The Band and I [Import] [Limited Edition]

Gloryland
Wolcum Yule: Celtic and British Songs and Carols - Anonymous 4 with Andrew Lawrence-King
1000: A Mass for the End of Time / Anonymous 4
The Origin of Fire: Music and Visions of Hildegard von Bingen
A Portrait Of Anonymous 4

ASIN: B0001ADB4Q
Release Date: 2004-02-10

Tracks:

Holy Manna
Abbeville
Wondrous Love
Sweet Hour Of Prayer
Jewett
Dunlap's Creek
New Britain
The Morning Trumpet
Resignation
Poland
Wayfaring Stranger
Sweet By And By
Blooming Vale
Idumea (I)/Idumea (II)
Sweet Prospect
Shall We Gather At The River
Amanda
Invitation
Parting Hand
Angel Band

Amazon.com

This, Anonymous 4's final recording, is a break from their usual "early music" periods and locations; it presents American music, religious in nature, from the 18th and 19th centuries. And it's absolutely beautiful from start to finish. Their normal, exquisite technique and purity here blend to sound the way we imagined the ladies' choir in church meetings in America past might have sounded: sweet, sincere, and with harmonies recognizable yet somehow fresh. Some of the songs begin with the women singing "fa, so la" exercises, which was called "shape note" singing because some places taught singing with notes as shapes--circle, rectangle, diamond, triangle. But it's the music that counts, and there are treasures here. They include two versions of "Amazing Grace," one familiar, one with an unusual melody and a piece called "Blooming Vale" which is as sophisticated as anything on their previous albums. "Shall We Gather at the River" is performed with a clarity and loveliness that makes us forget that it's normally sung as background to movies about the Great Depression. The foursome sometimes sing in rich harmonies and occasionally alone or in pairs or trios. This is glorious Americana and highly recommended. --Robert Levine

Customer Reviews:

spiritual americana.......2007-01-06

I have some of the older Anonymous 4 recordings which are more medieval
and gregorian in style (I love them!). They move on to cover spiritual
basics of the 1800s. If you like classical music, perfect harmonies
and spiritual americina, then you will be blessed!

Rich Heritage.......2006-10-11

Anonymous 4 consistently produces exquisite and authentically beautiful recordings and this one presents early American hymns in ways few groups can manage. Some tunes are highly recognizable while others are 'new' to me but a refreshing reminder of the singing heritage of religious societies in times past. For those who enjoy old hymns and authentic renderings, this is a must buy.

Superb .......2006-08-07

This collection of American Christian music is not only an enthralling musical experience but a spiritually uplifting one as well. Anonymous Four have transferred their luminous vocal quality to a new space with perfect success.

Can't walk away from it!.......2006-08-07

My only "complaint" about the CD is that I absolutely HAVE to sit and listen to the entire thing whenever I start it up! I usually have music playing in the background while doing other things, but not this one! There are no tracks that I find myself wanting to skip over as in most collections. In fact, I usually find myself going back and listening to selected tracks again (and again and...) after taking the hour+ to listen to the whole thing through once.

These four ladies produce a unique and remarkable sound. I can't recommend it enough.

Mana from Heaven.......2006-05-08

I think the title of this CD is perfect. I first heard an interview for this CD on Public Radio and fell in love. I had never heard Anonymous 4 before then but look for all I can find of their music now. The title is perfect as the women sound like Angels and the music lifts the spirit. I find myself singing the old version of Amazing Grace all the time now. Incredible and a huge blessing to all who hear it.

Star Wars Episode III: Revenge of the Sith - Original Motion Picture Soundtrack

Average customer rating:

Star Wars: A Musical Journey (2005) (V)
Not one of his bests, but very close
John Williams' finest work
A Great Conclusion to the Prequel Trilogy
Williams is slumming it

Star Wars Episode III: Revenge of the Sith - Original Motion Picture Soundtrack

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Star Wars Episode II: Attack of the Clones - Original Motion Picture Soundtrack
Star Wars Episode I: The Phantom Menace - Original Motion Picture Soundtrack
Star Wars Trilogy
Star Wars: Episode VI - Return of the Jedi
Star Wars: Episode IV - A New Hope

ASIN: B000850IS6
Release Date: 2005-05-03

Tracks:

Star Wars and The Revenge Of The Sith
Anakin's Dream
Battle Of The Heroes
Anakin's Betrayal
General Grievous
Palpatine's Teachings
Grievous and the Droids
Padme's Ruminations
Anakin vs. Obi-Wan
Anakin's Dark Deeds
Enter Lord Vader
The Immolation Scene
Grievous Speaks to Lord Sidious
The Birth Of The Twins and Padme's Destiny
A New Hope and End Credits

