An all-time great pairing--quite simply, one of the best
347892
Ricky Skaggs and Tony Rice have long been recognized as terrific musicians and vocalists but together, they are spectacular.  The blending of their voices, the melodic picking, and the love they clearly have for these songs  make this CD rank as one of the best.  If you only have one bluegrass CD  (and you're not a real fan), this is the one for you.
The question I have  is why they didn't do more.  My guess is that business/contractual issues  kept them from doing so.  Maybe they didn't like each other.  Whatever...they got together for this one project and it has become a true  classic.  I love every song.
1852416
This Duo is one of the best -- and their music speaks for themselves. They are one of my favorites and an incredible pair of musicians.
4013072
"Crystal Silence" should be required listening for anyone who stumbles for the first time upon the musical genre of jazz.  It is a primer: written notes sounding of improvisation, duets that segue seamlessly from one musician to the other, a sum that is so much more than its parts.

Gary Burton and Chick Corea are two giants in the pantheon of late twentieth century jazz, and this album, recorded in 1972, demonstrates why. The brilliant, exuberant duets these two masters perform remind us (or introduce us) to the most basic and compelling element of jazz - the conversation it creates among musicians (and the joy it brings us as listeners).

Hearing this exquisite marriage of piano and vibraphone is to experience the sound of crystal silence, still a musical tour de force after 35 years!
3568156
I was given this album my first Christmas out of undergraduate school in 1969 by a very special friend, and literally wore the album out before  replacing it a few years later. Finally I went to the CD format in the 80s  and still love listening to this treasure trove of wonderfully written,  masterfully arranged, and brilliantly executed songs by two of the best  folk singers to come out of the fabled sixties. Everything here is  original, and is produced with a simple and straightforward artistic style  that belies its genius. This duo has a way of evoking an atmosphere with a  timeless quality in their songs, and that is especially true here with  "Scarborough Fair/Canticle", "The 59th Street Bridge  Song", and "The Dangling Conversation". Paul Simon writes  with a singular sensivity and poignancy here about the alienation and  futility of much of contemporary urban life, and in such breath-taking  efforts as "7 O'clock News/Silent Night", this is evoked with  such beauty and artfulness that one is simply moved by the genius involved  here. Quite simply put, this is one of the best albums ever produced, and  one that is essential for anyone calling himself a folkie. I highly  recommend it, and know that for anyone who is experiencing it for the first  time, a special pleasure awaits you. Enjoy!
4761847
Back in '64 My buddy and I found this in his dad's album collection. It bacame a big favorite then and 47 years later it is still right up there next to Time Out for the greatest of the great Dave Brubeck recordings.

From the opening, when you're riding down the trail with the boys on horseback (listening to jazz, no less!) in "Ode to a cowboy" you hear that this is some fine Brubeck and Desmond. The swinging "Summer Song" brings Dave to the ears in the same manner that "Yonder for Two" allows Paul to stretch out with his always-tasty sax - this is definitely when the band was deeply in the groove that brought them their well-deserved world-wide fame.

The fourth track "History of a Boy Scout" is very hard to sit still to..This is some great driving drum kit action from Joe Morello and the 20 fingers of Norman Bates on the stand-up bass. The rhythm section drives this wonderful composition with Dave and Paul filling in the top.

And then there is the great "Plain Song" - It is not at all hard to picture the endless asphalt and tumbleweeds in Kansas while looking out of the windows in your black and red '54 Nash when this hypnotic tune is in control.

"Curtain Time" is another fine tune - but along comes "Sounds of the Loop" and as we're driving into Chicago with the boys things start getting real exciting as Joe Morello breaks into his drum solo. About the time that he is sounding a whole lot like two drummers at once, the song gives way to the quiet "Home at Last" closing track, and all we have is Dave, and a whole lot of his wonderful piano.

This is the collection of songs that my friend and I used to listen to- and really enjoy.  And the Nash is long gone.

The CD I received here from Amazon containe an extra two tracks at the end, both fine tracks.
1070117
It's a pleasure to meet one of the true Great Recordings of the Century. It's also fortunate that the Amazon reviewer so carefuly describes the virtues of this exquisite, in some ways unsurpassed reading of Pelleas et Melisande.  Karajan had already displayed his gifts as a Debussy conductor before 1978, but this opera is much harder to bring off than, say, the La Mer or Prelude to the Afternoon of a Faun. Inspired by Wagner, Debussy created a unique Pelleas world that is as distinctive as the Tristan world, though perhaps its total opposite.

