The Clapton Chronicles
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Audio CD (12 October, 1999)
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Editorial Review

If this were your first exposure to Eric Clapton, a bit of bewilderment would be in order. This is the legendary guitar icon? This is (as his early apostles once proclaimed) God? Ranging from the mid-'80s through the late '90s, The Clapton Chronicles owes less to the groundbreaking blues-rock of Clapton's '60s and '70s classics than to the polished-to-a-glare pop of Phil Collins, who produced one of the tracks included in this 14-song anthology. His reinterpretation of his greatest recording--the once-gripping, now-placid "Layla"--perhaps best illustrates Clapton at middle-age: Who wants to bask in his darkest period? Not Clapton, who converts his surging, purging charge into a soothing stroll. And perhaps not fans of such docile MOR fare as "My Father's Eyes," "Tears in Heaven," and the two new tracks, "Blue Eyes Blue" and "Get Lost." --Steven Stolder ... Read more

Reviews (93)

Pathetic (some songs are worthwhile)
I hate this CD, some of the songs are so freaking pop...Honestly, I
don't want Eric Clapton to become mainstream, I don't really care if he
does either. So if you don't like pop ( I don't) but just want to have
this CD to try out do it, there's actually some good songs on it, without
them going TOO pop...Like for example, Layla unplugged, and some other songs that are pretty blueishy and nice

The Clapton Chronicles
This man, who has struggled to be recognized, has finally broke through. He is one of the best blues/contemporary musicians that there ever will be. My hat is off to you Eric. This compilation may not be my absolute favorite, but because of the songs I think it definitely ranks up there with EC compilations.

to the guy who said this is like a boring pop album
Clapton is simply the greatest guitarist who ever lived. I am 15 year-old guitarist and i have listened to hendrix. i am not impressed by his guitar work like i am by claptons. Claptons guitar work blows my mind every time i turn on one of his cd's. just because this cd does not have some of his more rockin songs (cocaine, shes gone, sunshine of your love, ect...) does not mean it is not a great cd. I like all of his cd's (pilgrim and reptile included). ... Read more

Asin: B00001U03Q
Subjects:  1. Pop    2. Rock   

Perpetual Motion
Average Customer Review:
Audio CD (02 October, 2001)
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Editorial Review

Bela Fleck is one of the greatest five-string banjo players performing today. Beginning in the 1970s, he honed his lightning-fast chops performing bluegrass, then moved on to contemporary jazz and fusion sounds. With this album, he broadens his horizons once again by performing an entire program of classical music transcriptions. Reminiscent of classical guitar albums by John Williams (who makes a guest appearance here), the disc traverses a wide range of repertoire--from Chopin mazurkas to Bach's Two and Three Part Inventions. Throughout, Fleck displays a feathery touch on his banjo, and his instrument offers a pleasant, brassy tone with very little twang. The technique he displays on Perpetual Motion is astounding and a refreshing change of pace from the smooth grooves found on the banjoist's Flecktones recordings. The arrangements are generally minimalist and understated, but violinist Joshua Bell, bassist Edgar Meyer, mandolinist Chris Thile, and percussionist Evelyn Glennie join in on this groundbreaking disc. Bluegrass purists may be disappointed (this is a far cry from the free-spirited, folksy abandon found on Sony's Short Trip Home and Appalachian Journey CDs), but classical fans will be astounded by how perfectly natural Fleck's banjo sounds on these works. --Jason Verlinde ... Read more

Reviews (37)

Time well spent.
As an admirer of all types of great music, I enjoy this album as a long-time bluegrass lover and a burgeoning classical music fan.This is a must for your collection!

Sha-zam! Don't hesitate - fanTAStic!
I've long grown a bit tired of the sound of the Flecktones, a fantastic and wonderful and upbeat and original sound that simply wasn't branching out from its perfectly fine and unique space despite a number of albums. And even Bela's solo efforts were stagnating a bit, imo, despite the plethora of studio guests.

But, man oh man, this is something indeed! Really wonderful pieces, presented in creative ways, by some incredible talents. Forgiving some sound quality concerns, this is flawless!

Stunning!
. . .
Fans of classical music and the banjo will both be stunned by this CD.

Period.

