Julie And Friends

Editorial Reviews
Album Description
They're mooing like cows, ribbiting like frogs and dancing in the aisles for Julie Knie! "Julie and Friends", a new album of fun, hip music for ages 1-8, was written and recorded by the mom, songwriter and producer, Julie Knie. Packed with vivid imagery and animated lyrics, "Julie and Friends" is music that will grab any child's imagination and have them singing and dancing along. And don't be surprised when you see mom's and dad's doing the same. This is music that adults and their children can listen to together.

Julie And Friends, Music, Julie Knie, Kids & Family

Gilbert & Sullivan - Highlights from The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Trial of Jury
Average customer rating:

The Best Of Gilbert And Sullivan

Pure delight

Delicious G&S samplings abound here.

Fine Intro to G&S

Gilbert & Sullivan - Highlights from The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Trial of Jury
Nicholas Folwell , Arthur Sullivan , Marie McLaughlin , Rebecca Evans , Anthony Rolfe Johnson , John Mark Ainsley , Alwyn Mellor , Anne Howells , Barry Banks , Eric Garrett , Felicity Palmer , Gareth Rhys Davies , Janice Watson , Julie Gossage , Neill Archer , Pamela Helen Stephen , Peter Savidge , Richard Stuart , Richard Suart , Richard Van Allan , Sir Thomas Allen [baritone] , Sir Charles Mackerras , and Welsh National Opera
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
4-for-3 Classical | 4-for-3 Music | Stores | Music
4-for-3 All Music | 4-for-3 Music | Stores | Music
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ASIN: B000003D1Y
Release Date: 1996-01-23

Tracks:

A Wandering Minstrel I
Behold The Lord High Executioner!
Three Little Maids From School Are We
Braid The Raven Hair
The Flowers That Bloom In The Spring
On A Tree By A River, A Little Tom-tit Sang, 'Willow, Tit-willow'
For He's Gone And Married Yum-Yum
We Sail The Ocean Blue
I'm Called Little Buttercup
My Gallant Crew
When I Was A Lad
Things Are Seldom What They Seem
Never Mind The Why And Wherefore
Climbing Over Rocky Mountain
Poor Wand'ring One
How Beautifully Blue The Sky
I Am The Very Model Of A Modern Major-General
When The Foeman Bares His Steel
Ah, Leave Me Not To Pine
With Cat-Like Tread
Is Life A Boon?
I Have A Song To Sing, O!
Were I Thy Bride
Oh, A Private Buffoon Is A Light-Hearted Loon
When A Wooer Goes A-Wooing
When I, Good Friends, Was Called To The Bar
A Nice Dilemma We Have Here
Oh, Joy Unbounded

Customer Reviews:

The Best Of Gilbert And Sullivan.......2004-03-15

At the end of the 19th century (1870's, 80's and 90's) the compatible duo of librettist and composer Gilbert and Sullivan popularized the pre-Broadway entertainment of Savoy opera. These were light operas or operettas whose content was satire and comedy, full of bouncy melodies and beautiful singing, highly entertaining theatrical works staged at London's Savoy theatre. Gilbert and Sullivan did not always get along and in fact there was a time when they ended their professional relationship because personal conflicts surfaced. But they managed to create the world's most beloved light operas, over 40 of them. Their most famous are what I call the Big Three- The H.M.S. Pinafore, The Pirates Of Penzance and The Mikado. Other works include their first hit Trial By Jury, The Yeomen Of The Guard, Princess Ida, The Gondoliers, Patience and several others. A standard signature of Gilbert and Sullivan was in the colorful cast- a comic actor with a special kind of baritone voice, a canary-like and sweet-voiced coloratura or lyric diva, a mezzo soprano with strong chest register and a lyric tenor as the romantic hero. On this album, English conductor Sir Charles Mackerras, a popular figure in the classical music scene and opera, guides the Chorus and Orchestra Of the Welsh National Opera in generally well-delivered performances of excerpts from the operas The Mikado, The H.M.S. Pinafore, The Pirates Of Penzance, Yeomen Of The Guard and Trial By Jury. Although I feel that the recordings made by the D'Oyly Carte Opera Company, with Isodore Godfrey conducting and starring the best cast of the Gilbert and Sullivan repertoire- the singers of the 60's and 70's- tenor Phillip Potter, soprano Valerie Masterson, baritone John Reed, Donald Adams and mezzo soprano Christine Palmer. Their version of the Pirates Of Penzance and the Mikado far outshine the Welsh National Opera in technical mastery and vibrant tone color.

But these are fine excerpts. Especially appealing is the famous and cheerful "Three Little Maids From School Are We", a trio that imitates Japanese style melody. Most of the Mikado does this, for it was inspired by Japanisme or the new fashion in Victorian England- everything Japanese, from prints to paintings to poetry. Gilbert and Sullivan simply "Japanized" their English operettas. The Finale "For He's Gone To Marry Yum Yum" is an ebullient and pleasant finale. Not featured here is the domineering and powerful Katisha, a figure who stands out in the Mikado.

