Appalachian music reviews

Many of the pieces of music on this disc are masterpieces and all are played to perfection.Barber's Adagio appears twice:in orchestral and choral versions,and the Agnus Dei choral is given loving treatment by the Robert Shaw festival singers.The familiar but never tiring Shaker variations of Copland and the exquisite Lullabye for strings of Gershwin are two quintessential slices of Americana performed by the Cincinnati Pops under Eric Kunzel.The most beautiful work of the collection may be the Anhran from flute concerto by Christopher Rouse.This little piece may find its way on many recordings in the coming years.With all around excellent performances and gorgeous sound this disc is definitely a keeper.

This Telarc CD is a compilation of selections from a dozen different albums. It features slow movements by such greats as Barber, Copland and Gershwin and includes beautiful works by lesser known composers. The album is stylistically varied but is uniformly beautiful, meditative and relaxing. I particularly enjoyed Thomas Canning's "Variations on a Hymn by Justin Morgan". However, I purchased this CD for the final piece, Barber's "Agnus Dei". This particular performance by the Robert Shaw Festival Singers is transcendental. Each time I listen to it, I feel like I've left the here and now and am somewhere that it better and very beautiful. I have other recordings of Agnus Dei that are nice, but seem kind of stiff in comparison to this one. This CD comes with my highest recommendations.

Adagios may be slower pieces, but this CD is definitely not simple background music. The tenderness of the Gershwin "Lullaby" and Barber's haunting "Adagio" demand your attention. This is music that soars and takes the listener along.

This is a wonderful collection of music. Buy it because you can't live without it!

This CD represents an excellent mix of traditional and modern celtic music by women artists. The songs range the full emotional continuum from extremely joyful to extremely sad. The upbeat songs will make even the most resistent listener tap their feet. And if you are looking for a good cry, try THESE sad songs. Whatever you want, this CD contains some of the very best in women's celtic music. A must have for any celtic music enthusist.

This two CD set it a compilation of celtic music by celtic artists. The melodies vary from Cherish the Ladies' "Lord Mayo" -- a cascading piano piece, to Altan's "McFarley's Mill" -- fiddle music complete with accompanying taps (Irish dance). This mix of celtic music is enjoyable from the first piece to the last. A truly wonderful blend full of life and joy.

I don't know how I lived without this one before. I thought I lost this set -- it was borrowed by a co-worker without asking. Well, it has become such a staple of my listening that I grew a little frantic wondering where it had gone. I did get it back, otherwise I would have puchased another set. Buy it, you'll love it too!!

I love this recording for its thought-provoking selections. I wouldn't suggest reading while you listen, you'll get too distracted. Maybe a long soak in the bath and a nice glass of wine. It's great for thinking things over. If I have a criticism, it's the odd themes from Dvorak, Copland, Vaughn Williams and Verdi. Playing just a taste of a theme from something doesn't satisfy. But the Bach, Kilar, Espere and the rest are wonderful.

Every time I find myself awake past midnight, I listen to this CD. It does indeed have that "three-in-the-morning feel". I'm not a classical music buff but every piece on Night Tracks is well-chosen and played beautifully. No matter I stressed out I may feel, this CD never fails to relax me and fill me with peace and tranquility --- I can't recommend it highly enough. The album cover is striking and moody.

This is by far one of my favorite cd's to listen to at the end of a long day. Especially in the winter months curled up by a fire and a good book.

This recording, aside of bringing back great memories of a live performance of Mr. Bernstein more than 25 years ago directing Mexico State Philarmonic Orchestra playing Salon Mexico, is of grand quality and Aaron Coplands music selection is escellent as is performed and recorded. My mom (77) and my daughter (8) enjoy it just the same.

When I was in the fifth grade, there was a district-wide competition called music memory, and one of the pieces I had to memorize for the competition was the last movement of Appalachian Spring. And I fell in love with that song. I went and bought the cassette of Appalachian Spring with Bernstein conducting the New York Philharmonic, and I listened to it almost every night before going to sleep. I even remember that one night I was listening to that final movement through my walkman as I was laying in bed. Evidently, I was humming along without realizing it, and I woke my parents, who slept downstairs and across the house, with my humming. Anyway, that's how good this recording is. And I'm still amazed at what great taste I had at that age. Now, eleven years later, I have upgraded to a CD, but I still listen to Copeland's masterpiece just about as much. I've heard a lot of great music in those intervening years, but I've still never heard anything quite this perfect. I doubt I ever do.

I love Appalachian Spring Suite! When I went out to buy the music CD, I got This one because of the cool newspaper cover and it turned out to be the best one out there. I've listened to other recordings of Appalachian Spring performed by other orchestras, they just aren't as good. This is the absolute best one. Not only is this one of my favorite classical albums of all time, it's one of my favorite albums period. Every single track on this CD is money.