Karajan manages to draw us into this singular world with total involvement. The Berlin Phil. plays with more richness and sonority than any of the French orchestras to be heard in Pelleas--let's be frank, there was never a Parisian orchestra, then or now, that could hold a candle to the Berliners. The principal singers--Stilwell, von Stade, and Van Dam--have enough dramatic weight to stand up to Karajan's all-encompassing orchestral sound, which says a lot. One could argue that Van Dam and von Stade are the greatest modern exponents of Golaud and Melisande--the young von Stade's voice is blessedly free of the fast beat that came to mar it later on. This is not to take away from Stilwell's ardent Pelleas; I particularly like the fact that his baritone inclines toward the tenor range.

In sum, if you are a lover of this enigmatic and elusive opera, Karajan's EMI set, always a good-sounding recording but now even better in its latest remastering, is a must-listen.
1827529
The pairing on record of the 'Sinfonietta' and 'Taras Bulba' of Leos Jan&aacute;cek has long made sense, since each work fits comfortably on one side of an old LP record with room to spare.  This doesn't matter so much in the age of the CD and the age of the download, of course.  This reviewer's personal benchmark recording is the 1983 Decca/London recording with Sir Charles Mackerras and the Vienna Philharmonic (originally recorded in 1980).  Interestingly, these recordings with V&aacute;clav Neumann and the Czech Philharmonic Orchestra were made in 1982, almost contemporaneously.

By comparison with the Mackerras/VPO recordings, Neumann and the Czech Philharmonic have a more relaxed, less sharply biting feel to their sound, as well as a "tangier" timbre and vibrato feel in the brass, immediately noticeable in the opening fanfare of the 'Sinfonietta'.  However, at the same time, there is perhaps a bit more natural ethos to the Czech Philharmonic performances, which in principle shouldn't be a surprise, as the orchestra has had both works in its repertoire for decades.  In fact, as the liner notes point out, the Czech Philharmonic first performed 'Taras Bulba' on Jan&aacute;cek's 70th birthday (November 9, 1924), just 3 years after the work's world premiere in Brno.  One nice feature about the recorded sound in 'Taras Bulba' is the clarity and balance of the organ with the orchestra.

If you already have the VPO/Mackerras recording, this recording by Neumann and the Czech Philharmonic probably won't displace it.  However, on its own terms, it's a perfectly fine and enjoyable reading.
784428
Upon its release PARSLEY, SAGE, ROSEMARY & THYME was regarded as a landmark recording; time, however, has taken a toll.  In the wake of the many artists Simon and Garfunkel inspired, their mixture of folk-rock and electronics no longer seems as fresh as it once did, and the album is beset by two youthfully pretentious songs and a number of cuts that have become distinctly dated.

Even so, this remains a remarkable recording.  Few duos have had such a remarkable vocal marriage as Paul Simon, with his high baratone and emphatic yet casual delivery, and Art Garfunkel, with his more disciplined yet absolutely angelic tenor.  And this recording offers quite a few selections of the duo operating at the height of their powers.  The opening "Scarborough Fair/Cantile" is a superlative mixture of folk-inspired yet delicately socially-concious lyrics sung in a lovely counterpoint against guitar and harpsichord; "Homeward Bound" was a popular hit, and deservedly so; and "The 59th Bridge Song (Feelin' Groovy)" has been often interpreted by others but never so beautifully as it is here.

But the real winners are the lesser known selections.  The stand out is easily "For Emily, Wherever I May Find Her," a dreamy, free-form balland that provides a stunning showcase for Garfunkel's somewhat underused powers as a lead vocalist; "The Dangling Conversation" and "Flowers Never Bend With The Rainfall" are also brilliant pieces of work, blending astute observation, self-awareness, and subtle social commentary into seamless wholes.  It is music such as this upon which the Simon & Garfunkle reputation rests.

But there are two missteps.  The first of these, "Patterns," is sheer youthful self-indulgence and pretentiousness; the second, "A Poem on the Underground Wall," never really forfills its promise and leaves one feeling that the piece ended before it should.  And then there are the dated selections.  "The Big Bright Green Pleasure Machine," a clever slap at consumerism, is very much of its place and time and might well have been done by any singer of the 1960s and 1970s; "A Simple Desultory Philippic," with its parade of names and acid take on Bob Dylan, is likely to mystify any one who didn't actually survive the 1960s; and although it remains remarkably powerful, "Seven O'Clock News/Silent Night" is also uniquely of its own period.  In terms of execution, all these songs--including the two I consider "missteps"--are extremely well done, but contemporary listeners without a frame of reference for them are likely to find them problematic at best.