The H.M.S. Pinafore is Gilbert and Sullivan's most popular work. The sea chanty "We Sail The Ocean Blue" opens the opera with appropriate atmosphere and it seems to fit perfectly with the other scene in which the Captain greets his crew and they sing his praises "My Gallant Crew..I am the Captain Of The Pinafore". A beautiful melody that seems to come out of a romantic Offenbach tune is "I"m Called Little Buttercup". The finale, not featured here, is also very engaging "For He Is An Englishman" which can almost resemble a British national anthem. The Yeomen Of The Guard was Gilbert and Sullivan's "serious opera" eventhough it remains very Savoyard. The plot deals with Tudor England and takes place at the London Tower. "I have a song to sing" makes use of what can be taken for an English ballad of the Renaissance. Trial By Jury, about the eccentric and hilarious activity of a court trial, has a sextet that although different in composition, has the sextet "Che Mi Frena" from Donizetti's Lucia Di Lammermoor in mind. All in all, an excellent recording sure to delight young and old.

Pure delight.......2003-08-02

--Gilbert & Sullivan--
William Gilbert and Arthur Sullivan were a match made in heaven, yet on earth their pairing seems even with hindsight a most unlikely coupling. Both were destined for other things, Gilbert in fact for decidedly non-musical careers. Introduced by a mutual friend, Fred Clay, the fledgling lyricist Gilbert met the military-band-leader's son Sullivan and together continued to conspire to inspire the delights of audiences from high Victorian times down to the present, as their work in musical theatre comedy continues to provide merriment throughout the English-speaking world and beyond.

--The Music--
This collection includes highlights from five of the most popular Gilbert & Sullivan operettas: The Mikado, HMS Pinafore, The Pirates of Penzance, The Yeoman of the Guard, and Trial by Jury. The arrangements and orchestrations are delightfully energetic and clear; the characterisation and vocal qualities of the leads are perfect for their roles. The haughty if misplaced Lord of the Admiralty has the perfect combination of insecurity and pompous officiousness. The Plaintiff and the Defendant in the Trial are perfectly cast. This is a collection of highlights - at least three but no more than seven songs each, but this gives a good flavour of the music. The recordings on this collection come from complete performances by Mackerras and the WNO.

--Sir Charles Mackerras--
Mackerras is one of the geniuses of the twentieth century musical scene. Having a conducting career that includes the Hamburg Opera, the English National Opera (formerly Sadlers Wells Opera), and the Welsh National Opera (the performers for this piece), he has also conducted major orchestras on the continent of Europe and in the United States. The holder of many major awards and honourary doctorates, he has devoted much time and energy to the preservation and performance of eighteenth and nineteenth century music, as well the restoration of historical musical venues, such as the Estates Theatre in Prague, scene of the original production of Don Giovanni (Mackerras conducted the opera there to commemorate the bicentenary of the death of Mozart).

--Welsh National Opera Orchestra and Chorus--
The seeds of the WNO were planted in Cardiff during World War II by music lovers; the first performances occurred a year after the war's end, with Cavalleria rusticana and Pagliacci on the bill, with Faust the next night. Popular appeal was so great that the WNO was established, later adding choruses in both Cardiff and Swansea. The professional chorus was established in 1973, with a strength that matches the orchestra. They continue an ambitious performance schedule for recording and live events; Mackerras remains the Conductor Emeritus, as the WNO continues under the direction of Carlo Rizzi. The list of awards the WNO has won over the years is staggering - they are a world class institution by any measure.

--Other performers--
Notable singers such as Richard Stuart, Rebecca Evans, Felicity Palmer, John Mark Ainsley and Anne Howells lead the chorus with stunning vocals and clever characterisations of the parts they play. Many (such as Stuart and Evans) play the leading roles across several of the pieces of the disc.

--Liner Notes--
The liner notes give a good introduction and biographical information about Gilbert and Sullivan, as well as synopses of the five pieces presented here. It does not, unfortunately, include any information about Mackerras, the WNO Orchestra and Chorus, or the other special performers. It also does not include the lyrics to the songs. Were the quality of the CD not so great, this might cost it a star in rating.

--Overall Impressions--
I play this CD in my car, in my home and in my office frequently. It is a great sing-along work and a great comedic relief from the stresses of the day. The music is bubbly and clear; the recording quality is excellent and crisp. I recommend this to any Gilbert & Sullivan lover, any fan of musical comedy, opera and operettas, and anyone who delights in good music.