Amazon.com

John Williams' lovely and moving score for the sixth Star Wars film brings thirty years of collaborating on George Lucas' beyond-popular intergalactic franchise to a close. (Is this really the end of Star Wars? Can't Lucas and Williams work together on a prequel to these prequels? Let us hope so, and that Jar Jar Binks is nowhere near it.) As this music accompanies the most exciting Star Wars film in many a moon, the soundtrack itself is more fun, more evil, more nasty and bumpy. Many of the heroic, anthemic themes woven throughout Episode Three: Revenge of the Sith will necessarily be familiar to any fan of the series, from the "Imperial March" to the main theme. It's remarkable how stirring the latter can be, no matter how many times you've heard it, and even for those who do not have all their money invested in S.W. memorabilia. There is a lot of new music here, and the lush, extensive range of both Williams and the London Symphony Orchestra is on display, most notably in the menacing, percolating "General Grievous" and the rousing "New Hope" end theme. --Mike McGonigal

The Force Is Also with:

Star Wars Trilogy soundtrack box set
Star Wars Episode II sountrack
Star Wars Episode II, Attack of the Clones

Star Wars Episode I, The Phantom Menace
Star Wars Trilogy on DVD
Star Wars, Episode III - Revenge of the Sith

Customer Reviews:

Star Wars: A Musical Journey (2005) (V).......2007-06-21

product: Star Wars: A Musical Journey (2005) (V), included as bonus disc in Episode III soundtrack.

The bonus dvd with this soundtrack was the reason I purchased. I enjoy film soundtracks, and science fiction, but this dvd was a real highlight for me. I got the soundtrack cd out of the local library. The cd was missing from the case, but I found this wonderful dvd instead that I went out to purchase later.

With optional segments of dialog from Ian McDiarmid, this film is a stunning visual and musical overview of the full epic story of episodes I-VI of Star Wars. For those of us who felt that eps. IV-VI fell short of our expectations, this film presents them well as parts of the whole story. The Musical Journey also stands as a summary of the entire SW opus for someone who is not familiar with the Star Wars characters and plot. Highly recommended.

Options: no subtitles or other options.

Not one of his bests, but very close.......2007-05-21

The Episode III soundtrack is very good. Not great, but very, very good. You can tell that Williams is getting old, but he still manages to weave together a very memorable score.

My favorite tracks are "Battle of the Heroes," "Anakin's Betrayal," Palpatine's teachings, "Anakin vs. Obi-Wan," and the "Immolation Scene."
The others are very good as well, but these are especially nice. "Battle of the Heroes" is Dual of the Fates for Revenge of the Sith. "Anakin's Betrayal" is a very sad track that is, in my opinion, one of William's most powerful pieces. "Palpatine's Teachings" is really, really neat. It's very dark and moody, a perfect piece for the evil emperor. The only weird thing is the end. "Anakin vs. Obi-Wan" is the action piece that plays during the battles of Anakin and Obi-Wan, and Yoda and the Emperor. Finally, "The Immolation Scene" is another sad piece, even more so than "Anakin's Betrayal."

Although I really like this CD, there are some things that are missing (as usual). First, the whole sequence where the droids are looking for Obi-Wan after he was shot. You see Obi-Wan in his ship with Senator Organa on the Hologram (or whatever it is), and Obi-Wan says that his clones turned on him. That was some pretty awesome music that OF COURSE was left out of the CD. Then there was Dual of the Fates in the movie, but completely absent from the CD. And probably the most annoying was that whole piece of music before Obi-Wan and Anakin fight. It was so touching and sad and I CAN'T BELIEVE THEY LEFT IT OUT! Absolutely amazing. Also, did anyone notice that some little bits were cut out? For example, in Anakin vs. Obi Wan, they cut out about a second or two of choir. What?! What the heck is with that? It's when Anakin is running on the long thing and jumps on the droid on the lava. Also, there was some pretty cool drumming when you see Yoda and the Emperor fighting, and you can see the whole stadium (the big room). There's also drumming in "Enter Lord Vader" that is muted in the soundtrack.

Oh well...if I'm going to collect movie scores, I'm going to have to get used to the fact that in almost all cases there's not going to be every bit of music. I've experienced this in both Pirates of the Caribbean, Jurassic Park I (there was very little left out on this score), and almost everything else. At the moment, I'm just waiting for the 22nd, for the Pirates of the Caribbean 3 soundtrack. It's gonna be amazing.

See Yu

John Williams' finest work.......2007-04-20

There is little more I can say that hasn't already been said about the soundtrack to Episode 3, especially what Amazon contributor Dan Mohr wrote in his review of the soundtrack on 2/2/2006. His review captured almost all the thoughts, feelings, and emotions I had when I first listened to the soundtrack, and was, IMO, the best review of John Williams' greatest masterpiece.

