Deep Summer Music

I originally purchased this CD, because I fell in love with Jim's "Walkin' The Dog," a witty tribute to man's best friend...sometimes the only creatures who truly understand us! The listener is also treated to 13 additional songs including great standards that are seldom heard on today's releases. Jim wrote "What's A Guy Supposed To Do?" which so aptly describes the baby-boomer's lament. Collaborations such as "Come Home To Red" and "When the Night is Done" make me eager to hear more "Jim Originals."

Possessing a very pleasing voice that I've heard described as tenor (but also handling baritone just fine!), Jim knows how to caress the right word or phrase to get your attention. He can emotionally sell a song, and certainly does every track justice. I've ordered his first CD, "Not Just Another Pretty Bass," and can't wait to hear more. Good Luck to Jim on his solo career. I'm so glad I happened on that radio program on a lonely drive home!

bullseye!.......2000-12-13

What a pleasure to finally have Jim Ferguson back! His debut album "Not Just Another Pretty Bass" was recorded nearly three years earlier, so "Deep Summer Music" is long-awaited and most welcome.

Ferguson's vocal and bass performances are even more impressive this time around -- and, quite honestly, if he only did one he'd be noteworthy. Being this good at both is sorta too much talent... not to mention his standout songwriting on a few of the tracks here, as well.

I risk incurring the wrath of the faithful here, but on this album it finally struck me how to characterize Jim's wistful, vulnerable vocals: he hits the target Chet Baker was aiming at. But to this he also brings some vocalese, a sly humor and a bit of technical dazzle -- on "What's A Guy" there's a section of bass and scat-vocal unison work which never fails to make me grin at its coolness...

The general tone of this album is romantic and melancholy, so Chris Potter contributes tenor solos and fills that are suitably lush and languid. Some of his most beautiful work on record, and very much in keeping with the tone of the songs. Chris's sense of rightness as far as what he chooses to play never seems to fail him. However, there are a few uptempo numbers here as well [most notably a double-time "When Your Lover Has Gone"] which give him a chance to cut loose and get spiky...

However, while I can scarcely believe my own sacrilege here [since I'm a devout Potterphile], my favorite moment on this album doesn't even include Chris. "Walkin' The Dog" is not the old blues chestnut, but a Ferguson original that deserves to be a classic in its own right. A spare tableau of only the Jims on bass and bongos, it features a witheringly cool bass riff to introduce the verse, a classic "Percy Heath à la 'Django' " line in the chorus, and lyrics of dry understated wit which remind me of no one so much as Dave Frishberg [the highest praise I know, BTW!] I eagerly await more originals from Jim in the near future.

Heir to Chet Baker.......2000-11-11

Wow! Putting on Jim Ferguson's' latest CD was really a moving experience for me this afternoon. I was instantly rescued from a rather humdrum afternoon of writing some really boring javascript by Jim's absolutely transcendental voice. When I heard his first CD I wasn't sure just how to put Jim in perspective. Hearing the third cut cleared that up for me immediately. Jim is the one true heir to Chet baker, able to take us with him on wonderful excursions to out of the mundane, in to that special world of fell good jazz and celebrating the best of American Popular Song. There is no pretense her. Everything comes out as natural and as pure as the way Chet's voice transported us to a place far away from his drug-induced stupor. This pureness of heart and simple uncluttered approach is to be expected of a good bass player. Jim does this and adds another dimension to rendering the lyrics of great songs.

Jim Ferguson, resident of Nashville, Tennessee. He is a busy, working bassist, who also gives a wonderful proclamation and staging to a unique but often neglected American art form. You won't find the occasional crassness or harshness of a Frank Sinatra here. Jim's gift is just as valuable as the late chairman's, even more so since it in unfettered by use of alcohol, overuse, or in anyway complicated, just the purest distilled essence of the art.

Pianist Stefan Karlsson offer very special support to Jim's style. His leanness is just what is needed here.

