The Standard

Track Listings

1. Who's in the House

2. Now's the Time

3. Great God

4. Everybody Praise the Lord

5. River

6. Marchin' and Movin'

7. Sundy School Rock

8. Holdin' On

9. Lord, I Love You

10. America Again

Tracks:

Blue Eyed Elaine
Don't Be Ashamed Of Your Age
I Forgot To Remember To Forget
I Love You Because
Pistol Packin' Mama
Saginaw Michigan
Old Dogs, Children And Watermelon Wine
Old Cape Cod
Death Of Floyd Collins
The Blue Side Of Lonesome
In The Garden
Just The Other Side Of Nowhere
Old Rugged Cross
Where The Blue Of The Night

Amazon.com

Things don't get much schmaltzier than a Dobro played Hawaiian style, which is why it's fitting that Cowboy Jack Clement offers one up on "The Blue Side of Lonesome," Leon Payne's dated but charming classic--only one such excursion into blue-haired reminiscing on an album of over-the-top sentimentality. It was the legendary Clement who paired smart-ass folkie Prine and bluegrass totem Wiseman, but the singers themselves chose the repertoire, which reads like songs people of a certain age might pick on a dry drunk. The tunes range, believe it or not, from religious hymns to covers of Patti Page's 1957 hit "Old Cape Cod," Kris Kristofferson's underrated "Just the Other Side of Nowhere," and Tom T. Hall's "Old Dogs, Children, and Watermelon Wine," with a little Elvis and Ernest Tubb thrown in for good measure. It's fitting that Prine and Wiseman revisit the Hall standard, since oddly, both singers vocally favor the Nashville storyteller from time to time. But one has to question their use of the Grand Ole Opry's Carol Lee Singers, who show up on several cuts and seem, well, just bizarre on a John Prine record, even as they evoke the lushly famous Nashville Sound of the 1960s. Suffice it to say, this is a quirky project, and if Prine's scratchy baritone and Wiseman's melodic tenor sometimes overlap to where you can't tell who's singing what, it doesn't much matter. You're listening to two new pals having what seems to be the time of their life. --Alanna Nash

Customer Reviews:

Prine and twang.............2007-07-03

I first caught the wind of the country & western direction in John Prine when I heard his earlier CD "In Spite of Ourselves." The Nashville influence has laid a noticable twang on his voice to the extent that the vocals are sometimes hardly recognizable as Mr. Prine. As mentioned in some of the other reviews, on my first listening, I also thought immediately of Tom T. Hall. For long time followers more accustomed to John's rebellious angles (and the wry title, at least, is pure Prine) this CD might be quite a shock. But I accept it as simply the mark of a mature artist stretching himself artistically, not "selling out" for the sake of sales to a mellower audience. My apologies for not commenting more about Mac, I am less familiar with his work but I assume that stylistically this is more in his comfort zone. His vocals bond nicely with John's and this is definitely equality in a duet. A nice relaxing work, accept it for what it is, not what you expect of John Prine.

I guess I'm an "average people.".......2007-06-27

I heard John Prine and Mac Wiseman on NPR one afternoon
and fell in love. Their song choices are wonderful.

A Disappointment ...and so sorry to say it.......2007-06-26

This was such a disappointment. I had looked forward to this for months, having admired Mac Wiseman for over fifty years, and Prine for thirty or so. But this just doesn't work.

The songs are such classics that each singer could do them well while singing by himslef. But there are just no strong emotional tugs from these "collaborations." Mac has done some great work singing with other bluegrass singers, and Prine has been terrific in his work with women singers ... but these two great men never seem to feed off one another. The feel suggests that these guys were not even singing together. I'll lay this away and go back to the many songs that I have by each that are so terrific.

John Prine Love.......2007-06-14

I don't think there is anything John Prine could do to diminish the love we feel for his music in our family. We think he might be America's poet, or one of them anyway. This CD is sweet and lovely and seems like two great guys sitting down playing and singing some nice tunes together and we all get to listen or sing along. "Standard songs for average people..." - the title says it all. Just a sweet ole time with John Prine and, in this case, with Mr. Wiseman, too. I gave this to my husband for our anniversary, along with the recently released John Prine DVD, and we are always just so grateful for great artists and John Prine is surely one.

Awfully corny.......2007-06-12

Sorry, love nearly all of JP's output but this is the worst I've ever heard, schmaltzy, corny, cringe-inducing, hurts me to say but it's the way I would see it. Bought it blind on the strength of all John's other stuff and regretted it immediately. If everyone else thinks it's great, maybe I can get my money back on ebay...