Having said that, I will say that few soundtracks have ever so perfectly captured the underlying emotional currents of their respective movie; in the case of ROTS, the contemporaneous tragedies of Anakin's fall to the Dark Side, the extermination of the Jedi, and the rise of the oppressive Empire. The listener is confronted with the depth and totality of the evil that has beset the entire galaxy to a degree that the film could not reach in only 2 hours.

Bravo, Dan Mohr, and BRAVO John Williams!

A Great Conclusion to the Prequel Trilogy.......2007-04-07

This is a great work of art. I rank it 4th among Star Wars soundtracks after A New Hope, The Empire Strikes Back and The Phantom Menace. I had a hard deciding which I thought was better, The Phantom Meance or Revenge of the Sith, but I decided that The Phantom Menace lays the foundation for so much that is in this soundtrack and is thus the more masterful work. But that doesn't mean that this score still isn't great. Every piece is a thrill to listen to and pace never lets up. "Battle of the Hereos" is an amazing piece and the rendition of the "Funeral Theme" from Episoded I captures the film's tragety magnificently. Also I do not think John Williams could have portrayed the Jedi's extinction more perfectly than he did in "Anakin's Betrayal". This is without a doubt the best score of 2005 and one of the best of the decade.

Williams is slumming it.......2007-04-01

Williams's score for Revenge of the Sith is almost entirely overbearing, lacking any emotional subtlety. The music is overcomplicated and even a bit confusing, especially in the tracks that correspond to action sequences in the movie. His overuse of choral tracks and vocals is too bombastic and irritating to be listened to without the explosions and laser blasts of the soundtrack to soften them. (Yes, this music is actually softened by the sounds of warfare.) Worst of all, much of the music has simply been lifted from earlier scores. At times his self-imitation was so blatant that I actually wondered whether the editor who had complied this score had made a mistake and I was listening to The Empire Strikes Back or A New Hope. Also suffers from not including the entire score, in some cases cutting out musical segues in obvious and awkward ways.

Average customer rating:

One of the best ever!
Kristen Chenowith
Has its moments
Great CD!
This woman has what it takes, and then some...

Let Yourself Go
Kristin Chenoweth , Jule Styne , George Gershwin , Richard Rodgers , Jeanine Tesori , Kurt Weill , Jerome Kern , Vincent Youmans , Ricky Ian Gordon , Richard Dworsky , Lawrence Ellington Duke / Brown , Harry Warren , Bobby Troup , Jason Alexander , Irving Berlin , Rob Fisher , and The Coffee Club Orchestra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

As I Am
Still I Can't Be Still
You're a Good Man, Charlie Brown (1999 Broadway Revival Cast)
Leonard Bernstein's Candide (Great Performances)
Meredith Willson's The Music Man (TV Film)

ASIN: B000059T4T
Release Date: 2001-05-29

Tracks:

Let Yourself Go
If
How Long Has This Been Going On?
My Funny Valentine
Hanging Around with You (with Jason Alexander)
The Girl in 14G
I'll Tell the Man in the Street
I'm a Stranger Here Myself
Nobody Else But Me
Nobody's Heart Belongs to Me/Why Can't I?
Should I Be Sweet?
He's Just an Ordinary Guy
Going to the Dance with You
On a Turquoise Cloud
You'll Never Know
Daddy

Amazon.com

Kristin Chenoweth won a Tony for the supporting role of Sally Brown in the 1999 revival of You're a Good Man, Charlie Brown, made a memorably vampy Lily in the 1999 television film of Annie, and had an NBC sitcom created for her, Kristin! Now she grabs the spotlight in Let Yourself Go, her first solo recording. She mixes torchy standards ("My Funny Valentine," "How Long Has This Been Going On?") with Faith Prince-style sauciness ("If"), gets to show off her operatic and scat chops in the miniplay "The Girl in 14G," and shares a light duet with Jason Alexander (reviving his musical theater career post-Seinfeld). Perhaps her "Stranger Here Myself" isn't the weightiest you've ever heard, but this is an enjoyable album with a good deal of old-fashioned class, expertly accompanied by Rob Fisher and the Coffee Club Orchestra. --David Horiuchi

Customer Reviews:

One of the best ever!.......2007-04-24

Do I mean the best album or the best singer? You are correct if you said both! I saw Kristin Chenoweth on a PBS show "Broadway's Best at the Pops," (though it was not the first time I had heard her) and decided to check out the offerings here. This is a collection of the kind of music and performances I love. She has a great range, a precise pitch, and a great style that is at the same time true to the music and to herself. In an era when singers try to outdo each other re-interpreting the composer's original work, not usually with great success, she is a blessing!