If you liked Chet, you will love Jim. If you have ever listened to Mose Allison you will also love Jim's originals on the great CD. "Walkin' the Dog" and "What's a Guy Supposed to Do" will provoke some very warm and happy thoughts. The version of "Slow Hot Wind" could stand alone as the definitive recorded version. It and the other great, seldom heard standards in this set are all masterpieces of interpretation. If you are into the essence of what musical poetry is all about, better put this CD in your shopping cart.

Jim's Done It Again !.......2000-11-05

Jim has produced another first class album with more rarely heard(anymore) oldies and some great new material, including two tunes which Jim wrote and two of which he co-wrote. The two Ferguson originals,"What's a Guy Supposed To Do?" and "Walkin' The Dog", show the influence of one of his favorite singer/composers--Mose Allison. The lyrics are fresh and humerous. Jim does his usual outstanding work on bass and vocals. On several numbers he again proves himself to be one of America's top male ballad singers.

The rest of his top notch jazz group provides very tasty background with excellent solo work by Chris Potter on tenor sax, Stefan Karlsson on piano and Jim White holding things together with very cool, unobtrusive percussion work.

Customer Reviews:

Influence.......2005-02-04

What made me get this CD of Julia Wolfe's String Quartets was her citing of influences from Beethoven to Led Zeppelin. Specifically these string quartets were said to be inspired by Led Zeppelin and other American 'pop' music. I had to hear it.

Know what you're getting into before you buy this CD. All the pieces brush close to minimalism but with more intensity, less pure harmonies, and much better rhythm. You won't find shimmering, sweet harmonies but rather harsh and blunt harmonies. Her influences for these works seem to come from rock and metal less than from Beethoven, Schubert, or the like.

The first quartet, 'Big Deep', plays true to its name. It's an almost non-stop rhythmic work on some harsh, low chords. It almost reminds me of a metal band like Meshuggah being transcribed to String Quartet. It sounds like the soundtrack to an aggressive underwater expedition by the Discovery Channel. Different short, adventurous melodies try to break through on the violins occasionally but are always beaten down back into the 'big deep' of the rhythmic chords. It gets progressively more dissonant and harsher towards the end, building up a violent undercurrent that crashes against the end as suddenly as it began.

'Four Marys' is definately the most abstract sounding of the pieces. It is less repetitive than Big Deep. It begins with all parts doing glissandos, sliding around the middle registers. This eventually turns into some webs of soft harmonies sustained, and occasionally reverts back to its searching, sliding beginnings.

'Last Summer' is more remeniscent of the first piece, back to the grinding chords, but not as deep and to me not as memorable. It has more moments of melody, which is to say a few brief snatches of melody over 10 minutes. It's the least impressive work on the album to me.

If you're looking for music with brilliant progression, challenging harmonies and deeply emotional melody, this CD is not for you. If you want to hear some excellent rhythm work and see what happens when you take a classical medium into more modern rhythm and chord methods of rock and metal music (though i'm sure Wolfe wouldn't characterize it quite like that), then definately give this CD a shot.

Fun like the dentist.......2004-12-19

The New Yorker included this CD as one of its top classical releases of 2003, and that's how I ended up with one of the only CD's, of hundred's I've purchased, that I'm desperate to get rid of. The first track opens with a grinding, jarring riff that's a bit of Purple Haze without the satisfaction of any kind of resolution or even progression. It churns relentlessly and repetitively for over 13 minutes with the one moment of glory the beautiful respite of silence that comes when the last dissonant chord fades. The next track oscillates in and out of harmony, an effect that could be reproduced by a house DJ (with a death wish) who messed with the speed control of turntable playing Philip Glass in a dirge-like mode. The third track -- well, who knows -- my pain threshold had long since been met and crossed.
As a casual classical music fan, I can't claim to make sense of all of this. But if this is what passes as new, interesting, and innovative classical music then it is no wonder the genre is in trouble. If it's pleasure you're after, look elsewhere. If you like your music as a self-flagellating intellectual exercise, then this may be the one for you. Just keep the Advil nearby.