Average customer rating:

So much more than "ear candy" music--BRAVO, STEVE TYRELL !!!
WOW!!!!!!!
Great singer, great album.
TIME REMEMBERED
Mister Smooth!

A New Standard
Steve Tyrell
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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Standard Time
This Guy's in Love
Songs of Sinatra
This Time of the Year
Disney Standards

ASIN: B00001QEOK
Release Date: 1999-09-21

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:

It's a Movie Soundtrack not a Mars Volta album
Feels Like Half of an Album

Se Dice Bisonte, No Bùfalo
Omar Rodriguez-Lopez Quintet
Manufacturer: Gold Standard Labora
ProductGroup: Music
Binding: Audio CD

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Please Heat This Eventually
Omar Rodriguez
Megaton Shotblast
A Manual Dexterity: Soundtrack, Vol. 1
Com Lag (2Plus2IsFive)

ASIN: B000NJWSHG
Release Date: 2007-05-29

Tracks:

The Lukewarm
Luxury Of Infancy
Rapid Fire Tollbooth
Thermometer Drinking the Bussness Of Turnstiles
Se Dice Bisonte, No Bufalo
If Gravity Lulls, I Can Hear the World Pant
Please Heat This Eventually
Lurking About In a Cold Sweat (Held Together By Venom)
Boiling Death Request a Body To Rest Its Head On
La Tirania De La Tradicion

Customer Reviews:

It's a Movie Soundtrack not a Mars Volta album.......2007-06-06

Before you base your judgment of this CD soley in comparison to any of The Mars Volta albums you need to realize that it isn't a Mars Volta album. It is a Soundtrack for a film and Omar is even quoted by saying it is a reaction to the film. If you're a die-hard Omar fan then you'll love it. Rapid Fire Toll Booth is now one of my all time favorites and all the other songs sound great in my opinion.

I don't usually write reviews because it's so painful for me to read someone elses review especialy ones that contain the following examples. I only like their older stuff, they keep changing their style, the guitar player is too self induldgent,they should use the same producer as on their first album, there's too much ambience, there's too much guitar noodling, they've become snobs, they're not as good without the old drummer, they're progressive, they're experimental, they took a riff from some other band, I like them less with each album they put out,etc. That was in reference to all bands not just The Mars Volta.

That kinda review irritates me because it's a bunch of garbage. I wish those kinda people would just stick to their MTV lifestyles and leave the real music to those who are true fans and are more open minded. I don't know why it bugs me so much it's not like I'm defending them because I know them on some personal level it's just that some people just don't get it. I'm tired of everyone disecting the music and the musicians. All they want to do is entertain us, not create some sort of musical doctorine that should be discussed as though one was attending a seminar. As a musician I understand the need to experiment and branch out so the music making process doesn't become stale. Do you really want your favorite band to constantly repeat themselves and never evolve. People please I beg of you quit writing these cliche pointless reviews. As for me I'm through writting about this subject for as long as I live. Omar & Cedric have been making music for quite some time now. Let's allow the professionals to do their thing and the rest of you can either tune in or tune out.

Feels Like Half of an Album.......2007-06-01

I've been a fairly faithful Mars Volta fan since the band's first LP debuted back in 2003. However, to say that my admiration for the group has never wavered would be a lie. In fact, with each full-length album that the Mars Volta releases, my love for the band deteriorates just a little bit more. This downward trend is caused largely by the group's insistence on forgoing the largely prog-rock stylings of their debut in favor of more experimental paths. The "Hey, instead of a song, let's just play random crap for 8 minutes" approach was fresh on 2005's "Frances the Mute" but it felt unbelievably stale on their most recent album, "Amputechture." It should be of no surprise then that "Se Dice Bisconte, No Buffalo" is not my favorite of albums. In many ways this album is the embodiment of everything that I've grown to despise about the Mars Volta.

That's not to say that this is an unimpressive collection of songs, however. Quite the opposite! Despite my waning feelings for Omar and Cedric, I can still recognize talent when I hear it. It's just that the talent of these two individuals has been misplaced in recent years. "Buffalo" is just another example of that. For example, the first two tracks on the album "The Lukewarm" and "Luxury of Infancy" are utter throwaways. The first being a 26 second exercise in changing the pitch of your voice, while the second is just more of Omar's signature electric guitar "scribbling." These two tracks serve no purpose on the album whatsoever, as they're pretty much over before you realize it.

