In Concert: Live at the Music Hall [Live]

Track Listings

1. Introduction: I Ain't Got Long Here

2. What a Friend

3. I Came to Jesus

4. Hymn (Yes Yes)

5. Bright Side

6. I'm Glas About It

7. Stand by Me

8. Medley: Family Circle/None But the Righteous/I'll Go

Tracks:

Introduction/Darlin' Cora
Sylvie
Cotton Fields
John Henry
Take My Mother Home
Marching Saints
Banana Boat Song (Day-O)
Jamaica Farewell
Man Piaba
All My Trials

Tracks:

Mama Look a Boo Boo
Come Back Liza
Man Smart (Woman Smarter)
Hava Nagila
Danny Boy
Merci Bon Dieu
Cucurrucucu Paloma
Shenandoah
Matilda

Album Description

bin 15110. Remastered reissue, part of RCA's Living Stereo series, for the esteemed vocalist's 1959 live concert recording. 19 tracks: 'Introduction/ Darlin' Cora', 'Sylvie''Cotton Fields', 'John Henry', 'Take My Mother Home', 'The Marching Saints', 'Day O', 'Jamaica Farewell', 'Man Piaba', 'All My Trials', 'Mama Look A Boo Boo', 'Come Back Lisa', 'Man Smart (Woman Smarter)', 'Have Nageela', 'Danny Boy', 'Merci Bon Dieu', 'Cu Cu Ru Cu Cu Paloma', 'Shenandoah' and 'Matilda'.

Album Details

Double CD Set. Recorded Live in New York. Part of RCA 'Living Stereo' Series.

Customer Reviews:

As good as it gets.......2007-03-08

A superb taking of a superb artist in a superb mood. Need a say moore?

If you only plans to own five CDs this must be one of them. Mr Bellafonte at his absolute best. I enjoy every second of this CD. Not only is it musically outstanding but it is also a true high fidelity record.

A CD not only for easy listening but also for true listening sessions!

Some technical details and comments.......2006-07-25

Tracks flow into each other with no "silence" between; its just like the "Living Stereo" black vinyl Long-Play records. All of the content on the LPs is indeed here. Awesome.

Sound quality is quite good. CDs were issued in Germany in 1993 (performance dates were 19 & 20 April 1959). There are no markings on the CDs indicating remixing, remastering or other processing. Despite this, the sound is a little more "natural" than my LP transfer which had that circa-1959 bass richness. This may be just coloration in my turntable set-up and the CD gets it right. There is minor tape hiss in the background noise. The dynamic range may have been increased. The CD allows me to hear more in the music than I ever heard before (musican banter, HB's breathing etc).

The CDs are a great replacement to the LPs transfers I had on my iPod. (I'm not sure yet if I'll miss the ticks and pops from the needle. It was kinda cool on an iPod.)

Regarding musicality; the other reviews have said it all. I agree that this is one of those rare recordings where everything is perfect. It is unthinkable that this concert could even have one second edited from it. I love this concert. It is genius.

The complete concert, greatest live album ever made.......2006-02-07

Harry Belafonte, is on of the greatest, most influential man ever born in the United States, as well as a hero to the world as well as to all Americans. Mr. Belafonte, World WarII veteren, who volunteered and was on the battlefield, and still serves his nation and the World, with his international travel on behalf of Unicef.
As far as his totally unique talent, this magnificant talent, shows all of his power, his heart, soul and love for all humanity with the best live album ever created.
I have a sentimental feeling about the famous Carnegie Hall concert since I grew up in blue collar family in Brooklyn attended this show. Growing up, I used th hear my parents play this many times on weekends, while doing their chores and nothingw ould light up their faces, create laughter, got them to sing, more than when they listened to the album of this Carnegie Hall concert.
I was about eleven or so when I started hearing it, and I have the album about memorized and grew up loving the album, Mr. Belafonte, his talent, his incredibly diverse careers, and non-stop dedication to all of humanity.
There is comments by an individual who does live the CD about how Harry did "novelty songs" in the second act. THOSE ARE NOT NOVELTY SONGS, THEY ARE FOLK SONGS FROM DIFFERENT CULTURES AROUND THE WORLD. But I guess to an American, International folk music is a "novelty song". Grrr. I know the gentlemen who made that comment meant no harm, but I hope it is understood. Mr Belafonte is currently and has previously spent his life unfolding the cultures of nations from all over the world by singing and giving publicity to the great folk music that tells the story of the people of the world.

It is great that this import has the entire concert, but I have to admit that I am ashamed as an American, that it has to be AN IMPORT, that no American music company has taken the original tapes, re-mastered it with love as they would any major piece of history and re-released it. He was born in Harlem and is one of the great, great stories of someone who has lived the American dream. Please remember the racism he experienced as well as being blacklisted suring the McCarthy hearings. But nothing stops his optomism and love of humanity.