Final thought: for all it's charms, this is not really the recording I would use to introduce a newcomer to Simon and Garfunkel; those unfamilar with their work would do better to select a "Greatest Hits" compilation.  But for established fans, PARSLEY, SAGE, ROSEMARY & THYME is an essential.
1154605
This is a superb release; one of the best for 2013.  The quartet interplay is fantastic and the compositions are very interesting.  The title cut is also on drummer Harris Eisenstadt's Canada Dav 3.  Everything is understatedly excellent here with all participants listening closely and reacting to each other.  I can't recommend this too highly.
586396
Whenever listening to original limited edition Duets & Duets II, feeling good as the combo of both are a great musical trip with The Master and that incredible cast of truly magnificent duet partners. Sorry, but don't care these wondrous duets were created in various studio locations around the country because it is all done so well and the listener can feel affectionate connection with all great duet partners plus arrangements and production values are the best with vocal performances richly varied & brilliant! Only regret was that Duets III didn't happen as this type of greatness will never happen again and would have loved a Barry Manilow duet as I know they were great fans of each other...Sinatra started his own personal Manilow collection from the beginning.  Standouts abound naming a few "I've Got You Under My Skin" with Bono is incredible, "Come Fly With Me" with Luis Miguel a stunning take on the classic, "Bewitched, Bothered and Bewildered" with Patti LaBelle moving and spectacular, "Moonlight In Vermont" with Linda Ronstadt dreamy and romantic, "What Now My Love" with Aretha a vocal tour-de-force, big-band jazzy treatment "Fly Me To The Moon" with Jobim completely classic, "Where Or When" Steve and Eydie a winning and classic trio, "Embraceable You" with Lena Horne moving and sentimental, "Luck Be A Lady" with Chrissie Hynde intoxicating, "For Once In My Life" a soulful and inspired paring with Gladys Knight and Stevie Wonder,  "How Do You Keep The Music Playing?/My Funny Valentine" with Lorrie Morgan torchy and soulful, "I've Got A Crush On You" with Barbra Streisand a glorious vocal blend, "I've Got The World On A String" with Liza Minnelli showcase two music legends in peak form and "All The Way/One For My Baby (And One More For The Road) with Kenny G a haunting and masterful performance that stays with one long after it's over.  Magnificent collection is a must have for anyone featuring superb sound and classy packaging...Mr. Frank Sinatra we love and miss you and thank you for leaving behind this tremendous musical treasure for all of us life-long fans to savor and enjoy over and over again!!!
1099262
These are two of the truly classic items of the history of recorded music. The young Menuhin's 1930 recording of Elgar's violin concerto was the second recording of the work (I have not heard Albert Sammons's earlier version). The project came about, however, because Fred Gaisberg wanted a recording of Elgar conducting the work, and Menuhin was subsequently chosen as a youthful and pliant performer `without prejudice who would respond best to his instruction'. The work's dedicatee, Kreisler, felt that Elgar was a poor conductor, but this recording certainly belies that sentiment - the orchestral part is sensitive, attentive and utterly musical, the orchestral sound is gorgeous and is the splendid foil for Menuhin's graceful, beautiful, zestful and - indeed - youthful playing; certainly a different experience than, say, Kennedy many years later.

Even though this is a magnificent performance, superbly phrased and shaped and paced, I wouldn't want to be without alternative recordings, however. For one thing, Menuhin's account downplays the fervor and urgency in favor of wistful lyricism, and although the results are immensely satisfying, more dramatic and urgent approaches reveal facets of the work not exhibited here. Another thing is the sound quality; of course, no one coming to this performance would expect contemporary state of the art sound, and the sound here is certainly listenable. It is clear and relatively bright, but the fullness of tone is missing a little, and the balance between soloist and orchestra isn't always perfect.