Kristen Chenowith.......2007-02-26

I bought this CD for the Girl in 14G. Yes, it's that good...

Has its moments.......2007-02-19

After watching Candide endlessly and going to see Ms. Chenoweth in The Apple Tree, I was hungry for something more portable to listen to. At times this fits the bill, but what surprised me the most is how thin her voice comes across on this recording. Perhaps it was the joy of seeing her live that has ruined this listener; perhaps I need to upgrade my aging music system. Then again, maybe the recording is just not as good as Ms. C singing Bernstein or as good as staring at Ms. C command a Broadway stage.

Great CD!.......2007-01-19

I truly enjoy listening to this CD. Kristin Chenoweth's vocal style and abilities are very well-matched to the songs selected for this album. If you enjoy classic, older-style Broadway/popular tunes, I would highly recommend this CD. Ms. Chenoweth has a bright, expressive voice and does a fantastic job with this material.

As with any full-length CD, there are a couple of songs I am not as crazy about, but that has to do with the songs themselves, not Ms. Chenoweth's vocal performance. Overall, I love this album and have listened to it several times now, since receiving it as a Christmas gift last month.

This woman has what it takes, and then some..........2007-01-12

Kristin Chenoweth brings new life to some timeless Broadways tunes while introducing a few wonderful new ones. This high pitched vocal goddess effortlessly provides for a nearly flawless and easy listening experience. I definitly recommend this CD for anyone who enjoys jazz vocals, showtunes, or just a new spin on some old classics.

Average customer rating:

He works magic in film.
Glassworks is an amazing album
Great experiment of questionable musical value
Love - Hate Relationship
A Few Words on Glassworks

Glassworks

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Solo Piano
Glass: Violin concerto
Philip Glass: Symphonies Nos. 2 & 3
Philip Glass : Orion
Kronos Quartet Performs Philip Glass

ASIN: B0000CD5GV
Release Date: 2003-09-30

Tracks:

Glassworks
Glassworks
Glassworks
Glassworks
Glassworks
Glassworks
In The Upper Room
In The Upper Room
In The Upper Room
In The Upper Room
In The Upper Room

Customer Reviews:

He works magic in film........2007-03-25

Perhaps it is true that the work of Phillip Glass has been of ambiguous nature; many different subconsciousness that would be drawn to his music and many alike would be pulled back in similiar impact or just simply stand in plain confusion. His music works perfect for the medium of film, not because there is another medium 'filling up the void' in his style, but it's the commentary that it makes on the story while the film runs on its own. This music leaves much to the imagination of those filled with it, to tell their own story. It can handle almost anything one throws at it; irony, contradiction, pain, relief, comedic, anything, it will almost seem to work out well perfectly for certain individuals. Minimalism is a common label on this music, however it is precisely minimalism that leaves the mind to explore on its own. Classical greats like Bach, although in a similiar vein, still lay down the scenery in a more conspicuous manner than Glass. After all, this is contemporary art; and it will not work out well for those who do not have the audacity to create their own mental scenes but rather rely more on music for a more solid comprehension to come through.

Glassworks is an amazing album.......2006-11-12

Although I'd heard of Philip Glass I was quite unaware of his music until I attended a performance of The Upper Room by the Washington Ballet in October 2006. The music is by Philip Glass and the choreography by Twyla Tharp. It was one of the most memorable artistic experiences of my life. It was incredible.

I subsequently purchased Glassworks and find the music to be extremely powerful. I recommend this album absolutely. I find most of the pieces on the album to be profoundly moving. The last movement from "The Upper Room" is especially powerful and significant.

Great experiment of questionable musical value.......2006-01-30

Yes, arpeggios are great! Thank you, Philip. That is called harmony. But there also exists such thing as melody, you know. Maybe, you've heard of it. It's what some composers are famous for. I see that you know what it is. But you should definitely use it more often!

Let's start again... I absolutely love Opening. It's emotional, it's haunting, it's beautiful, and it's atmospheric. But what follows next... Really, Philip Glass could be a great etude composer. When I'm playing piano etudes, I'm always reminded of Glass' music. Some people say it's atmospheric, I say it's repetitive and boring. Hints of melody and style pierce the arpeggiated clouds on Island and Facades. But that's it.

If you want some good atmospheric minimalism, listen to Harold Budd or Brian Eno. If you want good post-modern influenced compositions, buy James Newton Howard's The Village score. You may want to buy Philip Glass' Glassworks if you can't live without the opening theme or want to find out what his music is about. I've found out. But right now I don't want to go any further...

Love - Hate Relationship.......2006-01-17

Simply, the question is of the following: Is P. Glass one of the 20th century's most creative artists, lending a sublte poignancy to his pieces; or, on the other hand, is Glass merely the most overrated hack in classical music today, utilizing almost endlessly repeating arpeggios to the chagrin of the listener's ear (not to mention, patience)?