He talent is unequaled and no one delivers a folk song with more power, heart and soul.
Besides, he probably was the best guest the Muppets ever had.

A couple of quick pieces of info on Mr. Belafonte. Bob Dylan was recorded for the first time on a Harry Belafonte album, where Harry hired him as a harmonica player.
Mr. Belafonte is a graduate of the Actors Studio in N.Y. the produced a generation of great actors.
Calypso was the first album to sell 1 million copies, but how many people know that he followed that album up with a album where he read and discussed the works of the great American writer, Mark Twain.

Thank you Harry for this great album and the great memories you leave me listening to it and the great pleasure you gave to my late parents.

Jon

I'm Just Wild About Harry (Belafonte)!.......2006-02-04

Nowadays the "powers that be" (read: "murderous thugs within the Bush Administration")are on a campaign to depict Harry Belafonte as being mentally unstable. Why? Because he had the courage to point out the all-too-obvious fact that George W. Bush and the dirty old dingbats around him are the biggest sources of world instability since Adolf Hitler and Joseph Stalin.

It's nice to know that he's still Harry after all these years; Still holding up a mirror to a sick and hypocritical society that obviously doesn't like what's reflected.

Belafonte At Carnegie Hall, recorded on two nights in April of 1959 is, no doubt about it, the finest "Live" album ever recorded. All these years later it still has a freshness that is irresistable. The fact that it was recorded with state-of-the-art equipment, you can close your eyes and it's almost as if your sitting, front row. It's moving and riotously funny all at the same time. Trust me on this one kiddies, you won't be disappointed!

Pray for peace

Tom Degan
Goshen, NY
tomdegan@froniternet.net

True talent, live.......2005-10-28

I grew up with this album that my parents had, unfortunately I recalled it as Belafonte RETURNS to Carnegie Hall. Thankfully I ordered this first, then later got Harry Returns (basically for Odetta and Miriam Makeba).

The man is brilliant in concert and it is unbelieveable they were daring enough to try to record these performances live. I shudder to think anyone currently who could pull this off (with the exception of Midler who thrives on a live audience).

Does Belafonte have an incredible voice and fantastic range? Not really. He has a great voice but the man has PASSION and intelligence in his hip pocket and he presents a priceless show.

It's amazing to me, now, to realize what a global attitude this man has, did I mention passion and intelligence? So I did, but it's well worth repeating.

I played this album for a 7th grade class and they ape over it -- they knew two songs from the movie Beetle Juice and insisted I download the lyrics. When it came time for Cucurrucucu Paloma they went wild (and the staff freaked when they heard it was a live performance) so I knew Mama Look a Boo Boo would be appreciated.

I know Mr. Belafonte is known and loved for many of his standards (basicaly Day-O) but I my faorite piece will always be Merci Bon Dieu. It's so beautiful, it's heartbreaking in a wonderful way.

I hate live albums because most artists cannot do live what they create in the studio. Not so with this -- he sounds even better live. A truly talented man with intelligence and passion -- darn, that's rare and very much appreciated, especially in the year 2005.

Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)

Average customer rating:

Great CD
Simply the Best
Inconsistent, but mostly excellent
"Celebration" is not strong enough a word
A maginificent evening, a magnificent album

Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
Stephen Sondheim , Betty Buckley , Paul Gemignani , Patti LuPone , Liza Minnelli , and Bernadette Peters
Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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Side By Side By Sondheim (1976 Original London Cast)
Sondheim Evening: A Musical Tribute (1973 Concert Cast)
Send in the Clowns: The Ballads of Stephen Sondheim
Sondheim - A Celebration at Carnegie Hall
Sondheim, Etc.: Bernadette Peters Live at Carnegie Hall

ASIN: B000003FDW
Release Date: 1993-02-23

Tracks:

Symphonic Sondheim: Sweeney Todd--orchestra, Jerry Hadley ("Johanna"), Eugene Perry,Herbert Perry ("Pretty Women")
Evening Introduction--Bill Irwin
Loveland/Getting Married Today--Ensemble, Jeanne Lehman, Mark Jacoby, Madeline Kahn
Waiting for the Girls Upstairs--George Lee Andrews, Michael Jeter, James Naughton/Love, I Hear--Michael Jeter/Live Alone and Like It--James Naughton
Someone Is Waiting--Richard Muenz/Symphonic Sondheim: Barcelona--orchestra
Being Alive--Patti LuPone
Good Thing Going--The Tonics
Losing My Mind/You Could Drive a Person Crazy--Dorothy Loudon
Our Time--Boys Choir of Harlem/Children Will Listen--Betty Buckley
Anyone Can Whistle--Billy Stritch
Water Under the Bridge--Liza Minnellli, Billy Stritch
Back in Business--Liza Minnellli, Billy Stritch, Ensemble