. . . ... Read more

Asin: B00005OSX6
Subjects:  1. Chamber    2. Chamber Music & Recitals    3. Classical    4. Classical Crossover    5. Keyboard    6. Progressive Bluegrass   

Telluride Sessions
Average Customer Review:
Audio CD (24 March, 1998)
list price: $9.98 -- our price: $9.98
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Editorial Review

This acoustic supergroup joined forces in the summer of 1988,and the result was a true landmark in "new acoustic" music. As ifbluegrass (and even "newgrass") was too constricting, the quintet--SamBush (mandolin), Jerry Douglas (dobro), Bela Fleck (banjo), MarkO'Connor (violin), and Edgar Meyer (bass)--incorporates classical-stylethemes and arrangements within the context of bluegrassinstrumentation. Their unbelievable technique and musical ability wasnever in question; however, what makes the album special is the uncannyblend of precision and freedom, of improvisation and structure. Each ofthe 10 compositions were written by a different twosome (do the mathpermutations). Playful bluesy lopes ("Pink Flamingo") accompany tingesof reggae ("The Locks of Dread"), Celtic ("Macedonia"), and MiddleEastern ("Blue Men of the Sahara") music. There are urgent burners,somber mood pieces, and tender ballads, all delivered with grace. --Marc Greilsamer ... Read more

Reviews (42)

Oh So Good
This is a terrific album.I think what really makes it unique in the newgrass/new acoustic music genre is the lack of a guitar - lead or, more significantly, rhythm - on most of the songs.To me, this gives it a whole other sound and texture.

And what can be said about these musicians?You'd have to go back to late Fifties Miles and Coltrane's classic quartet to find a small combo on par with these guys - virtuosos all.

What the funk?
In my opinion, this album is something really special, and what a great range of styles get covered! I would have liked to hear more energetic solos, but I think that these great musicians make up for that in the creativity of this music. There were jazzy tracks, traditional or classical tracks, and some really funky tracks with a real groove!

Still A "Must Have" Album
These 5 newgrass musicians simply are the best of the best *at* their best.Stop wasting time and buy this album!'Nuff said. ... Read more

Asin: B000006EJJ
Subjects:  1. Bluegrass    2. Country    3. Pop   

Heroes
Average Customer Review:
Audio CD (14 September, 1993)
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Editorial Review

Heroes finds the self-styled "New Nashville Cat" playing fiddle duets with 14 of his idols. Although the guests come from the fields of jazz (Jean-Luc Ponty and Stephane Grappelli), classical (Pinchas Zukerman), worldbeat (L. Shankar), bluegrass (Byron Berline and Kenny Baker), hillbilly blues (Vassar Clements), old-timey (Benny Thomasson, Terry Morris and Texas Shorty), Cajun (Doug Kershaw), Texas swing (Johnny Gimble), country rock (Charlie Daniels) and Nashville sessions (Buddy Spicher), there's a bit of country fiddling in every performance. O'Connor is more interested in the similarities between these styles than the differences, and the common ground is American frontier dance music.Ten of the 14 tracks are instrumentals, and as anyone who recognizes the above names might guess, they're filled with some astonishing virtuoso performances. To hear O'Connor, a four-time National Fiddle Champion by the time he was 22, trade licks with French jazzman Jean-Luc Ponty or the "Louisiana Man" himself, Doug Kershaw, is to rediscover what the violin can do as lightning-fast melodies and variations slide by in long legato phrases. Most of the pieces are built atop a chunky rhythm section, but the fiddles are pushed to the front of the mix, where they can "sing" like vocalists.And "sing" they do, for O'Connor has wisely chosen these pieces for their personality and melodic pleasure rather than their technical challenges. Vassar Clements, for example, could certainly play a more complicated and showy piece than the slow blues, "House of the Rising Sun," but it's unlikely he could play anything as expressive. Likewise, Johnny Gimble can play a whole lot faster than he does on his signature tune, "Fiddlin' Around," but he'd be hard put to play anything as catchy and fun. And it would be difficult to find an instrumental as sweet and eloquent as the airy fiddle lines played by the 85-year-old Stephane Grappelli on Rodgers & Hart's "This Can't Be Love" and Fats Waller's "Ain't Misbehavin'."Not all the distinguished guests are fiddlers. Mandolinist Bill Monroe and fiddler Byron Berline reunite 25 years later to reprise their composition, "Gold Rush," with Berline's regular partners, guitarist Dan Crary and banjoist John Hickman. On another Monroe composition, "Jerusalem Ridge," O'Connor and Monroe alumnus Kenny Baker are joined by bluegrass legends, dobroist Josh Graves and mandolinist Sam Bush. And the album's best track, "House of the Rising Sun," features Bush, dobroist Jerry Douglas and guitarist Russ Barenberg behind O'Connor and Clements. To hear the fiddles and Dobro bending notes into weary moans and anguished groans on this old song about a brothel is to understand why some songs just don't need a vocal--and why the fiddle is still American music's best link to its past. --Jeffrey Himes ... Read more