"Rapid Fire Tollbooth" may sound familiar to Mars Volta fans who have been to the band's live shows. Cedric Bixler-Zavala lends his vocals here, and as a result the song sounds very much like a Mars Volta song that couldn't find a home on "Amputechture." In fact, several of the songs on "Buffalo" that features Cedric's vocals sound like they were made during the production of that album, but just weren't good enough to make the cut ("Se Dice Bisonte, No Buffalo," and "Please Heat This Eventually" to be precise). "La Tirania De La Tradicion," on the other hand, is a fantastic song, and the highlight of the album. In this frantic 5-minute long song, Cedric's vocals are all over the place, and the end result is amazing!

In the end, the best moments on "Se Dice Bisconte, No Buffalo" are the ones where Omar and company play actual music as opposed to just random noise. Tracks like "The Lukewarm," "Luxury of Infancy," and "If Gravity Lulls, I Can Hear the World Pant" only serve as a reminder to how self-indulgent these musicians can be. However there are a few others that remind you why you fell in love with these guys in the first place. As a result, "Buffalo" feels more like half of an album than anything else. While some devoted fans may find it to be worthy of a purchase, I'd be much more inclined to download my favorite tracks and live out my life pretending that the others don't exist.

Recommended for fans of The Mars Volta and the Omar Rodriguez Lopez Quintet.

Key Tracks:
1. "Rapid Fire Tollbooth"
2. "Se Dice Bisonte, No Buffalo"
3. "Please Heat This Eventually"
4. "Lurking About In a Cold Sweat (Held Together By Venom)"
5. "La Tirania De La Tradicion"

5 out of 10 Stars

Average customer rating:

Great!
Steve Tyrell's Standard Time
A Jazzy Delight
An Evening With Steve Tyrell. . . At The Starlight Bowl
No Sophomore Slump For Steve Tyrell, He's On A Roll!

Standard Time
Steve Tyrell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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A New Standard
This Guy's in Love
Songs of Sinatra
This Time of the Year
Disney Standards

ASIN: B00005Q460
Release Date: 2001-10-02

Tracks:

It Had To Be You
Until The Real Thing Comes Along
Ain't Misbehavin'
That Old Feeling
Baby, It's Cold Outside (w/ Jane Monheit)
Stardust
It All Depends On You
As Time Goes By
I Wonder
What A Little Moonlight Can Do
Why Was I Born
Let's Fall In Love
Our Love Is Here To Stay
Someone To Watch Over Me
Everytime We Say Goodbye
Remembering 'Sweets

Amazon.com

Sanitize Tom Waits's vocal cords, take some of the rasp out of Dr. John's, put some muscle into Bobby Caldwell's, combine them and you'll have an approximation of the quality of Steve Tyrell's voice. Like his popular 1999 debut, A New Standard, this is a meticulously recorded album featuring the great American songbook and some of the best jazz soloists alive, including trumpeter Clark Terry, harmonica player Toots Thielemans, and singer Jane Monheit, who plays Lucille Ball and Betty Carter against Tyrell's Red Skelton and Ray Charles on the classic duet "Baby It's Cold Outside." Tyrell complements each of his partners with the kind of empathy that makes them shine as bright as his irresistible voice. Plas Johnson's saxophone take on "That Old Feeling," for instance, is highly reminiscent of the symbiotic musical partnership that Lester Young created with Billie Holiday more than half a century ago. Also like his first record, it is the creative arrangements of guitarist Bob Mann and pianist Joe Sample that make this 16-song disc work so well. --Mark Ruffin

Customer Reviews:

Great!.......2007-03-14

I heard Steve Tyrell's song "On the Sunny side of the street" on the Father of the Bride Movie and I fell in Love with his voice. Never heard of him before then, but now I ordered a lot of his CDS. AND I LOVE THIS CD!! Great! Great! Great!

Steve Tyrell's Standard Time.......2006-03-10

I love the sound of Steve Tyrell's voice. I do think his better CD was This Girls in Love with You, but I plan to enjoy this CD too. I have just purchased the Disney CD and I like it better.