Tracks:

Symphonic Sondheim: Comedy Tonight--Bill Irwin, orchestra
Sooner or Later--Karen Ziemba
Pretty Lady--Mark Jacoby, Eugene Perry, Herbert Perry
Green Finch and Linnet Bird--Harolyn Blackwell
The Ballad of Booth--Patrick Cassidy, Victor Garber
Broadway Baby--Daisy Eagan
I Never Do Anything Twice--BETTY
With So Little to Be Sure Of--Jerry Hadley, Carolann Page
Not a Day Goes By--Bernadette Peters
Remember?--Ron Baker, Peter Blanchet, Carol Meyer, Bronwyn Thomas, Blythe Walker (Quintet)/A Weekend in the Country--Kevin Anderson, George Lee Andrews, Mark Jacoby, Beverly Lambert, Maureen Moore, Susan Terry, Quintet
Send in the Clowns--Glenn Close
Old Friends--Liza Minnelli
Sunday--Bernadette Peters, Broadway Chorus

Customer Reviews:

Great CD.......2006-08-06

This is a wonderful double CD of fabulous musical numbers performed by theatre greats and directed by a legandary musical director.

Simply the Best.......2005-06-29

First, to the person who criticizes the recording b/c of "Broadway Baby." Daisy Egan (who sings in in this recording) sounds like she's 10 becuase she IS young. She had just appeared on Braodway in Secret Garden and won a Tony for it. It's a joke...Broadway BABY...hello, it's a joke.

In a compilation of songs like this you're always going to have tracks that you prefer over others, but the majority of the renditions in this CD are great. This is simply one of the best collections of Sondheim out there. You get interpretations that span from "classical" (Green Finch), to bordering on insane (Anything Twice). This is to demonstrate how versatile this composer really is.

In my opinion, some of the best renditions are "Not a Day Goes By," "Anyone Can Whistle", "Girls Upstairs Medley," "Losing My Mind/Drive a Person Crazy," and "Weekend inthe Country." Makes me wish I had been there to witness it first hand.

If you love Sondheim and enjoy hearing Broadway performers, get this CD. A great recording.

Inconsistent, but mostly excellent.......2004-03-21

I am sure no knowledgeable person would deny how absolutely perfect all these songs are. However, the performances on this album are extremely inconsistent. It will go from an excellent rendition (Waiting for the Girls medley, Sunday, With So Little To Be Sure Of, Sooner or Later, Green Finch, Send in the Clowns, Pretty Lady) to the weird (I never Do Anything Twice), to the bad (Broadway Baby, Our Time). I still have absolutely no idea how they managed to butcher one of the best songs ever written--Good Thing Going--and turn it into smooth jazz elevator music. Why would they give Broadway Baby to someone who sounds like she's 10? That said, Liza Minelli, Glenn Close, Karen Ziemba, Dorothy Laudon and the "Waiting for the Girls" performers are all very good. And ending with Bernadette Peters and "Sunday" ends the set on a absolutley fabulous note.

"Celebration" is not strong enough a word.......2003-04-30

This review is by Crosley.

I have been a major Sondheim fan for quite some time, and I finally obtained a copy of this album. I was blown away by the excellent cast and phenomenal selection of music. It is obvious how much work went into this production, considering that this is the live recording of a one time show, and it's flawless. The songs cover all of his shows with the exception of "Passion," which was released 3 years after this show. Also, the shows for which he wrote only lyrics are ommited, like West Side Story, Gypsy, etc. Thus, you can find material from A Funny Thing Happened on the Way to the Forum, Anyone can Whistle, Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd: The Demon Barber of Fleet Street, Merrily we Roll Along, Sunday in the Park with George, Into the Woods, and Assassins.