Reviews (9)

Virtuosity without cohesivity
There's a problem with the theme of this album. Mark O'Connor plays with his hero's on their material, often their signature pieces, and his heros are varied. When the album takes off with the very hot "New Country", you'd almost imagine you'd put on Jean-Luc Ponty instead of Mark O'Connor. Which immediately got me wanting to hear the rest of Ponty's "Imaginary Voyage". Instead you get "The Devil Came Back to Georgia" with Charlie Daniels and vocal by Johnny Cash! Talk about bad segue! The album has an uncoordinated feel, like a bad college FM station. If you like playing cuts off CD's, this one works. But to put on and listen through, you'll have to concentrate on how much you like great fiddling rather than relax to a great album.

Pure Genius
Immerse yourself in the incredible genius of Mark O'Connor and his amazing chameleon-like creative ability to tease so many different moods and styles from his violin. If you like Cajun music - this is for you.If you like Western Swing - this is for you.If you like foot tapping fiddle with a Celtic slant - then this is for you! Classical? Jazz? Blues? Country Rock?Then yeah - you guessed it - this is for you! This is an absolutely fantastic album - a brilliant collection of melodies that bring together some of today's greatest violinists.Pure Genius.

Mark's the fiddler in the right channel;-)
The tongue-in-cheek brief description above serves to point out that this "Heroes" album of Mark O'Connor is a series of duets between O'Connor and other famous fiddlers of every conceivable genre: blues, bluegrass, Cajun, Celtic, country, jazz, Texas-style; even classical (with Pinchas Zukerman) and Indian "raga-style" improvisations with Lakshminorayana Shankar. The fiddlers include (in addition to Zukerman and Shankar) Vassar Clements, Charlie Daniels, Stephane Grappelli, Doug Kershaw, Jean-Luc Ponty and, in a fitting tribute, Benny Thomasson (O'Connor's initial fiddling mentor), as well as three or four others.

I'm not going to question how it was that O'Connor succeeded in assembling this roster of famous fiddlers (all of whom played roles in his early development of style and repertoire, and who were hence his "heroes"), but just express my thanks that such a project was not only made possible but has seen the light of day in this recording. "Let us not look a gift horse in the mouth."

There isn't a track here that fails to have some phenomenal hot licks on it. Anyone who enjoys fiddling will find something (probably quite a bit) to go ga-ga over in these performances. I certainly enjoy the jazz duets with Grappelli, the echt-classical work with Zukerman, and the sweet tribute to Thomasson, who was to survive the birth of this project by barely a year after his session work. But, like most of O'Connor's projects along these lines, there are inevitably the "jaw-droppers," the tracks that cause one to ask "How'd they do that?" Here are my three favorites:

"New Country," with Jean-Luc Ponty: Simply awesome swapping of jazz-rock fusion hot riffs between Ponty and O'Connor, treasurable because Ponty almost never has been involved in projects with fellow fiddlers.

"The Devil Comes Back To Georgia," with Charlie Daniels: ALL the stops are pulled out on this one, with not only Mark and Charlie sawing away like crazy but with back-up vocals by the likes of Johnny Cash, Marty Stuart and Travis Tritt. Priceless.

"Nomad," with Lakshminorayana Shankar: A real success of an effort on Mark's part to realize an accurate "raga-style" extended improvisation, in duet with Shankar playing on his own invention of a double-necked violin to provide both melody and drone accompaniment. At eight minutes, this is by quite a bit the longest track on the album, but shorter than what a complete and authentic raga might take. I wouldn't have minded a bit had these two guys simply kept right on going.

Is there anything that Mark O'Connor cannot do? I tend to think not. As mentioned in the nice introductory notes by Matt Glaser, the Chairman of the String Department at the Berklee College of Music, "...it's a fiddle player's ultimate garden of delights." Amen, brother!