From my rating, I clearly fall into the first camp. However, the pleasure you will derive from this CD is undoubtedly personal and subjective, based upon both experience and taste. No doubt, the arguments on both side of the question are passionate and entrenched. I suggest, instead, that you listen to the tracks that Amazon provides. This will give you a sense as to whether you will love or hate the music.

As for my experience with the music, I agree with several fellow reviewers: Glass's methodology is wholeheartedly expressive, providing the composer with ample space to slowly build and play on different moods within the work, making the listener conscious of individual notes, instruments, and rhythms within the ensemble. The only thing I can think to compare this with is, perhaps, flavors. Either you can eat a piece of chocolate hurriedly and grasp the totality of its flavor; or you may calmly savor it and, perhaps, find a nice caramal center, unmask the interplay of various textures, and discover satisfaction in its simplicity.

Bear in mind, however, I approached Philip Glass after having a large exposure to Ravi Shankar and 'classical Indian' music. Some, not all, of the music is rhythmically repetitive. This experience, I think, predisposed me to liking Glass's compositions.

A Few Words on Glassworks.......2005-12-21

In a joke email about the Mozart effect that a friend of mine recieved, the effect of several other composers' music on children was discussed as if it had an effect on the children like Mozart's music does. In "The Glass Effect", "a child tends to repeat him or herself over and over and over and over and over and over and over again." This is true, Glass's music, "Glassworks" in particular, is alarmingly repetitive. The reason that most people knock this set of pieces is because they are totally missing the point. Glass's music has been categorized in the realm of "minimalism." The point of minimalism is to do as much as possible with the least amount of music. Glass executes this agenda quite well with "Glassworks." Most people don't exactly realize what Glass is doing by repeating himself over and over again.

First of all people have to realize a few things about this music. Philip Glass did not intend on having this music being played in the background at your next dinner party. Leave that up to Bach and Mozart. What Glass did want with this piece was for mature listeners to realize what he has done with texture and simplicity. Also, Glass's works are not about melody. They are about texture and mood and atmosphere. Each piece has its own shape little additions keep the piece from becoming overly monotonous. I think that Glass has made a great musical statement with his set of pieces that should be carefully digested with an open mind.

For the most part, Glass's concept works. However, the second movement "Floe" could probably be axed or revised. This is the only movement that seems to get unbelivably monotonous. It's also a lot to digest at the beginning of the suite. If it came more towards the end before the closing as opposed to after the opening where it functions as more of a rhythmic pie in the face. Some of the movements could also stand to use a little more variation but for the most part, Glass keeps the pieces interesting.

I cannot say much about the other work, "In the Other Room" that appears on this album, because I own the original Glassworks album. I just wanted to clear up some of the misconceptions that many have about this different music. It's hard to say whether or not Glass's music will stand up to the same test of time as the music of the greats like Mozart's and Bach's, but things are not looking good for Glass, not because the music isn't good, but becuase too many ignorant people immediately dismiss it as garbage. It seems that if people openly knock this music like they do, the same people that put those parental advisory stickers on CDs might want to instigate a separate rating system. This one should be stickered with: "CDMA: Mature Audiences Only."

Average customer rating:

Excellent, but one missing...
Simply a Fun Set of Marches
Great Marching Music
Great

Fiedler's Favorite Marches

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Fiedler Greatest Hits
Sousa's Greatest Hits
I Love a Parade John Williams
Pops Roundup
Stars & Stripes Forever and the Greatest Marches

ASIN: B000003F2V
Release Date: 1990-11-20

Tracks:

Aida: Grand March
Babes In Toyland: March Of The Toys
Semper Fidelis
Suite No. 1, Op. 43: Marche Miniature
Yankee Doodle
Up The Street
The Damnation Of Faust: Rakoczy March
Caucasian Sketches: Procession Of The Sardar
Sambe Et Meuse
The Ruins Of Athens: Turkish March
Colonel Bogey
Dixie
American Salute
Strike Up the Band
Radetzsky March
Pomp And Circumstance March No. 1
Algerian Suite: French Military March
Mlada: Procession Of The Nobles
Valdres March
National Emblem March
The Stars And Stripes Forever

Customer Reviews:

Excellent, but one missing..........2007-03-07

These are fabulous marches played with huge amounts of zest, but one of Fiedler's best RCA marches - the Zacatecas March - was left out!!! Why??? There would have been plenty of room, and it seems to be available on a Japanese release - why not this one?

Otherwise, no hesitation at all.