There are two striking things about this CD (besides the music and performers themselves). First of all, some of the songs are completely stylistically reworked. The most obvious are "Good Thing Going" and "I Never do Anything Twice." Both are traditionally very ballady with a piano accompaniment, but here they have been redone as jazzy tunes. The result is excellent. Such reworkings demonstrate that Sondheim writes music for virtually any style, and in these cases, across several styles. It's a great example of his variety. The other interesting thing is how many songs have overlapping melodies of songs from different shows. Case in point, "Our Time" and "No one is Alone" are sung seperately by the Harlem Boys Choir and Betty Buckley (the original Grizabella in Webber's atrocious "CATS," although Buckley was excellent) respectively, and then combined. Putting these two songs together offer different meanings to each, and the music is only enhanced. Another example, the trio of "Waiting for the Girls Upstairs," "Love, I Hear," and "Live Alone and Like It" are sung in that order, and then the latter two are combined. Again, the meanings of the songs change, this time in an almost narrative style, and offering different takes on love in the same montage. Lastly (at least for this review, there are more), Dorothy Laudon's (the original Ms. Hannigan in Annie) combination of "Losing my Mind" and "You Could Drive a Person Crazy" is brilliant. Those who are familiar with these songs will wonder how exactly they fit, but trust me, they do. She swtiches back and forth between melodies to create a number that starts poignant and beautiful, and soon moves to become uproariously funny. Both the song reworkings and overlapping melodies of unrelated songs are all for the better.

I recommend this recording to anyone wanting to get better acquainted with some of Sondheim's best work, or those already familiar who want to hear a tour de force of phenomenal music. It has been said that Sondheim is a masterful lyricist (which he is), but lacks real talent for music. This CD is the final proof that such critics are wrong. His music may take a few listenings to get into, contrary to Webber or Wildhorn, but unlike those two, he doesn't cater to the audience. He challenges them to think outside of traditional musical theater in a glorious repertoise of shows that reach for a smarter, more sophisticated form.

A maginificent evening, a magnificent album.......2001-12-16

There's something to be said for the first concert you ever see at Carnegie Hall. I was fortunate enough to have this be my first. This entire evening was devoted to his genius and the performers did not disappoint.

This wonderful double CD shows off the best and brightest of the musical theatre composer and it is, as one person put it, "an embarassment of riches." With songs from his finest works done in amazing arrangements (listen to that harmony in "We Had a Good Thing Going"!) combined with fabulous performers this is a Sondheim lovers delight.

Tracks:

Sonata for violin & piano No. 8 in G major, Op. 30/3 No.3
Sonata for violin & piano in E flat major, Op. 18
Nocturne for piano No. 21 in C minor, B. 108
Variations on "The Last Rose of Summer" for violin solo
Beau soir ("Lorsque au soleil couchant les rivihres sont roses"), song for voice & piano, L. 6 Transcribed for violin & piano
Tzigane, rhapsodie de concert for violin & piano (or orchestra)

Customer Reviews:

Technical virtuosity!.......2005-11-26

I'll preface this review by saying that I've been disappointed in the past with some of Midori's recordings. She was never lacking in technical skill, and RARELY does she have intonation problems. I did have issues with her musicalty. It is in technically difficult pieces (like the Paganini caprices) that her skills shine.

This recording is a dazzling display of technical ability and artistry. Midori has the audacity to attempt Ernst's 6th polyphonic etude (The Last Rose of Summer) in a LIVE recital. She pulls it off without error except intonation issues on a few notes (easily forgiven!). The CD is worth owning for this one piece alone.

The Beethoven and Strauss sonatas are played with wonderful clarity and.. dare I say... musicality. The sound quality is excellent save a few audible coughs from the audience which come with live recordings.

GREAT STUFF.......2003-11-02

This CD is ample evidence of Midori's virtuosity, coupled with first-rate musicality. However, I have to disagree with one reviewer's assertion that she is non-pareil. Indeed, her Ernst is not perfect, though it comes very close. Careful listening will pick up slight intonation errors.Ricci performed with more facility. It is utterly ridiculous to place her above Heifetz, or even Perlman. And it is even more ridiculous to suggest that those two violinists were afraid to record the Ernst. Midori is great, but not as great as Heifetz or Perlman or Ricci.

A Walk in the Park.......2001-08-07

Not to toot my own horn; I play four instruments for over forty years. So what? Don't just listen to the music. Listen to the notes. Midori miss a note? I rather doubt it. The orchestra may be taking a day off for a walk in the park; but, Midori's persisting drive brings them back time and time again. All of the artists seem to be a bit stiff in their presentation. It's noticeable if you listen. One never knows if their review will be implemented. Mine will always deal with the worlds of difference between hearing the work and listening. This reviewer is not concerned with Midori's ability to equal or surpass another's work. I am interested in what her presentation does for me on it's own merit. Frankly, I am surprised that she doesn't catch her instrument on fire much like the rubing of sticks together until the heat brings forth fire. Midori is fire.

A Master shines !!!.......1999-06-12

What can be said about Midori that a fan doesn't already know ? Again, her unique, beautiful style is on display.

I've listened to this Strauss Sonata many many times and I feel Midori has created a miracle on a CD. Such emotion, timbre, richness of tone... a violin can NOT sound better...

I luv Midori..... !!