Bob Zeidler ... Read more

Asin: B000002MJQ
Subjects:  1. Bluegrass    2. Country    3. Pop    4. Progressive Bluegrass    5. Violin   

Bach Unaccompanied Cello Suites: Performed on Double Bass
Average Customer Review:
Audio CD (29 August, 2000)
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Editorial Review

The double bass only recently began to be regarded as a solo instrument, largely thanks to outstanding players who inspired composers to write for it. Until then, its repertoire consisted mostly of transcriptions, usually made by bassists themselves. Edgar Meyer, renowned as a bass virtuoso as well as a versatile, multifaceted composer, has now transcribed the Bach Cello Suites, three of which he plays on this disc. It is a brave and noble undertaking and a remarkable achievement. His command of instrument and bow, including a splendid chord-technique, is awesome, his articulation clean and variable, his intonation impeccable, although, presumably for stylistic reasons, he uses hardly any vibrato. This makes the sound hollow and remote, especially in the low register, which undercuts the expressiveness of the music and Meyer's obvious passionate love for it. His phrasing has a spoken quality; he builds up great climaxes and produces a wonderful resonance with the open strings, changing the Suites' tonality up or down a tone to fit the bass. He favors slow Minuets, and sometimes gets a bit ponderous, but gives the fast dances a lively bounce. His sense of structure and voice-leading is admirable, his rhythm supple but rock-steady, though he inexplicably cuts short some final long notes before repeats. Forget the sound of the great cellists you associate with these works, and listen to this record with a fresh ear. --Edith Eisler ... Read more

Reviews (24)

Fantastic
Edgar Meyer shows his virtuosity in this recording.If you enjoy the sound of a double bass and classical music, you'll love this album.(Amazon.com is missing the second movement of the fifth suite.)

Absolutely breathtaking
I'm a cellist, and I was curious about how a "bass player" would sound playing the Bach cello suites. Boy, was I in for a wonderful surprise. Listening to Edgar Meyer play the suites is a stunning, breathtaking, and inspiring experience. He skims effortlessly along in the higher registers with pristine grace. When he suddenly plays a low note or a chord, the shear power and timbre of the bass astounds me; it literally vibrates in my bones. I'm simply amazed and delighted.

Sublime Sound
In case the listener is not already aware, the program notes provided with this CD give a rundown of the challenges faced by a bassist attempting these suites: larger interval spacing, more frequent shifting and string crossings, and thicker strings with slower reaction times than those of the cello.Meyer likewise acknowledges that he initially used these pieces as technical studies (when he was 12!).

However, that said, these pieces are NOT technical etudes.While Meyer's physical mastery of the instrument is astounding, he gives the works a unique interpretation built upon thirty years of playing these works and from his vast knowledge of the wide variety of musical styles in which he has performed.

Under his fingers, each suite has an entirely distinct character.The Minor Key Suites (No. 2 and No. 5) coming across extremely bleakly, aided well by the naturally darker tone color of the bass.Conversely, Suite No. 1 in G Major has more life and energy that I have ever heard in any cellist's recording or performance of the suite.Due to its tuning, the bass sings more brightly in the key of G than any other.While most cellists present this suite (and particularly the first movement) as brooding and foreboding, Meyer's interpretation sounds joyful and exuberant, and is in my opinion surely closer to what Bach would have imagined for the piece.

Yes, playing the cello suites on the bass at pitch is amazing in itself.Yes, this CD is worthwhile just to hear Meyer's technical mastery.But more importantly, this disc offers a brilliant interpretation of the suites.In my view, it surpasses all other recordings of these pieces, regardless of the instrument of performance.If he released a CD of the other three suites, I'd buy it in a second too. ... Read more

Asin: B00004WK4A
Subjects:  1. Chamber    2. Chamber Music & Recitals    3. Classical    4. Contemporary Bluegrass    5. Contemporary Folk   

Soul of the Tango: The Music of Astor Piazzolla
Average Customer Review:
Audio CD (02 October, 1997)
list price: $17.98 -- our price: $13.99
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Editorial Review

Yo-Yo Ma might seem like an unlikely protagonist for thetango, but this intrepid musical explorer has taken his task seriously,collaborating with experienced tango musicians. Ma even participates in aposthumous collaboration with one 1987 Piazzolla recording. Furthermore, whilehe's obviously the headliner here, he doesn't dominate the arrangements nearlyas much as he does the billing and photography of the disc. While the resultisn't your essential Piazzolla album (that would have to include more of thecomposer's own playing), it's an atmospheric and convincing collection, perhapsa good introduction for those who don't know the music. --Leslie Gerber ... Read more

Features

• Enhanced

Reviews (22)

A Classy CD
Great intro to tango, great to relax and read to.