Simply a Fun Set of Marches.......2003-10-18

In the 5th grade, I tried out for Little League. My desire to play baseball was not rooted in any love for the sport. I thought my father wanted me to play a sport. I was so great at the tryouts; he said some memorable words to me. "Tim, I think you ought to stick with playing the clarinet." I am sure he was trying to spare me humiliation on the athletic field. Little did he know he was starting my love affair with music, a far greater gift.

Perhaps because I was in the school band, I gravitated toward marches, and this collection of marches conducted by Arthur Fielder was one of the first recordings I purchased (6th or 7th grade I believe). At the time (the mid 1970's) it was only available on LP. As soon as the CD was available, I purchased it for nostalgic reasons. This collection had many popular marches such as the Grand March from Aida, Stars and Stripes Forever, Pomp and Circumstance, as well as some lesser known marches. This was one of the collections that piqued my interest in orchestral music. Though the marches could probably best be termed "light classical," it was an introduction to more serious music. Many years later I used this same recording when I taught as background music during art or spelling lessons. Again, it served as an introduction to more serious music.

This is not a complicated set; it is simply a little jewel that is a joy to listen to and a fun addition to a music collection.

Great Marching Music.......2000-11-14

Even though I am a Yankee I still love "Dixie." This is great music for pre-school children and those just entering school. I think it helps build character. I like this album.

Great.......1999-05-23

I have had this tape for years and it just got torn, so I have to replace it immediately because my granddaughter, age 3, also loves it.

Average customer rating:

Swingin'!
Clockwork
Wow
I'm amazed at the polarization this album invokes
Tie ney's Best

I'm with the Band
Tierney Sutton
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Dancing in the Dark
On the Other Side
Something Cool
Blue in Green
Yours

ASIN: B000A8AXHM
Release Date: 2005-08-23

Tracks:

Softly, As In A Morning Sunrise
Let's Face The Music And Dance
'S Wonderful
Between The Devil And The Deep Blue Sea
Two For The Road
East Of The Sun (And West Of The Moon)
People Will Save We're In Love
If I Loved You
Surrey With The Fringe On Top
Cheek To Cheek
Blue Skies
I Get A Kick Out Of You
The Lady Is A Tramp
What A Little Moonlight Will Do
On My Way To You
Devil May Care

Amazon.com

Tierney Sutton is a consummate jazz singer, combining emotion and invention with a purity of sound. While some of her previous recordings have reflected on specific influences, Blue in Green devoted to material associated with Bill Evans and Dancing in the Dark to Frank Sinatra, I'm with the Band emphasizes that Sutton really is with the band. Here we find Sutton improvising along with pianist Christian Jacob, drummer Ray Brinker and the alternating bassists Trey Henry and Kevin Axt on a spectrum of standards by the Gershwins, Irving Berlin and Rodgers and Hammerstein. While there are moments of sublime beauty on the ballads, like "If I Loved You" and "Blue Skies," Sutton clearly takes special delight in the up-tempo scatting of "S'Wonderful" and "Surrey with the Fringe on Top." --Stuart Broomer

Customer Reviews:

Swingin'!.......2007-01-07

Another beautiful album by Ms. Sutton and the band. Their musicianship is a joy. The swingin', "I'm with the Band," is a lot of fun!

Clockwork.......2006-01-21

In case you haven't noticed, all the attention these days in the world of jazz singing is on female singers. Small wonder, when you survey the abundance of talent. Tierney Sutton, Cheryl Bentyne, Karrin Allyson, Anne Hampton Calloway--all are virtuosic performers, positively "scary" in terms of musical as well as vocal technique. Tierney Sutton may be the most "frightening" of all, based on the evidence of this impressive session. She throws down the gauntlet, raises the bar, sets a new standard in terms of not merely vocal acrobatics and jazz chops but repertory, inventive arrangements, live performance, and a "personal" rhythm section that's as state-of-the-art as they come.

Not only are the tempos out of sight but, despite the presence of her formidable pianist Christian Jacob, Sutton demonstrates that she requires no more accompaniment than a bass ("'S Wonderful," "People Will Say We're in Love") or drums ("Surrey with the Fringe," "What a Little Moonlight Can Do"). Her articulation is up to any lyric at any speed (she closes off vowels faster and gets more mileage out of consonants than any singer I've heard), and her pitch and rhythmic sense are absolutely secure if not dead-on perfect.

In fact, it's that glossy perfection that detracts from the overall communicative effectiveness of this album. Even though recorded before a "live" audience at Birdland, the ambience is so sterile and controlled, the program so calculated and "smooth" that the occasional applause intrudes like a guilty afterthought. Maybe the producers needed to use less directional mics or Tierney needed to step back from her mic, or perhaps just one or two of the 16 tunes could have been served without the ingenious harmonic-rhythmic facelifts.

I'd love to catch Tierney Sutton live because this album, though a highly professional production and head-turning achievement, is no substitute for the real thing.

