Classical music reviews

Nubian is spoken along the banks of the Nile from Aswan in Egypt down into the Sudan to where the river makes the big bend, but these days Nubian people live in all the big cities of Egypt and Sudan. As a member of the Nilo-Saharan macro-family, it is entirely unrelated to the Arabic spoken by the majority of people of these two countries and has a cultural history going back to the christian Nubian kingdoms of the middle ages. This brings us to this delightful CD on which Kuban, the most popular Nubian singing star, sings in both Arabic and his mother tongue. My favourite track is Sukkar Sukkar Sukkar with its infectious foot-tapping beat, whilst Nouba, (sung entirely in Nubian)is a lovely song about the Nubian homeland along the banks of the Nile. The CD includes a booklet with background info on Kuban and the lyrics to all the songs. I love his music, it's got a very unique flavour not quite the same as most Egyptian or middle eastern music. Happy, uplifting and inspiring.

From Nubia to Cairo was exactly the kind of music I needed to help pull me out of a deep rut of paralyzing apathy. It's an upbeat escape to a far away land. The fact that I have no idea what Kuban is saying (apart from the titles, as I don't have liner notes) only adds to this wonderful feeling of being anywhere but here. I can instead be in a happy place, full of life. These melodies are infectious--you'll have them stuck in your head in no time. I very highly recommend this album.

From Nubia to Cairo is one of my favorite CD's. The opening track "Sugar Sugar Sugar" is guaranteed to lift your mood and make you smile. This is the music of celebration! It is music for weddings, dancing, and happiness.

This was the first chant tape I bought ten years ago. I wore it out and bought it again today. It is the most used piece I have in my collection. It really helps get back in sync with myself.

Absolutely gorgeous, and filled with a deep understanding of the divine feminine. First listen took me into an effortless, scintillating meditation and literally left me speechless. Pagan heaven. I will be using this for many a ritual and meditation. Breathtaking!

I listen to From the Goodness in a special group of people who look for a better spiritual behave and different life

While I won't go as high as 5 stars for this one, I would put it right above 4 (at 4.2 or so if Amazon allowed me). Richard Leech has a nice, lyrical tenor sound that matches up well with the repertoire he selected for this CD. As a former student of voice, I must be frank in saying that he has somewhat of a wobble that creeps in occasionally (the other reviewers seemed to miss that); however, it doesn't detract from the overall performance or effect, and most people probably wouldn't even notice it.

Mr. Leech has an incredible top and is surely one of the rising stars of our time. He doesn't rise to the quality of Ben Heppner or Roberto Alagna, but he is light years ahead of Andrea Boccelli and the host of pseudo-singers that are now haunting the classical CD sections at most music stores. I would have given Leech 5 stars if he had corrected that wobble I referred to, but even with it, he is an excellent singer, and this CD would make a very nice addition to anyone's classical voice collection. I have a feeling we'll be hearing more from Mr. Leech in the future.

The three tenors should not discount Richard Leech as an equal and it would be nice to see him added in as the newest fourth. I sang as a youngster with Richard Leech in Binghamton, New York's Tri-Cities Opera and never realized I would one day see him leading the tenor contingent in opera houses across the world! Mr.Leech sings with both conviction and sincerity, as was taught him by Tri-Cities Opera founders Carmen Savoca and Peyton Hibbitt, whom I'm sure to this day Leech gives due credit. His recording of "From the heart, Italian arias and Neapolitan Songs" is a top notch proof that he should be included with the other great tenors! Binghamton, New York and Tri-Cities Opera has produced some great performers, among them being baritone Jake Gardner and soprano Cynthia Clarey, both peers of Mr. Leech. I recommend that anyone in love with music and opera be sure to purchase one of Leech's recording and see what all the talk is about!

Excellent Choice! I recall hearing Richard back in the early '80s live at the Hollywood Bowl. He was a local tenor favorite developing his career singing with clarity and passion. He sings directly from the heart, without question. Now he is a Metropolitan Opera favorite! This collection of songs shows the tremendous talent of Mr. Leech quite well. He has taken some of the most famous tenor repertoire and made it his own, singing with honesty, sincerity and genuine warmth which can often be left out in place of bravado. It is a powerful display and an excellent choice.