A masterpiece of thoughtful and emotion-packed stories for the ear. Take this with you on your way to your easy chair on a Friday night with a good bottle of wine and a close friend. Don't forget to dim the lights because you won't want anything to distract you from the thought provoking lyrics and incredibly mellow sounds Scott sends your way. This is a must have for any CD library. The album is unforgettable. We love it!

I've heard it, I love it. Congratulations to a very talented artist who I always thought would "make it" (yes, I know Scott too, but from a LONG time ago!). A warm voice and stories from the heart make for enjoyable and thought-provoking listening.

Scott is an absolutely wonderful storyteller. I would highly recommended this CD to anyone. I have spent many hours listening to the wonderful songs on this CD. (Even if he did leave one of his best off!) And by all means check him out live if you have the chance.

This collection of banjo music created by Woody Simmons is a great mix of traditional and experiemntal works. "Trolley Car" is solid bluegrass. "Sally Walks the Dog" is at a more meditative pace, while "Ashtavakra's Tune" slowly builds in tempo like a runaway train. "Suite for Wings" and "Banjo Raga," two compositions which established Woody's banjo virtuosity on earlier recordings, are also included. "Firefly" is more sweeping, with electronic keyboards layering in sound. The biggest draw for me on this CD is "Raga Rama." Woody's banjo goes to Bombay, as she adds in tablas percussion and the continuous tones of a tamboura. Fusion is tricky, finding the musical space where two cultures meet while respecting the integrity of both. Woody's exploration works. Woody plays banjo, guitar, mandolin, and keyboards, with help from sax player Sapphron Obois, bassist Joy Julks, Brian McGlaughlin on tablas and Shambavi Newman on tamboura.

This album sends the listener to another world, a very pleasant world rich with colorful tones and facinating sounds. I've never thought that listening to a banjo being played as a "soothing" experience before, until I indulged carefully in several of the cuts on this album. Definitely a CD one would push the "Continuous Play" button for on the CD player. Some of the banjo styles might be considered American style, and a couple of the pieces are Middle-Eastern or Indian sounding, with a droning effect. You can put this CD on and wander away in your mind. One gets the feeling that this artist was in a very inspired state when writing each song. Banjorama is very enjoyable to listen to and well done. A must-buy for your collection.

If you thought banjo music was just too off the beaten path for you, think again. This album was written up in Variety a few years ago as one of the 12 best of it's type of all time. The banjo sounds a little like a classic Indian sarod and complexities of the melodies are fabulous. For me I love it when I can feel the musician has become one with the music and the technical expertise becomes a vehicle for true musical expression. How great to have this masterpiece available on CD! Thanks Woody.

Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The original of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.

With the recent Johnny Cash movie biography Walk the Line the Carter Family has again come into greater public prominence. And rightly so. The trio performing simple country (or better rural) music mainly composed by A.P. Carter evokes, if not a simpler time, then in any case, a simpler type of music. While I cannot listen endlessly to such music at one sitting about one-half a cd at a time works. Why not the whole cd? There is a very similar melody and guitar line to their work in most songs. The value of each song sometimes gets lost in the basic repetition.

A note on subject matter- The bulk of the songs concern home, hearth lovesickness and religion as might be expected from mountain people. And that is okay. This reviewer, although not a religious man, can appreciate the simple, fundamentalist but very personal religion evoked here. Not to romanticize the simple rural folk of the past but I do not believe that the religious sentiments expressed here are the same as those of religious fundamentalists today who want to ram a theocracy down our throats in the United States today.

As a Christmas present to myself, I purchased the two JSP boxed sets, The Carter Family, 1927-1934 and The Carter Family, Volume 2, 1935-1941. I have been playing them non-stop for the past four days, and I am absolutely thrilled with both of them.

The RCA Victor sides were issued "complete" a few years ago by Rounder records. The Rounder releases are supposed to be re-mastered, yet they don't sound any better than the tracks presented in the JSP collections. And the JSP collections include complete information on the original recording dates, which the Rounder releases do not. Finally, one reviewer here observed that the sleeve notes for the JSP Box sets are minimal; that's true, but when compared to the Rounder releases, I find that the JSP releases actually proffer a bit more biographical information, and better details on the records.

The first set (1927-1934) pretty much covers almost all of the original Victor sides; I have carefully compared the first set with the Rounder series (I have all nine titles in the Rounder releases) and I have only found two or three tracks that are missing from the JSP sets. This is The Carter Family, country music's first family, as they should be heard. Sara's singing is strong and clear; Maybelle's guitar playing is amazing, and A. P.'s harmonious accompaniment is wonderful. The early years are raw and unpolished, but that adds to their aesthetic artistry, and actually enhances their simple charm.

