1 comments about The Essential Stan Getz.

1. You get what you pay for with this inexpensive LaserLight set. For a jazz novice interested in a bargain, this might be worth buying, since none of the recordings are awful, and they span a range from the late 50s to (I assume) sometime in the 70s. Likewise for Getzophiles, this might be worthwhile to flesh out your collection, though be forewarned that the liner notes, especially for time and place of recording, are pitifully lacking. Disc 1 ("The Song is You") was recorded live in Europe with Stanley Cowell (p), Miroslav Vitous (b) and Jack DeJohnette (d). Typical late sixties drumming and piano styles. If you dig DeJohnette, this might be one to try. Disc 2 ("...with European Friends") sadly doesn't list who those friends are, and was recorded in 1958/1959. Disc 3 was recorded with several different European orchestras, and includes some nice tunes as well as a stinker or two with cheesy organ and pseudo-disco flavoring to at least one song. All in all, I sorta wish I had my $14 back, but with each listen I find a bit more to appreciate.

No comments about Rock Island Line: The Singles Anthology 1955-1967.

No comments about Classical Journey (Box Set).

No comments about Celebrate Me Home/Nightwatch/Keep the Fire.

No comments about Leigh Howard Stevens plays Bach on Marimba.

No comments about Telemann: Concerts & Suites 1734.

No comments about Golden Instrumental Hits.

1 comments about Collection.

1. This is sooooo bad it makes me laugh. The enthusiasm is gone. Just when you expect to feel a tingle up your spine from the original beat the tempo changes in the most disappointing way. One star is one too many.

2 comments about Garrick Ohlsson plays Beethoven in Bellingham.

1. I have lived in this country for so long that I have lost most of my valuable survival skills acquired in the Eastern Europe of the 1960s. One such skill is to buy an item when it is available (that is if you have the money). Later on the item may disappear, sometimes for ever.
   I have let the set of the CD's of Mr. Ohlsson's Beethoven Concerti sit in the Amazon.com's wish-list for too long, and then when I wanted to buy the set, it was not available any more! Luckily for me, it appeared again. I was able to get a new set, never played. I was delighted! The lesson for you out there - get it while you can!
   I had great anticipation but only mild curiosity in respect to these records. I figured that I shall hear some more of the Ohlssonian thunder, which I happen to like. Surprise, surprise, surprise! (Little knowledge is dangerous!)
   Contrary to my anticipation, Mr. Ohlsson has used his thunder only sparingly, even in the places in which many other performers do. Instead, he played with the unspeakable tenderness, ultimate beauty, virtuosity and fast tempo which carried the musical momentum, and with the exquisite unity with the orchestra. I have already discovered that Mr. Ohlsson can impart on the piano the sound of virtually any instrument in the orchestra. He is able to bring the desired tone quality of different instruments with great skill. He can also make the piano sing, as unbelievable as it may sound. You will never hear any harshness in his sound, even in the strongest thunder when he produces it. In these recordings he has surpassed the highest standards for the quality of the tone, and he has given piano the most beautiful voice. Beethoven's sadness, melancholy, drama, passion and other emotions were brought up by the most delicate playing I have ever heard, especially for these concerti. As always, Mr. Ohlsson interprets every note meaningfully, and provides a consistent and emotionally focused interpretation. Typical for Mr. Ohlsson, he grabs you emotionally and does not let you go. There is no way you can just sit there and listen halfheartedly. Instead, you will be completely involved and concentrated. Mr. Ohlsson apparently has a gift to transfer the total focus of his playing to the listeners. You will never wonder off or stumble on the path of his interpretation. He will masterfully carry you through the piece. The orchestra was superb. The usual orchestral modes that I heard before for these concerti were either that the orchestra plays timidly in the background and let the pianist flourish, or that the orchestra goes into the loud style when playing alone, and then fades into the background when the pianist emerges. This orchestra, however, has achieved the artistic unity with the pianist, in which the orchestral and piano parts were merged successfully. As the result, the beauty of both musical parts was maximized. This is exactly how Beethoven would have wanted it, I believe.
   I have to think how to compare this performance of Ohlsson to the glorious standards of music. I now think that Ohlsson is in many ways like Mozart. His genius comes easily to him. He plays with great beauty and can express anything he wishes.
   After listening to these gems of the records, I have quietly retired from my musical library most other records of the Beethoven piano concerti. The record which I have kept is as lustrous and appealing as Ohlsson's, but different. It is that of Dubravka Tomsic.



2. I recently purchased two Beethoven Piano concerto CDs. This set and the other one is Helene Grimaud's, and I like this one much better. I mainly listen to No.4 concerto and his interpretation is rather orthodox and nothing spectacular, but it's more like true Beethoven, while Helene's performace is too Helene. One thing to note on this CD is the sound of the piano. He's using a rebuilt Steinway on this CD and it's sounding excellent, especially in the treble range. This is the true "crystal tone" of a good Steinway piano.

No comments about Country Classics.