G-Fire - self titled
Boosweet Records
Veteran guitarists Morris O'Connor, Vernon Neilly, Kevin Chokan and Miquel Mega have combined their prodigious talents into a hot jazz fusion guitar feast. From the rocking "Flight to Ecstacy" to the funk groove of "Little Sunflower" and back alley shuffle of "Sundown Blues" these four axe slingers create instrumental music that is sweet one moment and blistering the next. Backed by solid chops of several fine players, this is a must for any connoisseurs of the six string."

G-Fire is the smooth jazz / jazz fusion collection released by Boosweet Records featuring four of the hottest modern day guitarists including Vernon Neilly, Morris O'Connor, Kevin Chokan and Miguel Mega. The set contains three tracks from each artist which build on their already incredible success these artists have achieved with R'n'B icons such as Stevie Wonder, Gladys Knight, Diana Ross, Chaka Khan, George Duke, Billy Paul and The Jazz Crusaders to name but a few. The quailty of the performances needs no introduction.

Vernon Neilly's tracks are more urban with use of an electric guitar sound reminiscent of Larry Coryell or Jay Graydon and the use of a heavy sustain on 'Flight To Ecstacy' gives it an almost Carlos Santana feel and the long sustained notes he achieved on his Yamaha on tracks like 'Samba Pa Ti' and 'Europa'. This track has a driving melody where Vernon exchanges lead riffs with the dynamic Juan Nelson lead bass sound and a marvellous piano break by Cori Jacobs in the Herbie Hancock mould.
'Moonlight In Paradise' is a mid tempo cut with Vernon exchanging melodic duties with saxman Rick Keller on this Larry Carlton meets Kirk Whalum sounding track which radiates an infectious melody which demands attention. 'Passion Quest' continues in the same vein.

All of the tracks were self penned by the artists with the exception of Freddie Hubbard's classic 'Little Sunflower' performed by Morris O'Connor which is an early George Benson type mid-tempo groove with clever chord riffs underpinned by a heavy bass accent and rock steady drumming.
His track 'B'Town' is played on an acoustic flat-top and is a Peter White mid tempo affair with cascading synths providing a tropical feel to this beautiful smooth jazz cut.
"Still Waiting" is another acoustic track which has a simplistic melody draped by the predominent bass synth which harmonises with Morris' angelic playing and more music for a relaxing evening in.

Kevin Chokan's sound is very hip and offers a 70's Tower of Power appeal with the very funky 'Do Da' which has all the appeal of those great funk days of George Clinton and Funkedelic, Blue Magic and early George Duke albums. Roger Smith of Tower of Power actaully plays piano and organ on this track.
'Fanci Panz' continues with Kevin's urban sound coupled with the trumpet of Tim Chokan providing a Tom Brown / Miles Davis harmony to this track which sounds almost Isaac Hayes at times. Kevin's guitar licks and rhythmic wah-wah personally provide me with a 'trip down memory lane' to those great funk albums of the seventies.
'Passin Thru' is another smooth jazz track with Kevin playing on a nylon strung guitar in the Earl Klugh / Ricardo Silvieri ilk and this showcase with the Chris Botti sounding trumpet of Tim Chokan is easy listening smooth jazz personified.

Miguel Mega's tracks add more a free-form exchange appeal to the tracks on offer with the uran sounding 'Wooded' with rasping guitar lead in the Kevin Eubanks vein with a thread of similarity to Slash.
'Rice'N'Beans' is a Weather Report sound with a Jaco Pastorious fretless bass played by Andrei Galli coupling with a soprano sax of Mauricio Fernandes giving it a 'Black Market' feel with a synergy of HerbieHancock piano break played by Daneil Teles. Miguel keeps this fusion on track with searing lead riffs.
'Sun Down Blues' provides a Ry Cooder / Keb'Mo' blues affair which is a welcome addition to a wonderful collection of featured guitarist blended exquisitly by the Boosweet Records team. An album of variety and appeal and available now from major
retailers everywhere.