But Volume 2, (1935-1941) is truly exciting for the bulk of material that has not been available of CD before. This box contains the balance of the RCA Victor sides not included in the first set, but also includes dozens of later recordings originally issued on the ARC and Decca labels (Decca owned both). These recordings are completely glorious, and floored me when I heard them (and I've been a fan of "roots" music for many years). The sound is amazing, and the performances, both in terms of instrumental skill and vocal harmony, are far more polished than the early Victor sides. Aside from an MCA (Decca) issue in the "Country Music Hall of Fame" Series and an issue from Sony Special Products on the Country Label, these songs have been totally neglected as CD issues. Between the two JSP sets, the material covered represents about 90% of the original Carter Family records that I am aware of, although there may be many more that are lost forever. This is not likely to be corrected anytime soon. Decca Records is notorious for neglecting to reissue historic recordings, which is a real shame. I wish I had a dollar for every artist I have on a Decca vinyl that has not seen a CD release. Decca has released many historic Jazz recordings on the "Decca Jazz" label, but aside from the Country Music Hall of Fame series (a limited anthology series) it has not seen fit to issue much of the classic country music rotting in its vaults. And there are probably thousands of wonderful popular music recordings in Decca's vaults that may never see the light of day on CD, either. Concurrent with these recordings, the Carter Family also spent years performing live concerts on "border radio". Many transcripts of these fine performances were made, and a few have been made available on obscure labels. But the JSP sets contain most of their studio sessions.

For anyone who doesn't know, the original Carter Family practically invented country music. Sara and Maybelle, who were cousins, married the Carter brothers, A.P. and Ezra, and a musical family was born. They found their way to the 1927 "talent auditions" conducted by Ralph Peer, which also "discovered" Jimmie Rodgers, the Father of Country Music. I often say that if Jimmie Rodgers was the father, than the Carter Family were the mothers. The original group (Sara, Maybelle and Alvin Pleasant) split up in 1941, never to record together again (aside from the wonderful "Historic Reunion" album that Maybelle and Sara recorded in 1965). For many years, Maybelle continued to tour and record with her daughters, June Helen and Anita, under the name of the Carter Family. Of course, June later married Johnny Cash, who toured with June for years; this association helped keep interest in the Carter Family legacy alive for many years.

I have to honestly say that I can't remember when I last enjoyed a boxed set so thoroughly. The simple, pure singing of the original Carter Family is truly wonderful. Their harmony is amazing, their playing incredible. One is always conscious while listening to them that these are self-taught musicians, yet their professionalism is obvious. As I write these words, my stereo is pouring forth their 1935 version of Are You Lonesome Tonight, a song that became a multi-million seller for Elvis Presley 25 years later. I prefer the Carter Family version. You may too.

This is a wonderful collection of the Carter Family. Anyone who has an interest in old time traditional country music will enjoy this. All three members were self taught musicians. We do not see the like of these folks anymore.

Aaron Copland can be and should be considered the father of American concert music. He decisively created a style of music that needed to be made as we were reaching maturity as a country. This collection of his orchestral works gives a great outline of the music that makes Copland such a innovative composer.
I personally find that the most interesting part of this collection is the inclusion of rehearsal audio from the same recording of Appalachian Spring that appears on the CD. This offers a unique opportunity to hear what Copland's vision of his music was. I am one who personally believes that no performance of a concert orchestral piece can be heard as it was meant to be unless the composer is leading the ensemble. By hearing Copland conducting a rehearsal of one of his masterworks, the listener is given a greater appreciation for exactly what Copland's vision was for his own music.

A definite must have for lovers of the young tradition of American Music.

When I first was introduced to classical music, little attention was being paid to anything American. Edward McDowell was occasionally played. And Los Angeles classical music station, KFAC, would very occasionally play something by Morton Gould. Gershwin was largely ignored And there was Aaron Copland.

For my fairly young ears, the western flavor of the music was esciting. I could picture western movie-like scenes to the accompaniment of "Billy the Kid" and "Rodeo". Indeed, such music is highly pictorial.

But now I'm also familiar with "Fanfare for the Common Man" and Appalachian Spring. I very much recommend this.

The point about these recordings is not whether they are 'definitive' or musically superior to other versions; the point is that they automatically should recieve a five-star rating just for existing. Of course Aaron Copland was not much of a conductor, and his interpretations are not always technically 'the best.' But who cares? Here are several recordings of one of the greatest composers of the last century, conducted by the composer himself. Why set these up for comparison with the Bernstein or Slatkin versions? Different versions are different, yes, but they are not necessaruly better or worse just because they are different. Personally, I'm glad to have both of them. There is no one 'right' or 'wrong' way to play this music, and Copland himself admitted that he had no desire to create a 'definitive' recording.

