A New Standard

Editorial Reviews
Amazon.com
A New Standard builds on the popularity of Steve Tyrell's appearances in the Father of the Bride movies. In addition to "The Way You Look Tonight" (from the Father of the Bride soundtrack) and "Give Me the Simple Life" and "On the Sunny Side of the Street" (from Father of the Bride, Part II), the album features Tyrell singing 14 more standards in a casual, gravel-throated style. A New Standard includes the final recorded performances of trumpet great Harry "Sweets" Edison, who solos on "Don't Get Around Much Anymore" and "I've Got the World on a String." Other notable guests include Clark Terry, Plas Johnson, Joe Sample, and Toots Thielemans. But the real keys to the album's success are the impeccably crafted arrangements of rhythm guitarist Bob Mann and Tyrell's unpretentious, warm-hearted vocal delivery. In contrast to so many neoswing wannabes, Tyrell approaches these timeless tunes with the R&B-bred soul of a gray-haired baby boomer who's just discovered his parents' record collection. In the jazzbo tradition of Louis Armstrong and Jack Sheldon, he doesn't try to blow anyone away with his chops. He just sings the songs with an infectious enthusiasm and easy swing that's impossible to dislike. --Rick Mitchell

From Jazziz
Steve Tyrell working commercially as a songwriter, producer, and performer for more than four decades. His "Atlantic Records" debut, "A New Standard," came about as a result of his standards recordings for the "Father of the Bride" movies. "I've always considered myself a song man," says Tyrell. "And if anything, that's the part of my nature that I poured into making this album." To do justice to the spirit of the classic songs on this album, Tyrell chose his soloists carefully. For "I've Got... read more

A New Standard

Tracks:

Give Me The Simple Life (From Father Of The Bride, Part II)
On The Sunny Side Of The Street (From Father Of The Bride, Part II)
I Can't Get Started With You
Don't Get Around Much Anymore
The Very Thought Of You
I've Got My Love To Keep Me Warm
A Kiss To Build A Dream On
I'm Through With Love
I Can't Give You Anything But Love, Baby
Cheek To Cheek
I've Got The World On A String
It's The Mood That I'm In
I'm In The Mood For Love
The Way You Look Tonight (From Father Of The Bride)
I'll Be Seeing You
For All We Know
Smile

Amazon.com

A New Standard builds on the popularity of Steve Tyrell's appearances in the Father of the Bride movies. In addition to "The Way You Look Tonight" (from the Father of the Bride soundtrack) and "Give Me the Simple Life" and "On the Sunny Side of the Street" (from Father of the Bride, Part II), the album features Tyrell singing 14 more standards in a casual, gravel-throated style. A New Standard includes the final recorded performances of trumpet great Harry "Sweets" Edison, who solos on "Don't Get Around Much Anymore" and "I've Got the World on a String." Other notable guests include Clark Terry, Plas Johnson, Joe Sample, and Toots Thielemans. But the real keys to the album's success are the impeccably crafted arrangements of rhythm guitarist Bob Mann and Tyrell's unpretentious, warm-hearted vocal delivery. In contrast to so many neoswing wannabes, Tyrell approaches these timeless tunes with the R&B-bred soul of a gray-haired baby boomer who's just discovered his parents' record collection. In the jazzbo tradition of Louis Armstrong and Jack Sheldon, he doesn't try to blow anyone away with his chops. He just sings the songs with an infectious enthusiasm and easy swing that's impossible to dislike. --Rick Mitchell

Customer Reviews:

So much more than "ear candy" music--BRAVO, STEVE TYRELL !!!.......2007-06-15

Steve Tyrell will not disappoint you on his CD entitled A New Standard. I agree with Amazon when they state that he sings with the enthusiasm of an older baby boomer who just discovered his parents' record collection. All throughout this CD, Steve sings remarkably well and his slightly gravely voice exudes energy and masculine warmth.

The CD track set begins with two songs from the movie entitled Father Of The Bride, Part II. "Give Me The Simple Life" signals the beginning of a CD that is soothing and just plain wonderful to enjoy. Bob Mann's arrangement makes great use of the percussion; and the music complements Steve's performance perfectly. "On The Sunny Side Of The Street" has always been a favorite of mine; and Steve treats this ballad with an infectious enthusiasm and a type of boyish playful energy that charms you instantly. Bob Mann plays guitar very well to enhance the beauty of "On The Sunny Side Of The Street," too. Listen closely and you'll also hear Steve improvising some of the lyrics, too--and this works well on this number.

"I Can't Get Started With You" lets Steve sing of how, despite financial and material success, he cannot be truly happy without his one true love. Once again Steve improvises some of the lyrics for a great effect. Awesome!