The concept of this diverse album is to assemble four terrific guitar players to demonstrate their creativity by performing in a stylistically diverse array of musical settings-including fusion and rock-based genres to smooth jazz and R&B ballads.

G-Fire is comprised of eleven original tunes, and a cover of Freddie Hubbard's "Little Sunflower" which has evolved into a jazz standard. Each of the four guitarists has his compositional works spotlighted during the album.
"Flight To Ecstasy" is the opening track, and bursts open with a captivating, deep, down-medium groove, supported by conga drums, and a tour-de-force rock-oriented guitar solo by Neilly, whose solo sounds were influenced by Larry Coryell's techno-musical approach. An impressive, pyro-technically piano solo follows by Cory Jacobs.
Morris O'Connor is featured on Hubbard's "Little Sunflower." Hubbard's original was performed with a bossa kind groove. Here, the down-tempo, funky R&B back beat groove provides a platform for mid 1970s George Benson-influenced soloing.
Kevin Chokan demonstrates his arranging skills on "Do-Da." This funky rocker, sports a medium groove, with syncopated baritone sax riffs, underscoring the brass.
"Moonlight In Paradise" is smooth, light and airy, underscored by pleasant, uncomplicated harmonic movement. There's an enjoyable alto sax solo (Rick Keller), and more impressive guitar soloing by Neilly.
B-Town is my favorite track. It features O'Connor, and has a catchy melody highlighted by a syncopated line over a cross-rhythm (three beats against four).

This album is superbly produced, features highly professional sounding compositions and arrangements, and both musical and technically awe-inspiring guitar solos and chops, in the fusion and smooth jazz genres-Jazz Improv Magazine

I have no idea how I ever learned of the existence of Stephan Micus' work, but it was probably sometime back in high school when I "got into world music." My early experiences of his music were stunning, and in his music I found great depth and beauty. However, as I heard more and more, a certain sameness was apparent in all of his music. It's all ethereal, and it's all melodic (in a sense...except the "...Stones" album, in which he hits rocks or something), but I've found that barring differences in instrumentation, the *music* is often quite similar in theme and feeling. That being said, this new one (with yet another great ECMish cover) is just as strong a work as "Darkness and Light," but perhaps - in my opinion - not as strong as "Athos" (I *love* that one; what the *heck* is a sattar and where can I hear more of that thing!?). If you're a fan of Micus, by all means purchase this CD. If you're looking for an interesting, indefinable, "world music" listening experience that none of your friends know about, buy this album. If you're familiar with his earlier works and are expecting something breathtakingly new, this is *NOT* the album to buy. Still, it's better than most New Agey, "world music" recordings out there on the market.

Garden of Mirrors is playing now. It is light and lyrical and more than a little hypnotic. Based on a variety of African flute and percussion instruments, most of the tracks build up on themes that morph and weave but never seem to reach an end. It reminds me of Balinese Rindik music in that. You can come in the middle of a song and not know it is the middle. It is light, but not without substance, it's just that the music does not force itself on you. It is easy to listen to and easy not to listen to. When it catches your attention, it has much to say. But it doesn't demand you listen. Micus's overlaid chanting and chanting is very well done, ethereal, textured, and occasionally driving. I don't know if he is actually singing in a real language, but the texture of what he sings conveys the meaning and emotion without the need for intellectual understanding of the words. It is good music to work to.

I happened to hear this album on the radio late in the day while I was driving around Mendocino CA - need I say that the effect was extraordinary! I had never heard of Micus before, but having ordered the album and listened to it again, I realize that what attracted and affected me was the space in the music; Western music is almost totally involved with making as much noise as possible, with leaving as little silence as possible. Micus' music is as much about the space between notes as the notes themselves. If this is a concept that makes sense to you, you might want to give this album a listen.

