewis' wonderful "Django" is a case in point. Lewis is well served, but Broadbent has a few things to say too. The result is some sweet shadings of Lewis' marvelous melody.

Not as cerebral as Evans; nevertheless, Alan Broadbent is one intelligent, witty, sensitive artist. And this is an extremely fine rendering of some classic pieces from that Great American Songbook.

Heavenly.......2000-08-28

My favorite Jazz record. It often brings tears to my eyes while listening to it on my PC during the early hours between 6 and 8 before my collegues begin to turn up at work. I sigh and put aside my headphones - already looking forward to tomorrow's early hours!

Music:

Music

Music