Wow.......2005-12-03

I was fortunate enough to hear Tierney and the Band in an intimate concert hall in Brownville, Nebraska shortly before they recorded this cd. I sat spellbound and amazed during that performance. I always measure a jazz singer more by how they sound live. Is the singer's pitch and tone as pure as it is on studio recording? Are the singer's improvisations and inflections always the same or are they a spontaneous artist? I was floored by Miss Sutton. She is even stronger live than she is on her recordings. This cd just confirms that opinion.

The thing that really impresses me is that this isn't a mere copy of that live performance I heard. In others words, her improvisations are not merely rehearsed. The same can be said for all the members of her incredible band. I can't imagine a better collection of jazz musicians collaborating and being better. Is there a better piano player out there right now than Christian? I don't think so. If you haven't heard his solo cd, get it. Ray Brinker is merely a God. Look up tasteful and you will see Ray. It doesn't matter which of her two bass players play, each is simply incredible.

The thing that I realy enjoy about this group of musicians in their collective ability to make standards that have been recorded thousands of time sound fresh and new. They do not stick to accepted tempos and styles. Anyone who thinks this is a bad thing is NOT a someone who truly enjoys and respects jazz.

I'm amazed at the polarization this album invokes.......2005-10-01

....but I have to weigh in on the overwhelmingly positive side of the ledger. There is no doubt that I've heard Tierney live about as often as anyone except her bandmembers, and have heard peaks and highlights that will never be captured again. Indeed, as fantastic as the band is, there are still the memories of some intimate settings with the great Dave Mackay at the now-defunct Montleone's in Tarzana Calif. and sometimes supporting musicians that were simply sublime. I've also teased Christian Jacob that he doesn't make enough mistakes, and all he's done is to take more chances all the time---and still doesn't make mistakes!

But if there were one criticism of the recorded oeurve prior that was marginally telling, it was that there was the slight lack of spontaneity that we lucky ones hear in live performance. Tierney is a perfectionist, which makes her improvisations all the more remarkable for their range and wit.

Now we have a live album that begins to indicate what typical sets are like. There is still just a little sense of holding back that I hear, but less than any other CD so far.

My friend Tupp Turner, perhaps Tierney's most steadfast fan, told me he wished that there had been just a bit more ambiance and stage patter included. On this I'm divided, since it would have meant that much less music, and would probably have worn more quickly on repeated hearing.

So---if you have any chance to hear her live, make a special effort---she and the band do not tour that extensively. But i the meantime this spendid album will get you most of the way there.

Tie ney's Best.......2005-09-27

Once again Tierney Sutton proves her versatility on this fine new CD.

The Producers (2001 Original Broadway Cast)

Average customer rating:

Just what I wanted
I Want to be a producer
Spring Time for "The Producers"
Mel Brooks = Brilliant
it won 11 (if im correct) TONY awards for a reason!

The Producers (2001 Original Broadway Cast)
Mel Brooks , Matthew Broderick , Nathan Lane , Roger Bart , Gary Beach , Cady Huffman , Jesse Levy , and Grace Paradise, Jennifer Smith Tony Kadleck
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005AY6I
Release Date: 2001-04-17

Tracks:

Overture
Opening Night
The King of Broadway
We Can Do It
Unhappy
I Wanna Be a Producer
In Old Bavaria
Der Guten Tag Hop-Clop
Keep It Gay
When You Got It, Flaunt It
Along Came Bialy
That Face
Have You Ever Heard the German Band?
It's Bad Luck to Say Good Luck on Op'ning Night
Springtime for hitler
Where Did We Go Right?
Betrayed
'Til Him
Prisoners Of Love (Leo & Max)
Goodbye!

Amazon.com's Best of 2001

The Producers was the vehicle that first proclaimed Mel Brooks's decidedly singular comic vision as a film director in 1968. At the time, the world may not have been entirely ready for the depth charges of hilarity he unleashed; but more than three decades later, it seemed almost foreordained that the film's retooling as a full-fledged musical--directed and choreographed by Susan Stroman--would become the smash hit of the 2000-2001 Broadway season (even before opening at the St. James Theatre in April). Brooks is, of course, no stranger to the Broadway musical genre or to songwriting, but skeptics might find themselves taken by surprise at just how outrageously well all the threads come together for the new show.

The film's absurd core vignette--the infamous "Springtime for Hitler"--if anything gains a few notches in hilarity when framed by a character-rich musical that comes off as both parody and valentine in its mimicry of Broadway's "golden age." Brooks (with the help of idiomatically expert arrangements by Glen Kelly) has cooked up a variety of numbers constituting a virtual primer of old-fashioned American musical comedy styles (there's even a toying with Cabaret-style decadence), but they're always coated with an extra layer of zaniness. In fact, the whole show becomes a Chinese box of parodies within parodies. But what really gets the whole mix working is a surefire cast headed by Nathan Lane playing Max Bialystock and Matthew Broderick doing a delightfully nebbish turn with delusions of misplaced glory as his sidekick, Leo Bloom.