Anyone that likes solo piano, must have this one in their collection. Feyer was a superior pianist, and arranger. These are performances to LISTEN to. For alot less than a carton of ciggies, you can buy something good for you! Aloha

Hours sped like minutes when sitting next to the keyboard of Feyer's Piano in the Stanhope. I only wish all of his albums could be re-released and a new generation might experience this rare talent. He played with consummate skill, gentle humor and a panache that I've been unable to find anywhere.

This is undoubtedly one of the best recordings of popular Gershwin tunes. They are played with Feyer's european touch, but amazingly american in spirit. All his collections since 1951 ("Echoes of Paris", "Echoes of Broadway", "Echoes of Rome" etc.) should be re-mastered and released again, as well as his famous recordings collected in album "Cafe carlyle". It is a real music treasure.

Bought this CD for our 7-year-old daughter for her birthday. She loves it. Certainly didn't listen to it once and set it aside. She even takes it in the car.

In short, it's a nice performance of some of Gershwin's best work. Very enjoyable.

I am not a sound engineer but, clearly something was done outstandingly right in the production of this CD. I have listened to this CD on several different stereo systems with the same result: crystal clear sound that gives the impression that the instruments are right in front of you. I would add that I do not have an SACD version of this CD, nor an SACD player, nor a hi-end expensive stereo system. Nevertheless, the sound quality of this CD was noticeably superior to that of the recordings of Gershwin's Rhapsody in Blue and American in Paris that I have with Bernstein and Ormandy conducting. Part of the superior sound quality of this recording is due to its being digital, whereas Bernstein and Ormandy were recorded in analog. However, I have hundreds of other CDs that were recorded digitally and comparatively few have a sound quality that is as fresh, sharp, and, simply put, as outstanding as the one on this CD.

In addition to the freshness and immediacy of the sound, the playing of both the orchestra and of Levine as the piano soloist in Rhapsody in Blue are the best that I have heard amongst my various recordings of this work. I had never heard James Levine as a pianist before, only as a conductor, and was very pleasantly surprised at the excellence of his performance. There is a real joyful dynamic energy on this CD, together with a quality that is not apparent on the other recordings I own of Rhapsody in Blue - a feeling of playfulness, and even humor. I got the distinct feeling as I listened to this CD (several times, and always with great pleasure) that the orchestra and conductor/pianist were thoroughly enjoying themselves. All of the selections on this CD radiate with outstanding musicianship coupled with tremendous energy and love of life. This is one of my desert island CDs. I give it my highest recommendation.

George Gershwin (1898-1937) first made a name for himself as the composer of one memorable popular song after another--songs that have proven remarkably durable and have entered our collective consciousness to become "great standards" by which others are judged. In 1924 he began to leap the gulf between "popular" and "serious" music, and between 1924 and his untimely death in 1937 he created a number of famous works--but although he is regarded as a genius today, it was not so at the time. For then as now, "serious" composers and critics were an insular group, and many considered his fusion of jazz, strong melodic lines, and symphonic treatments at best pretentious, at worst common.

In the wake of Gershwin's untimely death, many of his works underwent a facelift of sorts, with various composers reworking the material in an effort to give it more snob appeal: the original arrangements were touched up, retoned, and in general fiddled with--and today it is almost impossible to find a recording of a Gershwin piece recorded as originally written. But here Chicago Symphony conductor James Levine accomplishes the impossible, restoring four major Gershwin pieces to either original or near-original condition.

The great reason to purchase this CD is "Rhapsody in Blue," which will come as a revelation to listeners accustomed to hearing the piece awash in strings, for here it is returned to all the sharp edged, strident, and jazzy glory of the original 1924 Ferde Grafe arrangement for the Paul Whiteman orchestra. And it is stunning, clean, a true period jewel that is ultimately the definitive musical statement of the Deco era; hearing it performed in this stripped-down original version is akin to seeing a beautiful gemstone purged of a vulgar setting and restored to true brilliance.