This modestly priced CD set contains a generous sampling of Copland's familiar so-called 'populist' works - Appalachian Spring, Rodeo, Billy the Kid, Quiet City, El Salon Mexico, Danzon Cubano - and the less familiar Nonet and Down a Country Lane. It also contains a fascinating track of excerpts from rehearsals of Appalachian Spring. Highly recommended.

This recording is phenomenal! It starts with Copland's "Fanfare for the Common Man." It can only be described as earth-shaking. The bass drum hits will knock you off your chair. It ends with Copland's "Third Symphony," which is a triumph. The Minnesota Orchestra played wonderfully and the recording by Reference Recordings/Keith O. Johnson is beyond compare.

If you love Copland, this CD is for you!

I would probably have to say so. My old fave used to be Bernstein's '86 version, but the ensemble overall is more together in this recording than Lenny's. Besides, Minnesota's strings sound better than virtually any other American orchestra today--particularly the basses (although I may be a bit biased--I study with one of them). Since I've seen them perform the 3rd twice, I can honestly say you would have to strain to hear a difference between listening to the CD and sitting in Orchestra Hall. In addition, despite it probably being a commercially-driven move, having Copland's 3 most well-known works all in one spot isn't too bad. Own this recording!!

I had the extreme pleasure of being under the conduction of Eiji Oue a few years ago for several concerts and rehearsals throughout the country. He is an inspiring individual both in his musical abilities and personal character and his ability to hear the smallest details of the music was amazing. He is by far the most extraordinary conductor I have ever worked with and no music collection is complete until it contains some of his works. I just can't say enough good things about him.

His interpretations of these Copland works is equally impressive as he brings out the little nuances of the music and accentuates the high points. His recordings are not to be missed and this one is no exception. The Third Symphony is first-rate in every way. This cd will become a treasured part of your collection for years to come and the HDCD format makes the performances that much more lifelike.

This CD is a great historical document showcasing, as the title says, black banjo songsters of Nth Carolina and Virginia namely John Snipes, Dink Roberts, Joe and Odelle Thompson and some others. Then why only 3 stars? Well as I said it's a great historical document but I found the recording quality and sound can at times be a little difficult to sit through. Don't get me wrong there are some great tracks here including Old Blue by Dink Roberts, Jaybird March by Etta Baker and Shortnin' Bread by Lewis Hairston to name a few. I would have liked to hear more of Etta Baker even though she is 'primarily' a guitar player. I bought this CD not long after getting into old time banjo (I play old time banjo myself) back in 1998. I already had the 'North Carolina Banjo Collection' (see my review), which is superior in my opinion, because it showcases more artists and styles, and I later bought 'Kentucky Old Time Banjo' (see my review) which I like best out of all three CD's.

Not for the faint of heart or the common folk music revivalist, this stuff is the real deal. You won't find anything like it anywhere ever again. Both the book and CD are excellent.

The pickers and players on these recordings are not only preserving the history of the African American origins of the Banjo, of the African American origins of both frailing/clawhammer/knocking/rapping or whatever you want to call down picking, as well as Carolina two finger pikcing. Moreover, by issuing these recordings Scott Oddell and Cece Conway, helped these pickers to light the torch to pass the flame on. From all over the country and beyond, Black banjoists are reviving, extending and enriching what our elders here have done.

Today, one of the most dramatic innovative Blues performers, Otis Taylor is a banjoist who told me he plays the other instruments he plays, the electric mandolin and the guitar, just like he plays his first instrument the banjo. Although Otis writes his own blues and songs and tries innovative ensembles like banjo and four cellos, he can also tell you Railroad Bill, a tune played several times on this recording, goes back four generations in his family. He didn't learn it from a book or a Joan Baez record!

It is very interesting how many of the young generation of African American blues singers can rap the banjo or are learning to.

There is a movement afoot of we Black Banjo players to return the banjo and its music to our culture and our culture to the banjo and its music. And it is not just among Black Banjoists, but some of the most eminent names in the banjo and old time music communities are lending us a hand.

April 7-10 at Appalachian State University with the able and friendly assistance of Dr. Cece Conway, we will be holding our first Black Banjo Then and Now Conference, hoping to have not only the elder Black banjoists and fiddlers from these recordings, but their growing descendants among younger generations of Black folk from middle schoolers on up to folks in their seventies. Already important national and international scholars of the banjo, unblack banjo pickers and fiddlers, and just good people are planning to join us.

We also look forward to what rumor promises, that Conway and O'Dell have even more recordings of Black banjoists prepared for a second double volume of this wonderful history making music.

What a mighty thing this music has done!