From his first big number (musically winking at Fiddler on the Roof), Lane hungrily lays claim to the role, undaunted by his formidable predecessor, Zero Mostel. Even on disc, you can visualize his over-the-top mugging as a dethroned "king of Broadway" who was "the first producer ever to do summer stock in the winter." Comedy, as they say, is all about timing, and that's exactly what Lane gets right. His interactions with Bloom, Franz Liebkind (Brad Oscar), and Roger de Bris (Gary Beach) are priceless, even when only in sound. As for the tunes, Brooks crafts a number of truly memorable ones--don't be surprised to find yourself horrified as you hum along with "Der Guten Tag Hop-Clop" and, of course, "Springtime for Hitler." --Thomas May

Customer Reviews:

Just what I wanted.......2006-11-06

I saw the making of the CD on TV. The cast does a great job. I have the CD in my car stereo and listen to it often.

I Want to be a producer.......2006-03-06

This recording is great! I saw the play in november and loved the music. I bought the CD a little later and i am still listing to it. The cast are all great singers and did a great job. The songs are witty and catchy and never get old. You should listin to this.(Warning:See the movie or the play before you listin to this, you might hate it if you've have not.)

Spring Time for "The Producers".......2005-12-13

While I'll abmit that Nazi regemes and Hitler are probably some of the least funny thing in the world...i have to admit that the words to Springtime for Hitler are hilarious, just like the rest of the songs on this cast recording.

While "The Producers" Is not as musically complex or mature as other "Best Musical" scores of recent years (Spamalot, Avenue Q, Hairspray,) It is funnier than all of those put together. Nathan lane And Matthew Broderick Are perfectly cast in their roles and Caddy Hoffman is great, and when Ulla belt, she Belts!
the rest of the cast is amazing.

As for the song I can't think of one that I don't like, They are all great!

I would hope that the fact that the show makes light of Hitler doesn't turn you off, because you would be missing somthing great.

Mel Brooks = Brilliant.......2005-12-12

My theatre group went to New York two years ago, adn we did a marathon 4 shows in 3 days. Each show got progressively better, finally culminating in seeing Nathan Lane and Matthew Broderick's final performance of "The Producers." I have been a fan of Brooks' since I saw "Robin Hood: Men in Tights" 5 years ago. Naturally, I was beyond excited to see the show he made of his most brilliant film.

I was not disappointed. It was funny, racy, and downright fabulous. I bought the soundtrack at intermission and have been listening to it ever since. I highly recommend it to anyone who loves musicals. Lane and Broderick play off each other perfectly, Cady Huffman has one of the best belting voices I've heard in ages, and the songs are actually FUNNY.

Aside from raving about one of my favorite shows, I would like to address the comments made about the show downplaying Hitler and being racist towards Germans. In no way does this show downplay Hitler's terrible deeds. Bialystock and Bloom make several comments about how disgusted they are about the play- the fact that it is so insulting to our sensibilities is the reason why it was chosen in the first place. I am Jewish and have studied the Holocaust and WWII for years. I was not offended in the least, nor did I feel the Brooks was promoting or trivializing Hitler's war crimes. Brooks himself is Jewish for god's sake.

Second, I see nothing in the show that is racist towards Germans. Yes there is a Nazi in it who is German. How is that racist? The Nazis went all over the world after WWII- it is possible that several ended up in New York City. And no one will argue that some Nazi's were German. You might as well say that the show is discriminatory towards Swedes, or gay directors, or producers, or the countless number of things made fun of in the show.

it won 11 (if im correct) TONY awards for a reason!.......2005-12-08

This is by far the funniest thing I have ever seen. I got the chance to see it on broadway with Lane (unfortunatly not Broderick) and most of the original cast. For some reason, certain people seem to think this play is racist. First off, the whole thing is pure 100% SATIRE. I'm 15 and I can realize that. Also, are you aware that Mel Brooks is jewish? Yeah, so lighten up. I realize what Hitler did, and it will never be forgotten. But my God, get a sense of humor. In case you never saw the play, the Bavarian guy breaks his leg (making "It's bad luck to say good luck on opening night funny) and is replaced by the gay director for the song "Springtime for Hitler". ITS HILARIOUS! BROOKS MADE HITLER A GAY GUY! And why do you think he did that? Geeze... just lighten up!

So about the CD...awesome. I love these songs, and I am very much looking forward to seeing the movie version of the musical coming out in late December! GO SEE IT!

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