Also notable are "Cuban Overture" and "Catfish Row," both of which are performed essentially as Gershwin created them. "Cuban Overture" has never been one of Gershwin's most popular concert pieces--but listening to it here one is hard pressed to know why; certainly less melodic than other Gershwin constructions for orchestra, it is nonetheless a magical thing that combines a sense of ocean and tropical flavors to tremendous effect. "Catfish Row," of course, is drawn from Gershwin's opera "Porgy and Bess"--but should not be confused with the various suites typically heard, for it was actually arranged by George Gershwin himself and offers a pleasing (and to my mind far superior) variation on these oft-heard themes.

Unfortunately, not all of the original arrangements survive. (Liner notes indicate that even "Cuban Overture" is slightly effected in this regard.) The arrangements for "An American in Paris" received an overhaul around 1947; the originals have been lost forever, and it is performed here very much as we are accustomed to hearing it. Still, Levine and company give it tremendous style and substance in execution, and without knowing what the original arrangements were like we would be hard pressed to fault them in the performance.

Whatever the case, when it comes to these four selections, and particularly so re the legendary "Rhapsody in Blue," this is the recording to have. Everything here is flawless--and very often unlike anything you've previously heard when approaching these works. Strongly recommended.

GFT, Amazon Reviewer

Inasmuch as the holiday season finds most households filled with family members with varying tastes, this is the holiday compilation that is sure to please all. With the exception of a country or hip-hop tune, almost every other genre is represented here.

Standards like Nat King Cole's "The Christmas Song", Elvis Presley's "Blue Christmas" and Etta James' "Merry Christmas, Baby" find themselves in welcome company with recordings from such diverse acts as Placido Domingo, N'Sync, Eurythmics, and Paul McCartney, The Robert Shaw Chorale and flautist James Galway.

Even the why-the-heck-are-they-popular Mannheim Steamroller adds festive flavor with "Hark! The Herald Angels Sing".

One standout among a winning combination of them is George Winston's "Carol of the Bells", a riveting arrangement of the perennial holiday favorite.

I got this CD and copied it to my computer along with every other Christmas CD I own. When I compare this CD to the other 15 or so loaded up, I kept reflecting that this one had some of the best Christmas songs -- or the best versions of those songs -- that I like. There are so many different styles on this disc -- Kenny G, George Winston, Elvis, Mannheim Steamroller and even Paul McCartney. I especially like "the Gift" which is a duet I haven't found elsewhere. "merry Christmas Wherever You Are" is also a great classic included on this disc. One thing to watch -- my disc jacket says track #9 is 'NSync "O Holy Night" but it is not. It actaully is "It's Christmas", and sounds OK. Sound quality is excellent. Combined this is a five star collection of Christmas Songs and a good buy for your collection.

To be honest, when I first came across this CD, my thought was "What a mish-mash!" Combining such diverse performers as George Winston, Nsync, Placido Damingo, Kenny G, Judy Collins, etc. didn't sound workable to me. But after playing the album a number of times, I consider it one of the best if not the best anthology type collections of Christmas music I have. I doubt that anyone will enjoy every cut here, because the styles are so diverse. And yet, even those performers that I don't care for seemed listenable. I think that what makes it work so well is a combination of factors. First, each performer has a tremendous following and has had impact on the total music scene, whatever you think of the individual or group. Secondly, each selection represents the best or one of the best Christmas recordings by that performer. And then the cuts are nicely placed so they somehow fit. For instance, before listening, the placing of Etta James "Merry Christmas Baby" didn't sound fitting after Placido Domingo's "Ave Maria". And yet it worked, for me anyway. So what we have here basically is a collection of some of the best known and the most popular music makers of the past 50 years, each one expressing Christmas through a song fitting the individual style. There are "chestnuts" here, but each is sung by the singer you associate the song with, or at least fits. For instance, I certainly am no fan of NSYNC, and yet it this setting, I found myself quite appreciating their "It's Christmas". This, for me, makes for a great party record, but is also good Christmas listening at any time. Again, don't expect to like every cut, but on the other hand, you might find yourself enjoying cuts you didn't think you liked at all. All I can say is give this CD a try. Hopefully, you'll enjoy it as I do. If not, well, you're bound to enjoy part of it anyway.