Supreme artist and virtuoso playing spellbinding music!.......1998-09-10

Four days before her nineteenth birthday, standing for the first time on the stage of a legendary building, in front of a sellout crowd (3000), Midori delivers an extraordinary 100-minute long program, from memory. Unfortunately, the CD version can only include 75 minutes of it, and thus excluded Mozart's sonata K.301 and a resplendent tour de force of Sarasate's Zapateado. Therefore, I sincerely exhort anyone who's interested in Midori to buy the LD or VHS version.

The second piece of the program is the magnificent, hyper-romantic, yet seldom recorded sonata by the young Richard Strauss. In contrast with the previous piece, this ultra-dramatic sonata is marvellously rich in content and expressive opportunities, and one can scarcely imagine it being played more effectively by someone else. Midori's technical finesse and enchanting tone, governed by a contemplative mind and a feverishly ardent heart, ready to pump out into the rapt audience at any moment, culminate in an immensely moving rendition. The listener must also credit the pianist Robert McDonald's spirited and sensitive playing. One can't help wondering why one so rarely hears this splendid piece.

This enigma is not so confounding after one listens to Heifetz's 1954 studio recording of the same piece. Seasoned critic Henry Roth declares that the Strauss Sonata "belongs" to Heifetz in the sense that few would dispute his supremacy. Indeed, Heifetz championed this work throughout his career, yet apparently to little avail; were Midori in Heifetz's position, she would positively have widely popularized the work.

Midori begins the second half with Beethoven's Sonata No. 8. She captures the gaiety and animation of the outer movements as well as anyone else, yet they are not fully gratifying. In the first movement, the exposition is repeated, later recapitulated, but unbelievably, her interpretations-though individually superb-of these three times are virtually the same, lacking in variety. In the third movement, her pursuit of wanton vivacity in a certain passage sacrifices the tone quality. Yet her slow movement is super-sensitive, particularly in transitional passages; it is the finest rendition of this movement I've ever heard--even superior to Szeryng's.

The following piece--Ernst's Variations on "The Last Rose of Summer"--I consider to be one of the three most technically demanding pieces ever written for the violin, together with Paganini's variations on Nel cor piu non mi sento and God Save the Queen.

The most horrendous part is about halfway through the middle, when the left hand plucks the celebrated theme, and the bow plays legato arpeggios across all four strings as an accompaniment at the same time. Don't forget that the left hand also has to press the swift arpeggio notes! Then the left-hand pizzicato is exchanged for artificial harmonics, singing the melody while the arpeggios still whirl around. The pizzicato returns to repeat the dumbfounding passage, and then she heads into the final variation, designed to exhibit the violin's kaleidoscopic tone colors: Harmonic staccatos-one of the ultimate tests in precision and coordination of both hands-juxtaposed alternately with a blizzard of double-harmonics, huge octave leaps, full-pelt runs up and down a single string, fingered octaves, pizzicato, etc.

Midori audaciously elected to play in her New York debut this terrifying piece which, as far as I know, only Ricci, Kremer and Vengerov to date have recorded in history; Heifetz and Perlman undoubtedly have never dared to take up its stratospheric challenge. Double-harmonics often make a good violinist sound like two bad ones, but Midori, with her exceptionally lengthy, slender, and agile fingers, effortlessly negotiates these intricacies and makes them sound as if they were played by two fine flutists. This will no doubt render multitudes of violinists, such as Heifetz, green with envy. The fiendishly difficult fireworks are all tossed off with lithe gracefulness and seeming ease; the left-hand pizzicatos are articulate, the harmonics pellucid, the octave shifts pure in intonation, and the tone quality immaculate. To be relentlessly critical, in this live concert, there were a paltry two or three fleeting notes that weren't of perfect pitch. See if you can find an edited studio recording closer to perfection.

Midori's prodigious prowess lies not only in her ability to make the most herculean pieces sound easy, but make them sound musical. We can try to forget about all the pyrotechnics; rather than marvel at her unprecedented instrumental mastery, we can immerse ourselves in the wonderfully beautiful music, and savour the bountiful nuances.

Anyone would badly need a respite after performing such a strenuous piece, and Midori gave her hands--but not her mind and heart--a brief relief in Chopin's Nocturne in C-sharp minor. Here's another meticulously thought out and superbly expressive rendition that, complemented with a most sympathetic tone, can hardly fail to melt the attentive listener's heart.

Ravel's Tzigane [gypsy] begins with a long oration of the solo violin, the first part of it entirely on the G string. In some other versions, e.g. by Francescatti, the solo part sounds inert, mundane, and monotonous; certainly that is not what I expect from Midori. Even solely on one string, Midori, by dint of divergent bow pressures, portamentos and vibrato, plus rubato, creates a most colorful, elastic, luscious, bewitching, yet doleful tone. Throughout the piece, she perpetually captivates the audience with her breathtaking technical wizardry, variegated and multi-dimensional tone, boundless array of expressive devices, stark dynamic contrasts, and subtle phrasing.