No such complaints about the coupling. For the cello concerto under Beatrice Harrison I'd also be more inclined to say that it remains unsurpassed. Recorded in 1928, this authoritative performance is deeply expressive, yet with a dignity and graciousness that is missing from most later accounts. Gorgeously molded and wonderfully phrased throughout, I have never, I think, been as moved by a performance of this pinnacle of the cello repertoire as I have been by this one. The cello tone itself is warm and wistful and wonderfully rich, and the orchestral accompaniment magnificent.

And as for the sound quality, it is quite vivid and present, capturing both the depth of tone, the opulent sheen and overall well-balanced. Of course, this is a 1928 recording, and it does show its age, but I've heard much worse efforts dating from much later (and few contemporaneous recordings that can match it). In short, if you are still unfamiliar with the music-making on this disc, I urge you to obtain this disc - wonderful performances (especially the cello concerto) of gorgeous music.
2258419
Great audio / video package! Two of my favorite performers together. It doesn't get any better than this ... and at a great price too!
2029034
JSP has done it again! I'm a big fan of their CD box sets--I've got the Jelly Roll Morton set, the Louis Armstrong set, and the Carter Family set. They're all excellent! This one is no exception. The remastering is by John R. T. Davies, so naturally, the sound is superb. From the earliest 1931 recordings through the 1938 sessions here, the recordings are crisp, clear, and rich-sounding. Each piece is a gem. The Mills Brothers voices blend so smoothly together, I could listen to their records for hours. And with this 5-disc box set I *can* listen for hours! Each disc is packed full, and I appreciate having the alternate takes. Occasioanlly on these discs, the Mills Brothers are joined by Louis Armstrong, Bing Crosby, Alice Faye, Cab Calloway, Ella Fitzgerald, Dick Powell, and a few others. The liner notes are good, and for five CD's, you can't beat the price. My only complaint--and it's a small one--is while the recording dates and master numbers for all selections are given, no indication is made of the original record labels or numbers.
2038693
I am so grateful to Amazon for including this oustanding classic jewel of a record in the mp3 selection.  Really, since discovering Peggy Lee a few months ago, I cannot help being continually fascinated by her tone, her great musicality and something that is sorely missed:  a sheer good taste when it comes to interpreting songs.  As with my other favourite "Sugar 'n Spice" (from a year before, 1962), this one stands out as an all-time classic to me.
2489790
This is a superb program combining two LP's from Duke Ellington's short-lived Reprise period onto one disc. "Afro Bossa" (1963) is one of the Ellington orchestra's finest studio recordings from the 1960's, surpassed only by "And His Mother Called Him Bill" and "Far East Suite," but I'm not sure that it ever received the recognition it deserved. The music is wonderfully atmospheric, with thematic roots that go back to some of Ellington's most imaginative compositions from the '40's. Pairing it with the relatively obscure "Concert in the Virgin Islands" (1965), which is actually a studio recording, was an inspired idea. While there are a couple of old chestnuts such as "Chelsea Bridge" and "Things Ain't What They Used to Be," the tracks written specifically for this album have a sense of continuity with "Afro Bossa," and the overall the program is remarkably compatible.

The recorded sound is excellent. Highly recommended.
280671
The performances, needless to say, are simply unbeatable. The transfer, by Ward Marston, is very well done (although the Schubert sounds even fresher on the newly re-mastered "Great Recordings of the Century" version, which I have also reviewed). This release includes not only the Schubert, which is the greatest of all the Cortot, Thibaud and Casals recordings, but also the Haydn " Gypsy Rondo" trio and the Beethoven "Kakadu" Variations (recorded at the same sessions as the Schubert, but never released on 78s). At Naxos' bargain price, you should buy it. And the other releases in the series as well. Music making such as this is not heard today. It comes from a world which has gone - forever. Strongest recommendation.
4652570
Piano duets can be an acquired taste. They can sound heavy and cluttered, or overcautious as the performers try not to get into each others' way. This is a particular problem for stride piano duets.
However, none of this applies to this disc. Dick Hyman and Ralph Sutton are the finest living stride pianists, and this 1996 live recording of them in duo is a delight from start to finish. The tracks are, for the most part, well worn standards, but they are given invigorating readings. Probably the highlight is the wonderful performance of Walter Donaldson's "Changes", but "After You've Gone" comes a close second. Hyman takes "Out of Nowhere" as a solo, with Sutton contributing "Echoes of Spring / Passionette".
For fans of Hyman and Sutton this disc is self-recommending. For other lovers of jazz piano, this is an enormously enjoyable disc.