Surprisingly rare to find these three pieces (Rhapsody, American in Paris, and the Concerto) on one disc, with such solid, virtuosic performances. The 'variations' is a very pleasant bit of filler as well. Money well spent and not just a 'bargain.' I do have to say, however, that Earl Wild's performance, while outstanding, doesn't provide most subtle interpretation of this music, and at times he takes some rather cringing liberties with the score.

The legendary North American pianist, Earl Wild recorded what many people consider to be one of his most successful recordings ever made. The formidable accompaniment of the charismatic Arthur Fielder made possible to record one of the most acclaimed performances. Tough my first and second choice go to Oscar Levant and Eugene List, my third election is that undeniably. It possess grace, expression, charm and voluptuousness. Besides, the master process was top of the line. If you are searching for the perfect balance between piano and Orchestra, maybe this is his right choice.

A cult recording that improves through the years.

I cannot rate all of the material on this disk, as I have the LP which only contains Rhapsody in Blue and An American in Paris. Nonetheless, this is the type of music that Arthur Fieldler excelled at, and Earl Wild is simply fabulous.

One danger with Gershwin is that his mixing of classical and jazz has flummoxed more than a few otherwise excellent conductors and pianists who seem to miss the jazz feel that the piece requires. Neither Fiedler nor Wild had this problem. The result is an exciting recording, and, consequently, my favorite one of these pieces.