Due to the limited space here, I cannot pinpoint several startling details of Midori's innovative rendition. To sum up, one can only be awe-struck by her sophisticated mind, natural gypsy spirit, and dazzling virtuosity, which results in a performance that brought the house down.

It seems that the 19-year-old Midori has nearly reached the pinnacle of violin art. Every rational, experienced and impartial person who had the privilege to witness this unforgettable concert will have to concede that, at least in expressive and virtuosic music, Midori is already a nonpareil.

In Concert: Live at Philharmonic Hall
Average customer rating:

The best of the live 70s albums*

on the corner on the stage

another Voodoo spell from the Mystic Witch Doctor himself!!

On The Corner, Live

The Next Step After On the Corner

In Concert: Live at Philharmonic Hall
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
Jazz Fusion | Jazz | Styles | Music
General | Live Albums | Jazz | Styles | Music
Jazz Funk | Funk | R&B | Styles | Music
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Get Up with It

Live at the Fillmore East (March 7, 1970): It's About That Time

ASIN: B000002AH5
Release Date: 1997-07-29

Tracks:

Rated X
Honky Tonk
Theme From Jack Johnson
Black Satin/The Theme

Tracks:

Ife
Right Off/The Theme

Album Description

Full title In Concert: Recorded Live at Philharmonic Hall, New York. Japanese DSD mastered reissue of 1973 release for the late jazz icon. Packaged in a miniature gatefold LP sleeve for the first pressing only. 2001 release.

Album Details

Japanese Version featuring an LP Style Sleeve Cover. Dsd Digitally Remastered.

Customer Reviews:

The best of the live 70s albums*.......2007-03-11

"In Concert" has its flaws--the last 30 minutes for instance--but it's taut and spare, propulsive and funky and motile. It's certainly a more agile manifestation of Miles' vision than the Cellar Door session (which, of course, possess their own beauty) but it's not quite as bloated and self-indulgent as the Pangaea/Agharta albums. This band has purged most of its "jazz" affectations--think Jarrett/Correa/DeJohnette--and settled into something...familiar yet otherworldy. These musicians are able to play in a less ornate fashion, something closer to what (I think) Miles wanted at the time. Yes, it's based in rock, funk, etc...but it's something else, too. Something drawn out, fractured and abstracted but still very groove-oriented. There's something desperate and frantic about it and I love that quality.

Listen, if you're checking out the reviews of this album...and you gone deep enough into the discography to FIND and be CURIOUS about this album, just get it. It's worth it.

*The only exception to this comment is the "It's About That Time" 1970 Fillmore album with Wayne Shorter. This album will kill you if you let it.

on the corner on the stage.......2006-11-10

Oh yeah, this is a good one. 'On the Corner' was a great album. Lotsa peeps found it, shall we say, inaccessible. But lovers of new age, mantra, Phillip Glass, Lamont Young (I have no idea who he was, but the Velvet Underground dug him), Brian Eno, electronica/trance (XM 82), but with a bit of funk, should dig this groove.

another Voodoo spell from the Mystic Witch Doctor himself!!.......2006-11-05

Having absorbed everything I can find on Master Miles Dewey Davis, the creative and transcendent musical Mystic, I have found this to be absolutely superb!! The funk is, to me(not a funkster by nature) so deep and dense its a phenomenal experiement of many depths and dimensions, perhaps STILL ahead of its time....cant imagine, like the other reviewers above, only putting this in once in awhile--this is gonna be forever at my fingertips...

its definitely an ALIVE version of ON THE CORNER, and even the Jack Johnson takes are heavily influenced by the ON THE CORNER feeling and vibe...the music, thankfully, doesnt go as far out as perhaps the FILMORE sets, and thus is not hard on the ears at anytime what so ever--it keeps a steady groove, sometimes much more repetitive than any other musician(s) would dare to go--I do wish though that the Bass was a bit more upfront, but there's so much else going on that night, that it makes up for the lack of "heavy bottom" we have gotten used to from this period and shortly prior...

the congos and tablas and sitar make this thing truly a world music gumbo, another brew that Miles masterfully stirs with his trumpet--which is nothing more than the fetish, the tool of invocation itself, if you dig it...

a must have, so buy it,pull the shades and enjoy....

On The Corner, Live.......2006-08-29

No matter what phase of his career, Miles had two music personas - in the studio and on stage. And in the electric phase, Miles was in perpetual motion in introducing themes and musicians in both venues.