A Jazzy Delight.......2005-08-30

Steve Tyrell is a stylish, unique singer with a gravelly, charming voice, and he delivers a song in an easy, comfortable manner; there is always a touch of humor one can sense, and a merry twinkle to the interpretation. In this aspect Tyrell is a little like singer/songwriter Johnny Mercer, but perhaps their greatest similarity is that they are both one-of-a-kind talents. The songs are a great collection, standards with heavenly melodies and terrific lyrics that take one back to a simpler time; they also lend themselves well to the jazzy, big band arrangements in this recording, giving the musicians some leeway to express their artistry.

Favorites include "That Old Feeling" (Brown/Fain), with Plas Johnson's honey mellow sax solo, and "What a Little Moonlight Can Do" (Woods), which includes a vocal by Clark Terry as well as his marvelous trumpet solo. "Baby, it's Cold Outside" (Loesser), a classic recorded in 1949 by Johnny Mercer and Margaret Whiting (and many more like Ella Fitzgerald and Louis Jordan), is here given a delicious rendition with Jane Monheit.

No small part of what makes this CD a total winner is the superb musicianship from a stellar group of instrumentalists that are tops in their field:
Bob Mann, arrangements and guitar
Kenny Asher, Joe Sample, and Alan Pasqua, piano
Clark Terry, trumpet
Bob Cranshaw, Bob Magnusson, and Chuck Berghoffer, bass
Allan Schwartzberg, John Guerin, drums
Plas Johnson, sax
"Toots" Thielemans, harmonica
Jane Monheit, vocals on "Baby, It's Cold Outside."
The final track is the last recording by Harry "Sweets" Edison, who passed on in 1999, and his trumpet solo is sweet indeed.
Even those that don't care for Tyrell's voice and style will appreciate the extraordinary artistry of the bright and polished musicianship. Sound is excellent and total playing time is 56'02.

An Evening With Steve Tyrell. . . At The Starlight Bowl .......2005-08-26

This CD is the second of Steve Tyrell's three superb albums of standards and it features my all-time favorites such as "It All Depends On You," "It Had To Be You," "Our Love Is Here To Stay," "Ain't Misbehavin," "What A Little Moonlight Can Do," "I'm In The Mood For Love" and "That Old Feeling" which according to him is one of Sinatra songs that he loved.

This beautiful CD, "Standard Time" is one of the most remarakbly gorgeous albums of standards ever recorded. It has the backing of seasoned and talented musicians headed by Bob Mann, Toots Thielemans, Clark Terry, Alan Pasqua, Plas Johnson, Joe Sample and Sweets Edison, to name a few. I'm not saying this simply because I've seen him performed recently before a live audience at the Starlight Bowl but he's really best suited to sing these standards, which according to him "have no expiration dates!" ;)

Listening to this CD is so contagious but never tiring. Track-wise: tasteful and exquisite! Performance-wise: simply superb! Arrangements-wise: fabulous! Back-up-musicians-wise: talented and amazing!

Something that caught my eye on the liner notes - a photo of Steve Tyrell at a restaurant and looking at a menu written on a black board . . .

"Tonite's Specials"

Clark's Hot Chops
Toots' Tartar
Plas' Platter
Sweets' For Dessert
Free Samples

A very good addition to your collection of fine music. I wholeheartedly recommend it!

No Sophomore Slump For Steve Tyrell, He's On A Roll!.......2004-11-18

It is a rare occasion indeed when an artist can recreate the magic that was captured on a hit debut album and establish themselves as a leader of a musical trend, but with his second release "Standard Time" Steve Tyrell has done just that. With an ensemble of world-class players he covers some of the real jewels out of the Great American Songbook and together these wonderfully talented musicians give us renditions that will last a lifetime. Steve Tyrell is a special talent, so buy this CD and enjoy his excellent music for many years to come.

If you enjoy crooners and big band swing, I would also recommend Monte Procopio's "Swingin' With Style". He is another crooner that can really swing and deserves a listen.