Totally mannered playing(esp as regards tempo),and completely un"Gershwinesque".Apart from people messing up his lyrics,nothing pissed Ira Gershwin off more then "Jazzed"up versions of his brother's songs and musicians feeling the need to improve and take it upon themselves to correct G.G.'s music with "original"takes and ideas(to say nothing of re-casting and re-orchestrating).I agree,if i hear one more swing-jazz version of "Summertime"with all the blusey diva vocalizations,i'm gonna puke.Play the mans music the way he wrote it and played it himself. Sorry to be the only wet blanketer here folks but i know of what i speak.These are fox trots;dance music(1 and 2 steps)from the 1920"s,and Gershwin always played his tunes with a strict driving dance tempo.hell,he even gives instructions to that effect in the intro pages to these 18 transcriptions.They should not be played like Debussy preludes with Chopin rubato(i.e. Do Do Do etc...).If you want to Jazz these tunes up,do it with a trio and play real jazz.But all the material on this cd is written out in Gershwins hand.Don't do it the dishonor of trying to improve upon it.It's a shame that this genius is still so messed around with,misunderstood,and undervalued almost 70 years after his death.If you want the real deal get the cd "Gershwin plays Gershwin"(not the piano rolls, or the Shilkret G plays G,but the Whiteman;#5 down when you search by title.The others are great,but this cd is the one). available here at Amazon.And while you're at it do yourself a huge favor and pick up my friend Kevin Cole's cd "Cole plays Gershwin"(title search under classical,not artist ,popular or album title).Kevin dosen't need transcription books,or try to "ego-fy" the music by showing "look everyone how 'Original'i am".He does his own medleys and arrangments, and in the most authentic Gershwinesque ways imaginable.He is critically acclaimed as the worlds greatest living gershwin pianist,and he is.Fifteen thousand + people who saw him play at the Hollywood Bowl in The Rhapsody in Blue with the L.A. phil in 2002 also concur on that point,and they let him know it by giving him an eight minute standing ovation after he played his Gershwin medley(On his cd among other things)as an encore.He completely up-staged Audra Mcdonald(who,kevin said after his 20th curtain call, mouth was still agape)!.Also,Jack Gibbons does a fine job on the expanded improvs published by Artis Wodehouse(which i think are available on cd.A modern take in one of the gibbons volumes,that has the same songs that G.G. plays on his album."Gershwin plays Gershwin" is in fact the source for the Wodehouse transcriptions.Who could ask for any thing more?And now for my diatribe;as to the comment in the review below that gershwin's concert music "over reaches" this is the kind of resistant,need to be offended,head centered, snobbish-rubbish, music school, music critics misunderstanding mentality that has prevailed for years,and that i alluded to above, and it's tired;an old mindset and argument that should be put to bed,and i'm sick or it;so allow me the indulgence of venting my spleen to set the record straight.Poor Rachmaninoff gets the same(Rodney Dangerfield) treatment;"no respect"(plenty of love though).Forget that both men wrote honest,totally inspired(not to be confused with just craft.the two need not be mutally exclusive)genius filled works burgeoning forth from their heart chakras.They can't be forgiven for not having Copland's "craft" or Ravel's "workmanship".I.e. they are not composers because of their structural faults and seam showing flaws.I guess Porgy and Bess scene one act one dosen't have enough craft for our man below,where the fight scene has a full blown fugal canonic development.For all of coplands craft i'm not in love with his music in the same intense way i am with George's.Copland often falls into boring banalities in his music.for instance those "forced humorous" cloying, annoying oom pah oom pah piano 6/4 chord stab sections in "Rodeo" and "A- Spring".You want to talk craft,Copland never wrote anything as powerfull or as counterpoint brillant or driven as Peter Mennin's magnificantly dark,violent,and despairing 7th symphony. Gershwin's music is more inspired than coplands-sorry,flaws and all.Plus he had a geniune gift of humor in his music(to say nothing of his melodic,harmonic,rhythmic,theatrical and pianistic genius).Abrams Chasins said "George is the only person i ever heard who could make a piano laugh!..really laugh"(The "Gershwin plays Gershwin"cd i mentioned above beautifully demonstrates that fact,unfortunatly Ratko does not).Bernstein,as much as he loved and copied Copland as a composer,could never understand, nor get over the fact(with all of his knowledge,and as Sondheim puts it his chronic case of musical"importantitus"regarding,and "blocking" his own creative work),that"HE"was not Gershwin(and that west side story was not Porgy and Bess).Even ravel(who admired G.G.immensly,as did Prokofiev,yes and even Schoenberg)stuided every new Gershwin score as it came to press.Also,consider his supposed comment to george "why be a second rate Ravel when you are already a first rate Gershwin"when george expressed a desire to study with him.See, Ravel got it-you don't mess around with GENIUS or instinct by sending it to music school to master sonata allegro form.(and yet Gershwin continued to study and hone his craft his whole life,and by the time of Porgy'sorry nay sayer'she's a master composer) Poulenc adored "An American in Paris"and considered it one of the "then" most inspired works of the century,and the main walking theme more parisean than any frenchmans music.And what about the Great Serge Koussavitsky's(Along with Copland,Lenny's professed 2nd or 3rd spiritual-musical daddy) astounding comment after first presenting with gershwin as soloist,the "second rhapsody";"he is a genius too great to be real"(no doubt the great lyrical middle theme of that work inspired that decree)!But "lets be clear-as B.Johnson,one of amazons top 500( heart chakra impeded brain chakra ruled "knowitallitus")reviewers admonishes-Gershwin is no"composer"!And in another of his reviews, that Nikolai Kapustin's opus 40 concert etudes(great stuff)"Blow away any thing Gershwin ever wrote"!(uh uh!,sorry-no)Ya see he picks Alkan over Chopin,Medtner over Rachmaninoff,and Kapustin over Gershwin as greater composers,or at least more deserving of the moniker"composer".Give me a break.What is a higher attribute?,to write music that is loved and viceral,hitting you straight in the heart,or to be worthy of the label "Composer"?Charlie Ives may be the greatest American composer in certain respects,he'll never be as beloved as Gershwin,NEVER!And Arnold Schoenberg's time i'm willing to bet won't ever come(unlike Mahler's)either(he and George played tennis together regularly and at the time of George's death paid him tribute by calling him a composer in print;and one who expressed ideas that were new).Carter?,Boulez?,Cage Stockhausen,and their ilk?FORGET IT!!!Music must communicate,and "most"classical music(i.e.serial("head") music) written after 1940 is a total washout as far as longevity and audience appeal is concerned.As a matter of fact most musical appeal and innovation as far as new music after 1940,has come from jazz and rock.So it's time to wake up to the fact that G.G. is the closest(natural gift's and inspiration wise)thing to a Mozart that America has ever produced(sorry Ken Burns and Wynton M,it's not Duke Ellington-he's great,but not one of his concert works has anything like the appeal or cache of any of george's,and even as a song writer he's not in Gershwin's class).Europeans take this as a matter of fact.Music dripped off Gershwin in a steady non resistant flow.The way an apple tree produces apples,Gershwin produced music- whether popular or serious;for Carnegie Hall,or for Broadway-it mattered not to him- he made no discintion.That's why he is beloved-he was not a snob.The classical world should thank their lucky stars that a "Crossover" Genius like Gershwin has kept their record companies alive,and the "butts" in their concert hall seats(and boy do they need more artists like him today.Yo yo is not a composer,but he has the right idea).The heart in art,along with honesty feelings and sincerity and warmth,combined with genius makes many "brain" ruled folks uncomfortable.So,..just who the heck are these arbiters of musical taste and abjudicators of Gershwin's worth and talent(mainly they are classical and jazz snobs who in some cases were formaly johnny come lately rock snobs-ya know lou reed,laurie anderson,zappa and captain beefheart fans).Not a composer?!Have they ever even heard the middle theme of the second rhapsody?,or looked through the piano score of Porgy.They are totally full of it,their opinions mean absolutely nothing,and they know not of what they (hot air} blow!The power of"taste", based on love and passion,beats out and wins over any resistant critisism any time,every way and any day.The jurys is now in on Gershwin's universality,and to the universe he is a "GREAT COMPOSER"!The point is,how well do you express yourself?G.G.expresses himself infinitly more than any "craft"only equipped composer,and on the the gorgeousity(george-osity)"from the heart" scale,no 20th century composer (even Rachmaninoff),scores higher.I love a Gershwin tune how about you?