The double CD set brings the funk from the outstanding studio sessions that brought On The Corner, with a taste of the sonic boom captured in Agharta and Pangaea.

Miles never hesitated in experimenting with his sound, which confounded critics then and - to a certain extent - now. The Philharmonic Hall concert again demonstrates that Miles pushed the "boundaries" to create timeless pieces that continue to shape musicians in various genres.

The Next Step After On the Corner.......2006-04-09

As with almost all good jazz once you've heard the studio recording, you'll want to hear how it translated live. The recording quality is excellent compared to unofficial recordings of this band. However, it suffers from the same problem as "Dark Magus". Putting Miles' rock/funk oriented bands in a symphonic space just didn't work. The acoustics of the space are all wrong for that and also, it tends to dampen the playing of Miles band which were by now, used to performing in rock venues. That said, I highly recommend this album and also it shows the band as continuing to evolve. While the band looks back to "the theme from Jack Johnson" it looks forward on "Ife", a nearly 30 minute long jam, the sound of which is where Miles' next band would go on recordings such as Pangaea and Agharta. With the cover art (by the same artist who did the artwork for "On the Corner") you might be fooled that this a dated 70's jazz excursion but don't make that mistake. This is Miles pushing the boundaries of jazz, still true over 30 years later.

Sondheim - A Celebration at Carnegie Hall (Highlights from the 1992 Concert Cast)

Average customer rating:

What a recording!

Sondheim - A Celebration at Carnegie Hall (Highlights from the 1992 Concert Cast)

Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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Sondheim, Etc.: Bernadette Peters Live at Carnegie Hall
Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
Company - A Musical Comedy (1970 Original Broadway Cast)
Into the Woods

ASIN: B000003FEM
Release Date: 1993-02-23

Tracks:

Symphonic Sondheim: Sweeney Todd
Company: Loveland - Getting Married Today
Follies: Waiting For The Girls Upstairs - Love, I Hear - Live Alone And Like It
Company: Being Alive
Merrily We Roll Along: Good Thing Going
Merrily We Roll Along: Our Time - Children Will Listen
Dick Tracy: Back In Business
Sweeny Todd: Green Finch And Linnet Bird
Follies: Broadway Baby
Merrily We Roll Along: Not A Day Goes By
A Little Night Music: A Weekend In The Country
A Little Night Music: Send In The Clowns
Sunday In The Park With George: Sunday

Customer Reviews:

What a recording!.......2000-06-29

I only wich I could have been at Carnegie Hall that night! Come on, Bernadette Peters, Liza Minnelli, Karen Ziemba, James Naughton, and so much more! After i bought this highlights album I knew I had to get the full 2-CD set. It's great cause it's live, the orchestrations are Heaven, and you will feel like your in new york in the audience. Buy it enjoy it and if you like it is much as I do buy the Video of the performance!

Average customer rating:

One Of The Most Powerful Concerts By The Mighty Clouds!
In Concert: Live at the Music Hall-The Mighty Clouds of Joy

In Concert: Live at the Music Hall
The Mighty Clouds of Joy
Manufacturer: Mca Special Products
ProductGroup: Music
Binding: Audio CD

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Live in Charleston
It Was You
I Want to Thank You

ASIN: B000007OJK
Release Date: 1998-06-02

Tracks:

Introduction: I Ain't Got Long Here
What A Friend
I Came To Jesus
Hymn (Yes Yes)
Bright Side
I'm Glad About It
Stand By Me
Medley: Family Circle/None But The Righteous/I'll Go

Customer Reviews:

One Of The Most Powerful Concerts By The Mighty Clouds!.......2007-02-21

My mother used to listen to this album when I was growing up. I loved this music and spent years looking for it when I became an adult, but it was so hard to find. I finally found it through Amazon.com. The music and ministry is so powerful you can't help but clap, shout and sing right along with it! Their rendition of What A Friend We Have In Jesus and I Came To Jesus can not be duplicated! The Mighty Clouds have a sound that's like a touch of Doo Wop, but it's all Gospel! Joe Ligon's preaching style can be heard througout and it's so powerful. After all these years, this album is a collector's item that I will never part with. After the death of my mother in '94 listening to this music helped me during that grieving time and I thank God for the Mighty Clouds Of Joy. (Does anyone know where they got their name from? I can't seem to find the answer anywhere.)

In Concert: Live at the Music Hall-The Mighty Clouds of Joy.......2006-08-26

The first songs on the CD had poor quality sound. Its to much talking before you get to the actual song.

Simon Barere: Live Recordings at Carnegie Hall, Vol. 2 (1947)

Average customer rating:

A legendary pianist!