Average customer rating:

perfect
7M3 American Standard
Southern Blend Of Modern Rock
ONE OF MY FAVORITE CD'S
Comes off a bit...um...cumbersome

American Standard
Seven Mary Three
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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Rock Crown
Orange Ave.
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Frogstomp
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ASIN: B000002JVD
Release Date: 1995-09-05

Tracks:

Water's Edge
Cumbersome
Roderigo
Devil Boy
My My
Lame
Headstrong
Anything
Margaret
Punch In Punch Out
Favorite Dog

Amazon.com

The term "bubblegrunge" was coined to describe stuff like the Toadies, Collective Soul, and Seven Mary Three. It's not a complimentary term, and I was the one who coined it in the first place, so you can tell what direction we're going here. Then again, Seven Mary Three have a weird sort of Southern-rock authenticity to their Pearl Jam bluster (they're from Florida), which suggests they might have even more right to the sound than a dilettante like Eddie Vedder. By "Southern rock," though, I don't mean the Allmans or Skynyrd so much as Molly Hatchet. They should be .38 Special instead: a swamp-boogie hat act that throws on some pop hooks and sucks back the Yankee dollars. The hit here is cumbersome. Er, that is, the hit here is "Cumbersome." --Gavin McNett

Customer Reviews:

perfect.......2007-03-18

this was a new c.d. in the wrappings, great price, great availability and sounds great. Thanks

7M3 American Standard.......2007-01-10

I love this item I used to own the CD, but lkie all CDs, it got scratched; and I was only abel to hear songs 1-4. I can now enjoy the whole CD once again.

Southern Blend Of Modern Rock.......2006-12-30

Seven Mary Three just about does their own thing, but they do it well. I see them as part of a new version of Southern Rock that also includes acts like the Gin Blossums, Better Than Ezra, Dada, Four Star Mary, and others.

This album in particular resembles what Seven Mary Three is as well as shows effects of the nineties and grunge rock. They showed they could be hard on songs like My My and Water's Edge. They showed they could be emotional on Lame and Devil Boy. They showed off some interesting and extremely weird storytelling on many of their songs like Margaret and especially Roderigo.

Killer successful Platinum album by one of my favorite artists. Similar albums to this: Seven Mary Three's "Orange Avenue", Pound's "Same Old Life", Better Than Ezra's "Closer", and Stone Temple Pilots' "Core".

ONE OF MY FAVORITE CD'S.......2006-11-18

I LOVE THIS CD!!
I LOVE JASON ROSS'S VOICE WHETHER HE IS SINGING HIS HEART OUT OR SINGING SOFTLY. HE IS GIFTED!
THIS ALBUM, ALSO ROCKCROWN AND DISLOCATED ARE EXCELLANT.
I WASN'T TOO HAPPY WITH ORANGE AVE. BUT I AM REALLY LOOKING FORWARD TO NEW CD COMING OUT THIS FEB '07!!!
GO SEE THEM LIVE -- YOU WON'T REGRET IT!!!!

Comes off a bit...um...cumbersome.......2006-11-04

I'm a huge fan of the two singles off this album, `Cumbersome' and `Water's Edge' but I'm a little let down on the unoriginality of the rest of this album. Many of the songs sound very regurgitated. The lead singer's voice is decent and works well for songs like the aforementioned, but on songs like `Lame' (which is just that) he sounds out of place, shaky and uncertain. The only other songs I actually liked enough to listen to again were `My My' and `Anything' but even they are nothing new or anything special. Songs like `Lame' and `Roderigo' fumble in pure stupidity while `Devil Boy' just tries to hard, as does the closer `Favorite Dog'. I actually liked the concept behind `Punch in Punch Out', not so much as lyric-wise but the idea of singing over nothing but drums, it's different, but it just doesn't quite work like it should. All in all this album is only as good as its singles, and for two songs I can't say it's entirely worth the sticker price.

Standard Time, Vol.3: The Resolution Of Romance

Average customer rating:

Trumpet come alive
Absolutely Beautiful
Smooth and elegant
Oh yea, what that guy from Holland said
So sweet, so sublime

Standard Time, Vol.3: The Resolution Of Romance
Wynton Marsalis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Standard Time, Vol.2: Intimacy Calling
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ASIN: B00000273Y
Release Date: 1990-05-15

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In The Court Of King Oliver
Never Let Me Go
Street Of Dreams
Where Or When
Bona And Paul
The Seductress
A Sleepin' Bee
Big Butter And Egg Man
The Very Thought Of You
I Cover The Waterfront
How Are Things In Glocca Morra?
My Romance
Everything Happens To Me
Flamingo
You're My Everything
Skylark
It's Easy To Remember
Taking A Chance On Love
I Gotta Right To Sing The Blues
In The Wee Small Hours Of The Morning
It's Too Late Now

Customer Reviews:

Trumpet come alive.......2007-02-22

I love this cd! Wynton makes his trumpet talk as if it were alive. The Seductress is a beautiful peice with just trumpet and piano. All I can say is that I never get tired of listening to this cd. I love the combo. of jazz and classical.