After hearing Thelonious Monk deconstruct "Liza," I realized a lot can done with - or to - Gershwin without losing the essence of his musical spirit. Mario-Ratko Delorko isn't Monk, but he is a German virtuoso pianist, & conductor & composer with a peculiar name who always has his reasons for doing what he does. Which include conducting himself in Mozart Piano Concerti (as Mozart did), playing Las Vegas USA, creating interactive midi software that replicates historic keyboards, & performing Gershwin in the manner of a seriously bipolar cocktail lounge piano player who forgot to take his meds & then knocked down a few martinis on his way to the gig. & I'm certain Ratko appreciates Monk, too.

We have recordings of Gershwin playing piano, but who's to say he didn't sound like this at swanky depression-era New York parties? Turning his own songs inside out, fooling around with rhythms & accents, & generally showing off his pianistic skills to a crowd of swells holding themselves upright by leaning on a Steinway grand.

The standard critique of Gershwin as mainly a melodic genius is correct. His large works overreach & even in smaller pieces he rarely possessed Ravel's fine craft much less Copland's grasp of a then-fresh modern sensibility that can sound like Art Deco looks; rather, Gershwin coveted the craft & lived the modernity. So a performer is best off giving any of Gershwin's music the bee's knees from the Big Apple treatment, concentrating on making it sound as great as it wants to be when the melody is embedded in sheet music, or a perfect short riff masquerades as a heavy duty motif. Which is what Delorko does, with exhibitionist flair. These particular songs & themes are not suitable for karaoke.

A mystery also how this odd recording wandered into the Media Partners (formerly Point Classics) catalogue - it would cost 18 Euros as an import. But then that bargain label also released an entire CD of French & German art songs without crediting the singer, not to mention other offbeat items such as Hindemith's "Sonata for Four French Horns" & Pascha's hybrid folk/baroque Christmas Mass.

Strongly recommended to all who appreciate really imaginative piano playing, in which the notes provided by the composer become no more than the rough material out of which the performer creates felicities and subtleties of rhythm and dynamics that are utterly unpredictable and constantly exhilarating. If your ears are tuned to a particular way of playing Gershwin, you will find the playing impossibly unidiomatic, but if you like performances that are not reproductions but recreations, you will find that the playing on this CD has been equalled only by the most inspired of pianists.