Great Music BUT - Stupid Sony CD
I love this music - plays great on my CD player, but when I tried to play it on my computer at work, I wouldn't work.Sony wanted me to install something that didn't work on my machine (my computer is farely new), so I ended up having a friend copy the music over to a new CD without all that SONY stuff they use to stop pirating probably.Now I can listen at work and it is wonderful.BUT BEWARE ON BUYING CDs like this!

Very good but not what I heard live in Cerritos
When I first heard Yo-Yo Ma live in Cerritos several years ago, his closing piece was from the yet released Soul of the Tango.
With that music, the subdued audience was enlightened.With only a Cello and a Piano, the music that was created was unbelievable.It was several months before the CD came out and I was a little disappointed that the energy that was present in the live concert did not translate to the CD.I hope that a Live recording or DVD will eventually be released which does capture the real Soul of the Tango. ... Read more

Asin: B0000029XQ
Subjects:  1. Chamber    2. Chamber Music & Recitals    3. Classical    4. Miscellaneous   

Appalachian Journey
Average Customer Review:
Audio CD (21 March, 2000)
list price: $13.98 -- our price: $13.98
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Editorial Review

With the help of some friends (James Taylor and Alison Krauss lend some vocal support), the trio of Yo-Yo Ma, Edgar Meyer, and Mark O'Connor have created yet another fascinating hybrid of chamber music and bluegrass. This follow-up to 1996's Appalachia Waltz is filled with highly lyrical string passages, a homage or two to Copland, and plenty of tracks where Meyer's bass vamps with the best of them. This is reflective (and relaxing) music, lacking the intricate structure of classical music and the rough edges of folk. But, boy, is it catchy! Yo-Yo Ma fans may be disappointed to hear that--aside from the gorgeous "Duet for Cello and Bass"--the cellist takes more of a supportive role on this disc. Still, this is fun music, more intimate than Short Trip Home (Meyer's other crossover project for Sony), but still lively (just check out "1B" or "Caprice for Three"). --Jason Verlinde ... Read more

Reviews (37)

Simply Beautiful
I love this CD - great classical players doing blue-grass type music.It has become one of my favorites and they have included guests such as James Taylor which puts it at the top of my list.If you like classical, country, folk music or bluegrass - or rock and roll, you will like this one - I sure do.

New music form
Years from now music historians may look back upon this trio as the true pioneers of a new style of music that will thrive into the future.Here the fusion of bluegrass, folk and classical music becomes more than an experiment and takes on a life of its own.This is intriguing music that offers something new every time I listen to it.Fresh and exciting, it never fails to put a smile on my face.

this was a feast
This album was my introduction to SACD's Direct Stream Digital format. There is a small sleeve note explaining how it works. This release appears to be SACD Stereo, not Multichannel.

I cannot compare this to the Audio CD version but the sound quality here is amazingly realistic. You can hear the bowing very clearly, and the lower registers of all the instruments are powerful. It is almost as though they are playing in your room. Track 3 with the solo guitar passages was arresting.

Although the classical label is worn lightly here, some of the pieces, particularly the parts which have violin solos, are intensively expressive. The programme deftly blends the whimsical with the poignant.

It would be hard to fault any of the performers here, especially when they are playing their own compositions. Their ensemble playing is magical.

The documentation is excellent, including the lyrics of the two Stephen Foster songs which were arranged for this album.

If this kind of programme is to your taste (there has been some criticism elsewhere of the music itself), this album will be very worthwhile. Artistically, the performances command admiration, and the sound engineering at times leaves you almost speechless. I bought this album just to satisfy my curiosity, and wound up being enthralled by it. ... Read more

Asin: B00004S38H
Subjects:  1. Appalachia    2. Chamber    3. Chamber Music & Recitals    4. Classical    5. Classical Crossover    6. Miscellaneous    7. North America    8. Vocal