Delicious G&S samplings abound here........2003-05-06

The first thing I should be saying is "What an infectuous G&S CD." Indeed this is, with this fine sampling of the peppy and bright Mackerras series. I know I have praised its "Mercedes-Benz quality" elsewhere on these pages, but that doesn't stop me from saying that everyone is in fine voice. This generously filled CD may only focus on five operas, but at least you can savour a reasonable choice sampling of delights from each one. Of particular interest is Richard Suart's patter-baritone parts and the soaring lyric soprano of Rebecca Evans. The selection on this disc is filled with a mixture of familiar favourites and lesser-known gems such as the female choruses in Mikado and Pirates. Mackerras is a true G&S conductor, but one who always springs rhythms crisply, and adopts peppy tempo for the fast bits. The one drawback is that this selection is far too infectuous that you'll want to shell out money to buy the full 5-CD Mackerras cycle - an incredible bargain with most of the operas fitted onto one disc each. But still, this is at least a decent G&S sampling for beginners, capped with Steven Ledbetter's copious liner notes. It will leave you wanting to say "dammit I'm going to play it again."

Fine Intro to G&S.......2000-12-30

This is the perfect CD for those who may not be familiar with G&S, or for the initiated who want a smattering but don't have the mother of all CD changers. The difficulty with any G&S Greatest Hits CD is determining which pieces to leave off; while one could easily point to any number equally good bits, it would be difficult to argue about the quality of the choices included. The only problem, such as it is, is that after listening to it I am usually induced to go back and listen to the whole opera anyway. The Mackerras recordings are uniformly excellent. I have read elsewhere the criticism that they are too 'operatic' for light opera. If by this it is meant that the singers are too good, then I leave it to the discretion of the listener when the singing becomes too good to be enjoyable.

Average customer rating:

Better than Nora
What I've been missing!
Elegance

Walk the Worn out Floor
Julie Wolf
Manufacturer: Palimpest Records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

General | Folk | Indie Music | Stores | Music
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ASIN: B00005Y954
Release Date: 1997-10-16

Tracks:

My Foolish Heart
I Only Mean It When I Sing the Blues
Wall
Fool That I Am
If I Loved You
Love Is Like a Cigarette
Trust in Me
Killing the Blues
My Song
Mountain Atop a Mountain
Baby Plays Around
Don't Go to Strangers
I Need You
Someone Else Is Steppin' In
How Will You Remember Me?
I Thought You Were Standing Next to Me

Customer Reviews:

Better than Nora.......2004-12-24

Now if you ask me, and a substantial number of torch song virtuosos do on a frighteningly frequent basis, this here album is far superior to the work that Nora Jones has popularized in recent years. See, this here Julie Wolf has a voice that is considerably warmer and more velvety than that of Nora. Don't go thinking that I am casting disparaging thoughts at Miss Jones because I ain't - I like her work to an extent, but then again I get pretty worn out listening to her CDs because she sings beautifully while at the same time she sounds like she is singing somebody else's songs. That ain't the case for Julie Wolf.

Julie Wolf sings all the songs on this here album like they was her own. She makes them personal like, and that lends itself to the quality of the product. She also happens to be a gifted musician and can play a number of instruments quite beautifully and while I don't want to ramble on in a comparison of the two women, I don't know that Nora Jones can do that. In fact, I lost interest in Nora Jones before her first CD reached its critical climax. This here Julie Wolf CD sneaked in under the critical radar and managed to garner only a smidgen of recognition. This, my internet savvy friends, was a travesty. This is the album everybody should have been talking about when they were discovering or rediscovering more mature music... not that Nora Jones thing. Sorry, I'm attempting to get away from the comparison but I find it hard.

I will have to admit that I purchased this CD when I saw Julie Wolf perform behind Bruce Cockburn a while back and took it home and played it once while I was out in the shed working. I was preoccupied with getting the reversible flange on my brush hog replaced and didn't pay so much attention to the music. So I didn't play it again until last week and since I put it in to the CD player I have now played it about eleventy hundred times. This thang is wonderful, ya'll. We done had us a fire last night and had this here CD on and the whole Huckabee clan was mesmerized. Even Junior, who usually takes to other types of music.

Me and Mama put the youngin's to bed and played the CD again and sat there on the fold-a-bed in the front room and made cow eyes at each other and boy-howdy is this a good CD for doing that. I guess my final critique is - if you plan on makin' cow eyes and need some music that isn't just background music, but rather music to give you something to think about while you get all romantic, then this here CD is the one you need.

What I've been missing!.......2004-04-24

Virtually stumbled accross this artist when looking up a favorite of mine (Catie Curtis). Any friend of Caties's is a friend of mine. LOVED the CD. The perfect CD when you are not sure what mood you are in. Prefect for ALL occassions. Crisp, clean, beautiful music to enjoy - always. This CD had moved into my favorite position. A CD you will never get tired of!