Absolutely Beautiful.......2005-09-30

I don't have a lot of music critic vocabulary but I am life long lover of music, studied intensely for most of my collegiate career and I can say that this collection of songs represents some of the most beautiful music I've ever heard.

Smooth and elegant.......2002-12-22

This is music for an elegant Saturday night. The up-tempo numbers are relaxed and friendly; the ballads are pieces you'd want to have on hand for seducing someone. Marsalis' soulful, often muted trumpet sounds as good as always, and he's joined for perfectly thoughtful, understated piano accompaniment by father Ellis. A lovely gem of an album.

Oh yea, what that guy from Holland said.......2002-03-09

Here I am; a middle aged white guy from Tennessee. I HATE jazz! Or so I thought. My favorite "easy listening" station played "Where or When" from this album and I knew I had to have it. Now, unlike the music fan from Holland, I wouldn't know a long note from a tinkling arpeggio; and I don't care. What I do know is that this album is absolutely beautiful. I listened to it 4 straight times when it first arrived...and it just gets smoother each time. Somehow, it doesn't seem fair to catagorize music like this into a genre. There is something here for almost everyone. If I had to pick one selection that would be my least favorite it would be "I Got A Right To Sing The Blues". Otherwise....everything is GOLD ! And now if anyone asks me if I like jazz, I can just say "yup, I shore do!"

So sweet, so sublime.......2001-11-19

My wife and I have enjoyed a cassette of this recording for more than ten years. It has travelled many miles, going along in the car and shifting up and down the stairs from bedroom to living room. Just as I was getting worried that the dynamics were becoming rather flat, I find the CD!
The reason I love this CD is that it conveys the warm relationship Wynton has with his father, and the intimacy can be heard on every long note, every tinkling arpeggio. Unlike Wynton's many other works, in which virtiousity and speed appear to be most paramount, this date was quiet and laid back. The trumpet sings gently throughout, and the space it leaves is the space for lovers to nestle and cuddle.
It is a mark of masterly that these two musicians could be so economical and yet reach the listener with so much power and conviction.

Average customer rating:

In the mood...
Superb Album
This CD is a great tool for trumpet students
Wynton at his Best

Standard Time, Vol.2: Intimacy Calling
Wynton Marsalis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Standard Time, Vol.3: The Resolution Of Romance
Marsalis Standard Time, Vol.1
Standard Time, Vol.5: The Midnight Blues
Standard Time, Vol. 4: Marsalis Plays Monk
Standard Time, Vol. 6: Mr. Jelly Lord

ASIN: B0000027K0
Release Date: 1991-03-26

Tracks:

When It's Sleepy Time Down South
You Don't Know What Love Is
Indelible and Nocturnal
I'll Remember April
Embraceable You
Crepuscule With Nellie
What Is This Thing Called Love
The End Of A Love Affair
East Of The Sun (West Of The Moon)
Lover
Yesterdays
Bourbon Street Parade

Amazon.com essential recording

As the title implies, this is a relaxed and intimate date much in the manner of those ages-old "for lovers only" discs that celebrated the romance and melody of jazz expression. The tempos are generally in the slow to medium range, and the moods are lovingly rendered. Wynton Marsalis's songbook here is strictly standard and classic, ranging from "You Don't Know What Love Is" to Thelonious Monk's "Crepuscule with Nellie" and "When Its Sleepy Time Down South," to a closing nod to Crescent City-street classicism, "Bourbon Street Parade." Employing a variety of mutes and expressive effects, Marsalis renders this program with simple piano, bass, and drum accompaniment for the most part, though tenor saxman Todd Williams and alto saxophonist Wessell Anderson join him for two selections. --Willard Jenkins

Customer Reviews:

In the mood..........2007-03-08

talk about getting into the mood for intimacy... WOW... bring on the soft light and champagne...

Superb Album.......2005-03-30

This, the 2nd in his concept album series is excellent, the sounds are played with such a level of intimacy and warm romance that not only does it stand out a wonderful jazz album in its own right but also can be used to set the mood for that special dinner!

The playing is lovely, the warm timbre casting you back to the very birth of jazz and evokes nothing but the deepest of emotion and highest praise for Mr. Marsalis and to think he was not yet at his prime on this album!!!!

