| | Beethoven: Violin Concerto, Romances / Zimmermann, Tate CD Beethoven / Tate / Zimmermann CDS
Beethoven: Violin Concerto, Romances / Zimmermann, Tate Music | List Price | $6.98 (You save $1.29) | | Label | Angel Records | | Orig Year | 4/20/1999 | | All Time Sales Rank |  28222  | | CD Universe Part number | 1031300 | | Catalog number | 73283 | | Discs | 1 | | Release Date | Apr 20, 1999 | | Recording Time | 1 2 |
Beethoven: Violin Concerto, Romances / Zimmermann, Tate Review
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate Music Composers on Beethoven: Violin Concerto, Romances / Zimmermann, Tate CD : Ludwig van Beethoven Conductors on Beethoven: Violin Concerto, Romances / Zimmermann, Tate CD : Jeffrey Tate Performers on Beethoven: Violin Concerto, Romances / Zimmermann, Tate CD : Frank Peter Zimmermann Purchase Beethoven: Violin Concerto, Romances / Zimmermann, Tate To buy, Click on price to add to cart | Doors Absolutely Live CD (1970)
Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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As for the Lizard King, his blues growl is put to perfect use on "Backdoor Man," whereas his inner poet takes over on the prophetic "When The Music's Over" and the jazzy, metaphysical "Universal Mind." Morrison's most dramatic turn comes in the personage of a Southern preacher on the intro "Petition The Lord With Prayer" that leads into a medley of "Dead Cats, Dead Rats" and "Break On Through #2." In truth, ABSOLUTELY LIVE does not measure up to the Doors' more meticulously crafted studio efforts, yet it includes material that doesn't appear elsewhere, and is a satisfying snapshot of the band's live show.
ABSOLUTELY LIVE was taped during a United State tour that took place between August 1969 and June 1970, and shows off The Doors' strengths as a live band and the way they kept sets interesting by including a broad cross-section of music. Where else could you hear Bo Diddley's "Who Do You Love" sidling up next to Kurt Weill's "Alabama Song?" Ray Manzarek's organ and John Densmore's drumming keep pace throughout as Robbie Krieger's ...
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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Six years after ...
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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In the third HALLOWEEN installment (which has nothing ...
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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Beethoven: Violin Concerto, Romances / Zimmermann, Tate
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Pianist Jacques Loussier has been creating jazz trio arrangements of classical works by Bach, Handel, Debussy, and others for almost four decades, with results that vary in success according to a fairly consistent pattern: the closer his source material gets to the Baroque period, the more successfully it blends with his decorous chamber jazz style. The further into the 19th century he gets, the more soggy and uninspired that fusion becomes. A comparison between, say, his charming and sprightly settings of Handel's Water Music and this rather forced and mopey-sounding attempt at a jazz arrangement of the Allegretto section from Beethoven's Symphony No. 7 will demonstrate the point. When the sparkling swing of his bop-inflected piano style is set against the foursquare rhythms of Handel's music, the result is greater than the sum of its parts; the sweet melodic simplicity of Handel's compositions is brought out and accentuated by the driving swing of the rhythm section, and Loussier's improvisational variations bring out aspects of those melodies that you might have missed otherwise. But Beethoven's music relies, in part, on his own rhythmic conception for its power, and the grandiose emotion of his symphonic construct is lost in a piano-trio format. Note in particular the sludgy results when Loussier and his crew tackle the third variation in this program; instead of being freed from rhythmic bondage, this music feels like it was forced into a straitjacket. Loussier is right to take chances with his music, and he should be praised for daring to mess with the masters in this way. But it should come as no surprise that some of his experiments are more successful than others. ~ Rick Anderson
French musical savant Jacques Loussier boasts an illustrious background that includes admittance to the prestigious Parisian Conservatoire National de Musique while still a teenager. His interests in rock -- counting Pink Floyd's The Wall and the Lords of the New Church's Method to Our Madness -- as well as jazz have prevented the artist from being categorized by style or genre. Released in 2003, Allegretto from Symphony No. 7, Theme and Variations features Loussier (piano) in a trifecta alongside Ben Dunoyer de Segonzac (bass) and André Arpino (drums) interpreting ten variations on the Allegretto portion of Ludwig van Beethoven's Symphony No. 7. For those unfamiliar, the term Allegretto (translated as "rather fast") refers to the composition's tempo, encompassing a speed of less than 120 but exceeding 108 measures per minute. As he had done in prior outings that incorporated the respective works of Bach, Debussy, and Handel, among others, Loussier approaches the composition with an ear toward the third stream, blending classical pieces with a decidedly jazz orientation. For purists of either, there are the inevitable discrepancies in the trio's elucidations and reinventions. Less critical listeners will find much to enjoy, gaining a better understanding if not appreciation for both in the process. When removed from the traditional context, Symphony No. 7's inherent pacing and overall sentiment are inextricably transformed. This is not only in essence the purpose of the fusion, but also results in the melodies being taken to ...
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