Elegance.......2002-08-05

Where shall I? Can I begin, in describing the incredible Julie Wolf? Everything I can think of is a 'Given'. Julie is a tremendous pianist. 'Given'. Ms. Wolf is an amazing singer. 'Given'. Julie is an talented songwriter. 'Given'. Julie Wolf knows her way around arrangements, interpretation and accompaniment. 'Given'.
Her solo cd "Walk the Worn Out Floor" is to beautiful for words, as is the woman. As her hands slowly, very slowly start to play the first track, "My Foolish Heart", you can hear Julie's lips part right before she begins to sing. It's one of those magical moments in music when you and the artist become one, the feeling that you are listening from a breath away. The moment is absolute heaven.

"If I Loved You" a song first penned by the duo of Rodgers and Hammerstein becomes Julie's. I'm taken aback time and time again by the maturity in her phrasing, not only on this song, but on so many of the songs in this collection. A gorgeous melancholy and quiet introspection live and breathe on this track. She posseses the ability of being able to deliberately hang on a phrase, a note, and then, allow it fall a bit behind the song's natural rhythm.

Listening to "Love is Like a Cigarette" I'm always taken aback by the softness, the gentle air that resonates in the woman's voice. "Trust in Me" a song by Denny Goodhew, is sung to perfection. The interplay between the words, her piano and her voice, astounds me. She touches me with the 'feeling' of all three as they merge into one, imparting an opening of the soul.

She does an interpretation of Keith Jarrett's "My Song". This song is just to beautiful, it kills me, leaves me in a gorgeous restful place-everytime. The lyrics written by Rhiannon, a friend of Julie's, overlap and seemingly decode the sax melody played on the original version. "A Mountain Atop a Mountain" is breathtaking. Close your eyes and you're floating totally free as the airiest of cellos plays the melody, it's quietly taken over by Hans Teuber's flute, flying just abit higher and then the sweetness of Julie's voice, holds you as the same melody is finished as it should be, with her angelic tones in duet with the flute. Listening to her arrangement of "Baby Plays Around", you hear an ominous series of basslines being played behind the lyrics, by John Silverman. It darkens the music and for myself, matches the many moods being sung by Ms. Wolf. Julie weaves many emotions as she sings the lyrics. She moves from a sad timbre, a voice of anger, of worry, for what is to become of both of them. She touches on a complicated matter of factness. A place where a person finds acceptance of the truth in someone they love beyond measure, beyond longing, beyond reason yet deep remorse in finally having let go. A proud love but one that may make you ashamed to have fallen so deeply for them.

"Don't Go to Strangers" not only showcases Julie Wolf's voice but also her extremely tasteful soloing. I really don't know what jazz pianists she's studied, but I hear bits of everyone from Jarrett, a bit of Corea, a touch of Zawinul, colors of Lyle Mays' solo work, a sprinkle of Donald Fagen. This song moves from some infectious, bright and upbeat chords to start, and some very tastefully executed soloing. It all slowly finds it's way back, reacquainting you with Julie's magnificent voice to open the song's first verse. As she delivers her lines she also slows and darkens the mood, ever so gently. The tones become very soft and dreamlike, and her vocal walks inside and around the chords. Glorious. The solo starts very slowly, with a thoughtfulness, a meditative brilliance that grows into a very steady moving river of notes delivered with such purposeful deliberateness. As her solo builds, the somber mood that had been painted, sharpens and like a flower, it starts to blossom. It opens, not only a very quiet breath but also a walking bassline that starts to move the solo into a new color, a new brilliance, a new rhythm. The chord clusters chime and ring out but quickly remember their earlier musical embrace, and begin to close around themselves and break into single, soulful notes once again. Julie has once again shifted the mood and rhytmn , her fingers start to lead us back to some very heartfelt closing verses.

Ah, what an artist. She moves quite easily from the melodies of Annie Lennox to Rodgers & Hammerstein to a self penned song called "The Wall". This song, "The Wall", is a promising look into what the woman could offer us if we could only get another Julie Wolf solo cd. Julie left me wanting to know more about the character she's singing about...and that's exactly the intent. We all put up walls in our lives, for protection of our hearts, for the sake of diverting someone who's getting alittle to close, or just a wall to put up the memories. On "Daisy Petals on My Head", a cd by her sister Kate, you can hear one song co-written by Julie, yet I would love to hear more of Julie's solo music.

There really isn't to much on Julie Wolf out in 'webland', I've looked. It's a shame that an artist of her ability, her promise, her grace is for our purposes, living a musical life of such anonymity. The talent of this woman is immense. I'm so proud to know of her talent. I'm so very happy that I've come to know her music. Her touch on the piano is as delicate as her voice, yet her ability for interpretation is so far beyond what has become celebrated in today's 'so called music'. To have Julie Wolf acknowledged by today's standards of artistry would be a giant step downward to mediocrity.