Steve's interpretation of "Don't Get Around Much Anymore" sparkles; and the trumpet solos by Harry "Sweets" Edison and Clark Terry add color to this classic ballad. Joe Sample plays the piano magnificently, too.

"I Can't Give You Anything But Love, Baby" is another high point for this album; Steve's jazzy rendition infuses this standard with new depth and a type of vigor you just don't hear too often these days. Bob Mann plays great guitar as Bob Magnusson weaves magic on bass; Steve's vocals and the work of the band create a sublime rendition of "I Can't Give You Anything But Love, Baby." "Cheek To Cheek" boasts a great arrangement by Alan Pasqua; and Steve performs "The Way You Look Tonight" better than I've ever heard this number done.

Other high points on this CD include "I'll Be Seeing You" written by Sammy Fain and Irving Kahal; Steve plays with the tempo of the vocals ever so slightly to add an extra touch of class to "I'll Be Seeing You." In addition, "Smile," the last track, features a harmonica solo by "Toots" Thielemans that shines like pure gold. I wish Steve had performed "Smile" at just a slightly slower tempo; but "Smile" reflects good judgment nevertheless.

The liner notes include great black and white photos of Steve and the members of the band; and Steve writes a few words thanking the numerous people who helped make this album a reality. Burt Bacharach personally adds a small tribute to Steve as well.

It is increasingly rare that an artistic male singer of our times is bold enough to tackle the older standards the way Steve does; and the way Steve makes it seem so easy proves that he has a special gift to share with us. I would highly recommend this CD for Steve Tyrell fans; and anyone who enjoys classic pop vocals will love this CD as well.

Enjoy!

WOW!!!!!!!.......2007-03-19

My family and I borrowed this cd from the library, but had to buy it just a few weeks later because we liked it so much! "Don't Get Around Much Anymore" is a great song with a great swing.... if you are in any way a jazz fan, buy this cd!

Great singer, great album........2007-01-18

Have been a fan for a long time. Steve just keeps getting better and better, if that's possible. Highly recommend it to all romantics and need-to-be romantics!

TIME REMEMBERED.......2006-03-15

This wonderful collection of standards, given superb treatment by Steve Tyrell and his A1 musicians, takes me back to the time when music and lyrics had class. A CD to add to my top-drawer collection.

Mister Smooth!.......2006-03-14

This collection of songs has to be one of the best collection of renditions I have ever heard.
Steve Tyrell's voice is very distinct. Sometimes playful, other times a true crooner. But he really does justice to the choice of music here.
'Give Me The Simple Life', 'On The Sunny Side Of The Street' and 'The Way You Look Tonight' (An all-time favorite of mine) are done to perfection.
All tracks are done straight with a great orchestra and arrangements, no doubt. Hearing this cd I thought to myself that he would be a better 'sinatra-esque' than a few others out there. The reason being his voice.
I can't say much more than that. I promise if you like standards, you will really really really like this cd. Give it a shot.

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

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

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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:

Modern jazz masterpiece
Old Wine In New Bottles
Herbie shows how it should be done
Overlooked Jazz Masterpiece
New Standard.......???

New Standard
Herbie Hancock
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

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Dis Is Da Drum
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Quartet

ASIN: B000004712
Release Date: 1996-03-05

Tracks:

New York Minute
Mercy Street
Norwegian Wood (This Bird Has Flown)
When Can I See You
You've Got It Bad Girl
Love Is Stronger Than Pride
Scarborough Fair
Thieves In The Temple
All Apologies
Manhattan (Island Of Lights And Love)

Customer Reviews:

Modern jazz masterpiece.......2007-07-11

This album is a modern jazz masterpiece, and no lover of jazz should be without this purchase. Yes these are covers of contempory pop and rock hits, but they do not sound like cheap covers. Hancock has reworked them into intricate masterful pieces, and this album is up there with his early brilliance of Maiden Voyage in my opinion.

Since I picked this up last year it has has so much rotation in my disc player, and this along with Miles Davis's Kind of Blue is perfect jazz for almost any occasion. Like that lofty album, Hancock's 'New Standard' makes great background music for any dinner or cafe setting, and for more astute listening the album holds many moments of interest and enjoyment.

Although I don't mind his funk and experimental chill material, I believe that this is the kind of material that Herbie Hanckock truely shines, and it is what places him above many other artists today. This album is a great return to form, and I heartily recommend it to both casual listeners of jazz and the more serious jazz academics.

I would love to see more of the same quality from Herbie Hancock in the years to come. Five stars from me!

Old Wine In New Bottles.......2007-01-11

I guess I was pleasantly surprised by this recording as, personally, I still use Maiden Voyage as a reference point for HH's work. The most fascinating thing for me is what the title hints at: putting new context on some well known pop songs. Listening to the record felt a bit like enjoying some old vintage contained in what looks like new bottles! Worth purchasing and giving a good spin. >> Arthur A. Madonsela >> South Africa.

