| | Bruckner: Symphony No. 7; Beethoven: Egmont Overture; Prometheus Overture CD Halle Orchestra CDS
Bruckner: Symphony No. 7; Beethoven: Egmont Overture; Prometheus Overture Music | List Price | $17.98 (You save $2.93) | | Label | BBC Music | | Orig Year | 9/19/2006 | | All Time Sales Rank |  25070  | | CD Universe Part number | 7251148 | | Discs | 1 | | Release Date | Sep 19, 2006 | | Recording Time | 1 17 |
Bruckner: Symphony No. 7; Beethoven: Egmont Overture; Prometheus Overture Review
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Bruckner: Symphony No. 7; Beethoven: Egmont Overture; Prometheus Overture Songs | 1. Symphony No. 7 in E major, WAB 107 (62:01) | | Common Name | Symphony 7 Wab 107 | | Composer | Anton Bruckner (1824 - 1896) | | Conductor | John Barbirolli | | Genre | Romantic Period / Symphony | | Date Written | 1881-1883 | | Period | Romantic | | Country | Austria | | Venue | Free Trade Hall, Manchester, England | | Recording Date | 04/26/1967 | | 2. Egmont, incidental music, Op. 84: Overture (8:31) | | Common Name | Egmont Incidental Music | | Composer | Ludwig van Beethoven (1770 - 1827) | | Conductor | John Barbirolli | | Genre | Classical Period / Incidental Music | | Date Written | 1809-1810 | | Period | Classical | | Venue | Free Trade Hall, Manchester, England | | Recording Date | 12/01/1966 | | 3. Die Geschopfe des Prometheus (The Creatures of Prometheus), ballet, Op. 43: Overture (5:42) | | Common Name | Die Geschopfe Des Prometheus The Creatures Of Prometheus | | Composer | Ludwig van Beethoven (1770 - 1827) | | Conductor | John Barbirolli | | Genre | Ballet / Romantic Period | | Date Written | 1800-1801 | | Period | Romantic | | Country | Germany | | Venue | Royal Festival Hall, London, England | | Recording Date | 04/30/1969 |
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All songs written by Arturo Sandoval except "Groovin' High" (John "Dizzy" Gillespie), "Tres Palabras" (Osvaldo Farres/Ray Gilbert) and "Suavito" (Maria A. Gomez).
DANZON won the 1995 Grammy Award for Best Latin Jazz Performance. "A Mis Abuelos" was nominated for Best Instrumental Composition and Best Arrangement On An Instrumental.
Trumpeter Arturo Sandoval comes close on Danzon to cutting the Afro-Cuban masterpiece everyone's awaited since his glorious sound first surfaced. From the animated solos on "Africa," "Tres Palabras," and "Conjunto" to the flowing, crisply articulated lines on "Groovin' High," Sandoval plays with imagination, verve and flair, displaying a more original and distinctive concept than on any of his GRP albums to date. He's joined by many top Latin musicians, plus special guest ringers like Vikki Carr, Bill Cosby, and Gloria Estefan, but there's no pandering or stylistic compromises to integrate them into the proceedings. For those who've longed for Sandoval to cut loose, here's the evidence that justifies his reputation. ~ Ron Wynn
Includes liner notes by Fernando Gonzalez.
Personnel: Arturo Sandoval (vocals, trumpet, flugelhorn, piano, synthesizer, timbales, percussion); Bill Cosby (vocals, timbales, percussion); Rita Quintero, Gloria Estefan, Peter Gonzalez, Cheito Quinonez, Vikki Carr, Willy Chirino (vocals); Rene Toledo (guitar, acoustic guitar); Giovanni Hidalgo (quinto, timbales, percussion); Juanito Marquez (tres); Ed Calle (flute, saxophone, tenor saxophone, baritone saxophone); Dave Valentin (flute); Kenny Anderson (alto saxophone, tenor saxophone); Roger Ingram (trumpet); Dana Teboe (trombone); Danilo Perez, Felix Gomez (piano); Richard Eddy (Fender Rhodes piano, synthesizer, drums); Orlando Hernandez (drums); Carlos Goméz (congas, bongos, guiro, percussion); Juan Nogueras (congas, percussion); Rigo Herrera (congas).
Liner Note Author: Fernando Gonzalez.
Recording ...
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If you play the trombone, or are a ragtime fancier, then you just might know something about ace trombonist and legendary bandleader Arthur Pryor. He was a household name in America and much of the world in the first decades of the 20th century, but Pryor faded into memory, like so many things from that idealistic time, after World War I shocked everyone into what an awful place the new, technologically oriented world could be. Fortunately, one of the new technologies about which Pryor was particularly enthusiastic -- recording -- helped to preserve his work even as his entire band's library has burned and many of the old surviving photographs of his likeness have faded past rescue. Archeophone's Arthur Pryor collection Echoes from Asbury Park ain't no Bruce Springsteen record, folks. It is a blast from a very different past: one with kids in knickers nibbling away at those new-fangled ice cream cones, when ladies wore gigantic hats well-peppered with the remnants of many a dead bird, and a gentleman only used foul language in the presence of other gentlemen, thank you.
Pryor's recording career under his own name stretches from 1903 to the mid-'20s, but Echoes from Asbury Park wisely limits its compass to the period between 1903 and 1913, when he worked most extensively with the Victor record company and maintained a full-time touring band. Production consultant David Sager, who also provided excellent notes for this project, organizes the program into two distinct halves representing noontime and summer-evening concert programs as might have been heard in New Jersey's Asbury Park. It is strongly suggested that the listener observe the break in between the two; listening straight through might induce a case of ennui somewhere around "Aloha Oe." If you give up there you will miss all of the nifty ragtime novelties such as "Razzaza Mazzaza" and the knockout precision of Pryor's Band in such fast, difficult pieces as "Dance of the Weasels." There isn't a bounty of Pryor trombone solos as may be found on other reissues, as this collection is devoted to Pryor's Band as a whole. Likewise, some might decry the exclusion of certain Pryor "hits" that are still reasonably well known, such as his record of "The Teddy Bears' Picnic" (issued as one side of Victor 16001, the company's first two-sided record in a regular series) or any of the several recordings he made of his own "The Whistler and His Dog." Nevertheless, ...
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Bruckner: Symphony No. 7; Beethoven: Egmont Overture; Prometheus Overture
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