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Hunt Lieberson, Lorraine - Sings Peter Lieberson: Neruda Songs CD Cover Art
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Sings Peter Lieberson: Neruda Songs CD

 Hunt Lieberson, Lorraine CDS
5 stars (2 Customer Reviews)

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 Our Price: $12.45  CD
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Category Classical, Live Performances, 20th Century Period, Song, Classical Vocal Crossover, Song Cycle
Sings Peter Lieberson: Neruda Songs Music


Detailed Sings Peter Lieberson: Neruda Songs Music Information



List Price $14.98 (You save $2.53)
Label Nonesuch
Orig Year 12/19/2006
All Time Sales Rank   131    Top 500
CD Universe Part number 7326303
Catalog number 79954
Discs 1
Release Date Dec 19, 2006
Recording Time 32 minutes
Sings Peter Lieberson: Neruda Songs Classical Review


Customer Sings Peter Lieberson: Neruda Songs Reviews 




Average Rating: (5 out of 5 stars) 5 stars

5 stars It touched the Soul`
I for one am very skeptical of transforming poetry into Music. Being a Neruda Fan for many years I could not have imagined such a great work of art, I believe it is a timeless masterpiece that will touch your soul.
Submitted by knobleking (Dallas/Ft.Worth TX,USA) Verified Buyer
Was This Review Helpful? Yes No

5 stars Neruda Songs
Peter Lieberson's songs are an excellent introduction to his music. Ms. Lieberson sings the Neruda Songs with love—her death is clearly a major loss. Peter has very skillfully married Neruda's verse to his music. A masterful set of songs.
Submitted by Todd (New York) Verified Buyer
Was This Review Helpful? Yes No

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Sings Peter Lieberson: Neruda Songs Music


Elements featured on Sings Peter Lieberson: Neruda Songs CD



Composers on Sings Peter Lieberson: Neruda Songs CD : Peter Lieberson

Conductors on Sings Peter Lieberson: Neruda Songs CD : James Levine

Performers on Sings Peter Lieberson: Neruda Songs CD : Lorraine Hunt Lieberson

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This is a Super Audio CD playable only on Super Audio CD players.
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Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums).
Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; Ashley Kahn.
Recording information: Carnegie Hall, New York, NY (11/29/1957).
Larry Appelbaum, the recording lab supervisor at the Library of Congress, came across this tape by accident while transferring the library's tape archive to digital. What a find. Forget the Five Spot recording that sounds like it was recorded inside of a tunnel from the far end. The sound here is wonderfully present and contemporary. More importantly, this band -- which also included drummer Shadow Wilson and bassist Ahmed Abdul-Malik -- had it right on November 29, 1957, at Carnegie Hall. The John Coltrane on this date is far more assured than he had been four months earlier on the Five Spot date and on the initial Prestige side Thelonious Monk with John Coltrane. He'd been with Monk for four months and had absorbed his complex, multivalent musical system completely. It's clear from the opening track, "Monk's Mood," where the pair play in duet, that Coltrane is confident and moving into his own. Monk feels that confidence with his nearly Baroque entrance on the tune. This is a hard-swinging band with two front-line players who know how to get the best from one another. Coltrane knows the music inside out and his solos reflect an early version of his sheets of sound methodology. Check the joyous "Crepuscule with Nellie" for the hard evidence. Coltrane's cue and Monk's arpeggios are wondrous, swinging, and full of fire and joy. Trane's fills on the melody that leads into his solo are simply revelatory, and the solo itself is brilliant. Or check Wilson's cymbal work on "Nutty" before the band kicks it in full force. Even on the knottiest of Monk's tunes, "Epistrophy," Trane shines and takes charge of his instrument while being utterly receptive t

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Recorded in front of a live audience, 2006's SOUND GRAMMAR was the first release of all new material from free-jazz icon Ornette Coleman in nearly a decade. Packed with sonic thrills from back to front, this outing finds Coleman in a quartet that features two bassists. The rhythmic and harmonic interplay between the two basses (one is plucked and one is bowed) creates a rich, resonant field on which the drummer and Coleman (on violin, trumpet, and alto saxophone, alternately) improvise freely. The years haven't dimmed the artist's creativity an iota, and SOUND GRAMMAR proves Coleman's unique, original vision to be as vital as ever.
Sound Grammar was recorded in Germany in front of a live audience in October of 2005 with his new quartet -- Greg Cohen (bass), Denardo Coleman (drums and percussion), Tony Falanga (bass), and Ornette (alto, violin, trumpet) -- it's the first "new" product from Coleman in ten years. That said, with the exception of "Song X," the last song on the program, the other five tunes are new, seemingly written just for this band. The use of two bassists here is not only a rhythmic consideration, but a sonorous one. Cohen picks his bass, while Falanga bows his. This heavy bottom and full middle, as it were, leave room for Denardo to interact with his father. While one can make somewhat logical comparisons to Coleman's At the "Golden Circle" in Stockholm recordings on Blue Note from four decades ago with Charles Moffett and David Izenzon, these are only logistical. This time out, Coleman's band is rooted deeply in modal blues -- check the slow yet intense "Sleep Talking." The intensity level is there but it's far from overwhelming, since this band plays together as one. Nothing is wasted, either in the heads of these pieces or in the solos. This band plays together literally as one, no matter what's happening. Listen t

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