Herbie shows how it should be done.......2006-11-26

Herbie Hancock's body of excellent work is vast but this 1996 CD is one of his more interesting latter day recordings. It's also one of my favourites. On it, he is joined by some of my most favourite players; Michael Brecker on tenor and soprano saxophones, John Scofield on guitar, Dave Holland on acoustic bass, Jack DeJohnette on drums and electric percussion and Don Alias on percussion.

The idea is a great one - take current popular songs and make new jazz standards out of them. The idea of making jazz versions of pop tunes is not new of course but while other so-called jazz musicians have just remade the originals of their choice, lazily replacing the vocal phrases with their instruments, Hancock has done the job the way it's supposed to be done. He's considered the tunes very carefully and then, together with Bob Belden, given them new and exciting arrangements. Produced by Hancock and Guy Eckstine, the album tackles tunes from Don Henley, Peter Gabriel, The Beatles, Babyface, Sade, Simon & Garfunkel, Prince, Nirvana and Steely Dan.

It's great stuff. I particularly love the way Hancock would phrase the end of a solo, only to have that phrase echoed by Scofield at the beginning of his. They do that on two of my favourite songs - the opening "New York Minute" and "Love Is Stronger Than Pride". The ballad "Norwegian Wood" is pure magic. The way John Scofield plays on it blows my mind every time I listen. "Thieves In The Temple" and "When Can I See You" (where Don Alias really shines) are also particularly interesting.

But I love all the songs really. Just as you think the album is about to end on a quiet note via "All Apologies" and the Herbie Hancock and Jean Hancock original "Manhattan", in comes the stomper "Your Gold Teeth II" to pick things up again.

I had quite a few of the original songs before I heard this album and those I didn't have I went and searched out after I'd heard it. I feel Herbie Hancock has managed, (with the exception, maybe, of the Nirvana tune - nobody and nothing, in my view, can beat the haunted and haunting sound of Kurt Cobain's voice), that very rare feat of making covers of songs sound much more interesting than the originals. Some of his more recent outings have been a bit ropey in my view (though, admittedly, very popular) but there's no doubt in my mind that he's one of the musical geniuses of this generation. If ever any proof was needed, this album with its all-star cast, is it.

Overlooked Jazz Masterpiece.......2006-02-22

This is by far one of Hancock's best recordings (at least since the Headhunters, Thrust, Manchild days). He captures a strange haunting sound in the twilight between Jazz, Pop and Rock. When I come home from a long day there is nothing better than mixing a gin and tonic and putting on Herbie's fantastic version of "Norwegian Wood". The musicians seams to be completely in tune on this record, not just showing off talent but really putting there soul into it.

If you dig Miles Davis on "In a Silent Way" or Coltrane in "My Favorite Things" then you are going to love this fantastic record. Tracks like "Mercy Street", "When Can I See You", "Manhattan" and "Love is Stronger Than Pride" are made of the good stuff, they are played with depth and skill in that rare way that makes a classic. In short this record can be put next to any great Jazz masterpiece.

New Standard.......???.......2005-12-03

I mean - it's Herbie, so it can't be really bad, but........."New Standard" seems a bit optimistic.

I have never heard so many errors in H. Hancock playing, especially over a comparatively easy piece like "Love Is Stronger Than Pride".
He completely screws it at 01.46 - 01.53, hits wrong keys again at 02.04 and some other places of the tune. I was a bit shocked.

Also, in terms of John Scofield, I somewhere read that since 1998 he is clean and sober. "New Standard" is from 1996, and on this album, he definitely was clean and sober too, but in a bad way. Can't remember having heard Sco playing so flabby and dull on any other record to date.

M. Brecker on Sax, D. Holland on bass and J. DeJohnette are cool and play great, though.

Average customer rating:

Impresive

The New Gold Standard
Fort Knox Five
Manufacturer: Fort Knox Recordings
ProductGroup: Music
Binding: Audio CD

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Reminted
Cinescope
El Nino y el Sol
Esl Remixed: The 100th Release of Esl Music
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ASIN: B000FDFYNU
Release Date: 2006-07-04

Tracks:

Radio Free DC - Fort Knox Five
Blowing Up the Spot - Fort Knox Five
Brazilian Hipster - Fort Knox Five
Salvador Diaspora [FK5 Remix] - Rex Riddem
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Customer Reviews:

Impresive.......2007-07-16

One of the world greatest groups [t. Afrikabambata in the vocals]breaks R one of the most impresive,you can find this one on Eby No More and the album The Raid Lol Well Let's just say if you can find it too bad you R gonna blame you self for the rest of your life.