This CD is a great tool for trumpet students.......2003-04-27

This CD was early on a part of my jazz listening, and as a jazz trumpet player, I inadvertently picked up a bunch of style and technical elements from wynton's playing. Wynton is a traditionalist, but by using a stand up bass instead of a tuba he really transcends a time scale in his pieces and defies categorization. His use of articulation as an element of swing is textbook. If you play the trumpet, and you want to know how to play jazz, then pick this up. Bourbon Street Parade especially is the most textbook New Orleans swing chart i've ever heard.

Wynton at his Best.......1998-08-16

I heard this CD for the first time in the cabin of a sailboat anchored in a cove at night. It is classic Wynton and classic jazz. Very dreamy and romantic. Sit back, sip your favorite wine and gaze at the stars with your lover while listening to this.

Average customer rating:

Nancy does it again
Two Old Underrated Pros at Play

Live at Jazz Standard
Nancy King
Manufacturer: Max Jazz Records
ProductGroup: Music
Binding: Audio CD

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Footprints
From This Moment On
Turned to Blue
In Amsterdam: Live at the Bimhuis

ASIN: B000F6ZP2M
Release Date: 2006-05-09

Tracks:

There's A Small Hotel
I Fall In Love Too Easily
Little Suede Shoes/Day By Day
Everything Happens To Me
Ain't Misbehavin'
If You Never Come To Me (Inutil Pasaigem)
There Will Never Be Another You
Autumn In New York
Four

Album Description

Very few improvisers in vocal jazz have mastered the musical vocabulary like Nancy King. The same can be said for the extremely accomplished pianist Fred Hersch. After many years of circling each other, the two have finally been documented in Nancy's new MAXJAZZ release Live at Jazz Standard. In fact, the two had never met each other before this magical night when the tapes were rolling without Nancy's knowledge. Nothing on this disc was planned or rehearsed. These two talented artists chose songs, keys and tempos along the way, and the end result: jazz at its best.

The stage was set on Saturday, October 23rd, 2004 when Fred Hersch was concluding his second "Duo Invitation Series" at Jazz Standard in New York City, where he played with six different duo partners during the week. Fred was encouraged by Scott Morgan to fly Nancy in for the series. She had not appeared in a major New York venue in many years. Live at Jazz Standard features some wonderful standards performed by two extraordinary musicians.

Customer Reviews:

Nancy does it again.......2007-03-17

This is one of her better ones and they are all good. A real jazz person's jazz not just pop or standard singer. Her phrasing is wonderful and you can understand all of it. Love it~~

Two Old Underrated Pros at Play.......2006-08-30

When I heard that Nancy King and Fred Hersch had recorded an album live, at the Jazz Standard in NYC, of piano-voice duets, I rushed out to get my copy. I expected something fantastic. But that can be a problem due to the fact that disappointment can come crashing down more easily when you have such expectations.

I am not disappointed in the least.

This c.d. confirms two major truths: First, with the passing of Ella Fitzgerald and Betty Carter, Nancy King is the finest living scat singer in the world. Like Ms. Carter, Ms. King sounds like an instrument truly searching for the "less obvious" note that nevertheless fits in the chord. Ms. King is also a great story teller. She didn't make me forget Shirley Horn or Mark Murphy, but at times she certainly reminded me of them here.

Second, Fred Hersch truly is one of the finest piano accompanists in the world. What amazes me about him is that he sounds quite different in accompanying Nancy King than he does in accompanying Janis Siegel, and in turn those recordings sound different than how he accompanies Renee Fleming. He basically knows what works for each singer.

Here, consistently throughout he lets Ms. King take the lead in the first chorus, then gradually gets more adventurous as she scats away. Then, when he solos, he plays even more "outside" than he does ordinarily with most singers--because that's how Ms. King sings. By the time he's done, we the audience have been in for quite a ride.

In the contest of most underrated jazz singer in the world (if there is one), Nancy King now is in the lead. Hopefully, someone soon will overtake her--but that will take some doing. Meanwhile, major kudos to Maxjazz: In the last few years, they have put out superlative vocal jazz recordings with Rene Marie, Dena DeRose, Erin Bode, and now this one. More, please. RC

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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Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
The Life and Works of Ludwig van Beethoven
What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Frédéric Chopin

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

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.

Music:

Music

Music

1. Who's in the House
2. Now's the Time
3. Great God
4. Everybody Praise the Lord
5. River
6. Marchin' and Movin'
7. Sundy School Rock
8. Holdin' On
9. Lord, I Love You
10. America Again