Simon Barere: Live Recordings at Carnegie Hall, Vol. 2 (1947)

Manufacturer: Appian ( Apr )
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

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Simon Barere: Live Recordings at Carnegie Hall, Vol. 3

ASIN: B00004WH7Z
Release Date: 2000-08-29

Tracks:

Fant in f, Op.49
Etudes De Conc, S.144: No.3 in D flat (Un Sospiro)
Etudes De Conc, S.144: No.2 in f (La Leggierezza)
Harmonies Poetiques Et Religieuses, S.173/7: Funerailles
Nocturne No.8 in D flat
Annees De Pelerinage II, S.161/5: Petrarch Sonnet 104
Hungarian Rhap No.12 in c#, S.244: Encore
Etude in D flat, Op.8/10
Prld in g#, Op.32/12
Prld in g, Op.23/5

Amazon.com

APR's series documenting the career of Simon Barere (1896-1951), one of the century's great pianists, is an indispensable boon for piano buffs. This disc captures him in full flight at a 1947 Carnegie Hall concert. The poster advertising the concert, reproduced in the booklet, splashes the quote "Electrifying" under his photo, and that describes the playing here--full of energy, poetry, and virtuosic technique beyond that of most other pianists. The piled-on sonorities of Liszt's Funérailles are thrilling. Liszt's "La leggierezza" and the Hungarian Rhapsody score through Barere's phenomenal finger control and colorings at breakneck tempos, and his lyric gifts make the Chopin Nocturne moving. An encore, Rachmaninov's famous G minor prelude, is played with such panache you want to hit the repeat button. The sound isn't within hailing distance of hi-fi, but the music shines through with bright force. This is a must-have, as is Volume One, on which Barere is as magical in 1946 Carnegie concerts. --Dan Davis

Customer Reviews:

A legendary pianist!.......2005-08-05

Many of you securely have made your particular list of the ten pianists of the Century.
I had mine but I had to modify it. I knew about the most effusive comments of this keyboard's titan but yesterday evening when I listened that record, I must confess all the epithets were insufficient.
Glazunov flattered him with this metaphor. Liszt in one hand and Anton Rubinstein in the other.
Let's start with the Fantasy Op. 49 of Chopin. Barere's approach is absolutely offbeat; he confers Chopin a majuscule dimension. He handles both sections of this work with absolutely domain of the score. This piece is mostly played with high romantic effluviums, but with the only exception of Arturo Benedetti Michelangeli in a Torino Recital 1962 I had not listened any other recording capable to match with that.
Chopin's Nocturne is simply spelling. I had to search the other versions I own and the difference favored by far to Barere, musicality, sense of the span, lyricism and the slender floating previous note with the next maintains a rhythmical cohesion and expressive eloquence as I had never listened before.
His Liszt is overwhelming; the highlights are The Funerals, played with fervent energy ; tremolos, arpeggios and sforzandos are of first order. The Hungarian Rhapsody No. 12 is played with twinkling pianism ; the only pianists that can match with him are Erwin Nyiregihazi and Louis Kentner.
These pieces were recorded from a live Recital in Carnegie Hall on March 9th 1947.

Average customer rating:

The best of the live 70s albums*
on the corner on the stage
another Voodoo spell from the Mystic Witch Doctor himself!!
On The Corner, Live
The Next Step After On the Corner

In Concert: Live at Philharmonic Hall
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Jazz Funk | Funk | R&B | Styles | Music
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Get Up with It
Live at the Fillmore East (March 7, 1970): It's About That Time

ASIN: B00005HY80
Release Date: 2002-07-22

Tracks:

Rated X
Honky Tonk
Theme from Jack Johnson
Black Satin/The Theme

Tracks:

Ife
Right Off/The Theme

Album Description

Album Details

Japanese Version featuring an LP Style Sleeve Cover. Dsd Digitally Remastered.

Customer Reviews:

The best of the live 70s albums*.......2007-03-11

on the corner on the stage.......2006-11-10

another Voodoo spell from the Mystic Witch Doctor himself!!.......2006-11-05

On The Corner, Live.......2006-08-29

The Next Step After On the Corner.......2006-04-09

Average customer rating:

Concert in Moscow

Manufacturer: Cellestial Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000CAGI2C
Release Date: 2004-09-21

Average customer rating:

In Concert Live at Philharmonic Hall
Miles Davis
Manufacturer: Msi Music Corp
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
ASIN: B0002BAAL6
Release Date: 2002-07-22

Music Review:

Music Review

Music Review

1. Introduction: I Ain't Got Long Here
2. What a Friend
3. I Came to Jesus
4. Hymn (Yes Yes)
5. Bright Side
6. I'm Glas About It
7. Stand by Me
8. Medley: Family Circle/None But the Righteous/I'll Go