Average customer rating:

A little too much and poor sound quality
And now, honored ladies and gentlemen, may we present...!

Imperial Fanfares

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Music from the Royal Court
Ceremonial Music for Trumpet & Symphonic Organ
Lully: Les Divertissements de Versailles
Lully - Ballet Music for the Sun King / Mary Enid Haines · Aradia Baroque Ensemble · Kevin Mallon

ASIN: B00008MLVK
Release Date: 2003-07-15

Tracks:

Imperial Fanfare
Royal Entry
Ceremonial Procession
Heroic Procession
Festive Procession
Elector's Procession
Elector's Procession
Majestic Procession
Priere Du Matin
Intrada
Largo - Allegretto
Intrada
Festive Overture
Toccata (Prelude To Orfeo)
Courante For The Entry Of His Imperial Majesty And All The Cavalry
Follia For New Entry Of The Sprinter And Other Equestrian Manoeuvres
Sarabande For The End Of The Ballet
Trumpet Duet
Intrada For The Trombet Und Musicalischen Tafeldienst
Menuet (Trumpet Duet No. 82)
Trumpet Duet No. 8
1812 Overture, Op. 49
Festive Table Music No. 1
Festive Table Music No. 2
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Procession No. 3
Festive Procession: The Entry Of The Emperor, 1631
Intrada From Bruck An Der Mur
Procession No. 4
Procession No. 1
Procession (Brilliant, Bright)
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2e Air Du Combat De Lance D?Amadis
La Descente De Mars
La Marche Italienne
Prelude Des Divertissements
Chaconne Du Palais Royal
Menuet Royal
Marche Pour Les Trompettes Seules
Bruit De Trompettes
L?Etendard
Fanfare A Deux Trompettes
Bruit De Guerre
Allemande
Molto Moderato
Signature Tune Of The Old Town Of Bratislava
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Modern Fanfare
Signature Fanfare
Convention
Fanfare Solo I
Fanfare Solo II
Fanfare Solo III
Fanfare Solo IV
Fanfare Solo V
Fanfare Solo VI
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New Palace Fanfare
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Excitement
Short and Concise
Short Fanfare No. 1
Short Fanfare No. 2
Short Fanfare No. 3
Short Fanfare No. 4
Flourish
Il Giorno Del Silenzio
Fanfare For Solo Trumpet And Drum - V
Fanfare For Solo Trumpet And Drum - II
Wrapped In Mystery
Marcia Maestoso
Imperial Procession In Vienna
Procession No. 8: Allegretto

Customer Reviews:

A little too much and poor sound quality.......2006-11-10

Even though this was recorded just a couple of years ago the sound quality is not that good. It sounds like it was recorded in the 70s and outside with the microphones far away. There is nothing too deep here and all the fanfares are fairly short, just lasting a few seconds it seems. I got tired of this pretty quickly and it doesn't stand up to repeated listenings and to be honest a lot of the stuff on here sounds the same. The performances are ok, but nothing special, they sound kind of flat, and they don't really do anything to make this sound exciting like it should. Maybe if the performance and sound was better I would of enjoyed this more.

And now, honored ladies and gentlemen, may we present...!.......2003-07-17

This is what you'd have to call a specialty CD. It consists entirely of fanfares--nothing but fanfares--some of them as short as 10 seconds long. An interesting idea for a CD, perhaps, but I would guess it is primarily for directors of costume dramas, period pieces, and ceremonies of various sorts.

There are 76 fanfares on the disc covering composers ranging from Monteverdi to a trio of modern composers, all of the latter associated with the CD itself. They are played by an outfit called 'The Art of the Trumpet,' a coalescence of 24 Austrian trumpeters and a couple of timpanists (and on occasion a single trombone). Some of the fanfares use the whole group, there are others for solo trumpet, and for all combinations in between. They are led by a trumpeter from Vienna named Leonhard Leeb who is not only one of the trumpeters but also one of the composers--the other two modern composers are Leon Bolten and Joel Modart (I almost typed 'Mozart' but no!...).

Other composers include Salieri, Lully, Biber, J.H. Schmelzer, Pezel (often spelled Petzel here in America), Philidor (yes, the chess master of that name), Marc-Antoine Charpentier, and the multi-talented A. Nony Mous.

The performances are appropriately stirring, ceremonial, attention-grabbing, even mournful (one, Bolten's 'Wrapped in Mystery,' was dedicated to the victims of the World Trade Center tragedy of September 11, 2001). I would strongly suggest you not listen to the whole CD at one sitting--actually, it's hard to imagine anyone would--because too much B flat can fry your brain unless you yourself are a brass player or bagpiper.

For what it is, though, this CD is excellent.