Larsen: Solo Symphony; Marimba Concerto: After Hampton

Average customer rating:

Great Modern Works From A Great American Female Composer
Modern Classical Delight
nice piece of new music

Larsen: Solo Symphony; Marimba Concerto: After Hampton

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Larsen: Symphony No4; Songs from Letters No5
Clifford: Symphony 1940; Bainton: Symphony in Dm No2

ASIN: B000056QE3
Release Date: 2001-03-27

Tracks:

Deep Summer Music - Colorado SO/Marin Alsop
Solo Sym: I. Solo-Solos - Colorado SO/Marin Alsop
Solo Sym: II. One Dancer, Many Dancer - Colorado SO/Marin Alsop
Solo Sym: III. Once Around - Colorado SO/Marin Alsop
Solo Sym: IV. The Cocktail Party Effect - Colorado SO/Marin Alsop
Marimba Con: After Hampton: I. Allegro/Cross-Rhythms/Allegro Assai/Pass The Plate - John Kinzie
Marimba Con: After Hampton: II. Slowly, In Muted Colors - John Kinzie
Marimba Con: After Hampton: III. Raucous/Full Turning/Constant Billy: Setting The Beans/Finale - John Kinzie

Customer Reviews:

Great Modern Works From A Great American Female Composer.......2006-03-13

Libby Larsen is easily one of the greatest of all modern American classical music composers, and the fact that she is a very skillful female composer is something of an added bonus. Such is the case on this recording made by the Colorado Symphony Orchestra and their Conductor Laureate Martin Alsop of three of Ms. Larsen's works--"Deep Summer Music"; "Solo Symphony"; and her 1992 Marimba Concerto.

"Deep Summer Music" is a short but very meditative tone painting of the landscape of the Midwest, in the tradition of Prokofiev's "Summer Day" and Samuel Barber's "Horizon"; while the Solo Symphony, though in the traditional four-movement form of the genre, is more like Bartok's "Concerto For Orchestra", as it gives numerous orchestral soloists a chance to shine. John Kinzie, the Colorado Symphony's principal percussionist, shines greatle in his role as the soloist in the Marimba Concerto. This instrument, normally associated with Latin-American music in general, and the music of Mexico in particular, is used here in its solo capacity as a tribute to the legendary jazz percussion maestro Lionel Hampton, and the whole work is infused with a lush, tropical spirit.

Anyone with a taste for modern classical music should get this recording without fail. It is also a fine introduction for contemporary music to those who aren't necessarily used to it. Mr. Kinzie, Ms. Alsop and the Colorado Symphony get a lot of mileage out of these great modern works from one of our most prominent female composers ever.

Modern Classical Delight.......2004-10-05

As a school teacher a few years ago I became acquainted with Libby Larsen's eclectic style. It was included in the text book on American composers. The examples they used were quirky-- choral pieces with wild west noises, and a string quartet playing boogie woogie in a video no less. This recording however is something a Copland fan would enjoy. It is symphonic and "Deep Summer" is very tonal,pastoral. Later in the recording there are hints of Stravinsky's rhythms. Libby Larsen is my age and I'm proud of her accomplishments.

nice piece of new music.......2002-12-06

libby larsen may not be a household name beyond colorado (note who commissioned these pieces--the colorado symphony!) but she has composed some wonderful new american classical music for this album. actually, the compositions range from 1983 (deep summer music) to the 1990s. the album opens with "deep summer music" a brief tone poem capturing the essence of a late summer evening. the model seems to be charles ives' central park tone poem, with the music leading you into an imagined evening along a mountain creek with the wind in the woods. she layers the strings and percussion magnificently to create her effect. the "solo symphony" is an interesting study of the orchestra, with each section getting a chance to solo, all the while creating a whole that works beautifully. the album closes with the marimba concerto, inspired by lionel hampton. the feel is jazz freedom, but without the blues or swing. the idea seemed to be to focus on a little used instrument and allow it a chance to shine in the concerto format. the form is classical, but the marimba gives it an exotic feel. try this composer, you will enjoy her work.