Ragtime & Blue

Track Listings

1. Alexander Rag

2. Green Leaf Prelude

3. Russian Rag

4. Get Well Rag

5. Blue Rose

6. Eliza's Aria

7. Backstate Rag

8. Birthday Rag

9. Brothers

10. Peggy's Minute Rag

11. Reflections

12. Cocktail Rag

13. Butterflying

14. Sunday Rag

15. Nostalgic Piece

16. Bucharian Melody

17. Revolving Doors

18. Suburban Rag

19. Sapphire Rag

20. Tranquil Interlude

See all 24 tracks on this disc

Tracks:

Prologue: Ragtime
Goodbye, My Love
Journey On
The Crime of the Century
What Kind of Woman
A Shtetl Iz Amereke
Success
His Name Is Coalhouse Walker
Getting' Ready Rag
Henry Ford
Nothing Like the City
Your Daddy's Son
The Courtship
New Music
Wheels of a Dream
The Night That Goldman Spoke at Union Square
Gliding
The Trashing of the Car
Justice
President
Till We Reach That Day

Tracks:

Entr'acte
Harry Houdini, Master Escapist
Coalhouse's Soliloquy
Coalhouse Demands
What a Game
Fire in the City
Atlantic City
Buffalo Nickel Photoplay, Inc.
Our Children
Harlem Nightclub
Sarah Brown Eyes
He Wanted to Say
Back to Before
Look What You've Done
Make Them Hear You
Epilogue: Ragtime/Wheels of a Dream (reprise)
The Ragtime Symphonic Suite

Amazon.com essential recording

The epic sweep of Ragtime is captured in its opening prologue, a nine-minute kaleidoscope of fictional characters mingling with historical figures from the early 20th century as originally captured in E.L. Doctorow's sprawling novel. As the story continues, we meet pianist Coalhouse Walker Jr. (Brian Stokes Mitchell) and his child's mother, Sarah (Audra McDonald), who has been taken in by a respectable family (including Marin Mazzie as Mother). Parallel story lines of the Latvian immigrant Tateh (Peter Friedman), the entertainer Evelyn Nesbit (Lynnette Perry), and even Harry Houdini (Jim Corti) and Emma Goldman (Judy Kaye) eventually mingle and merge. Stephen Flaherty and Lynn Ahrens (Once on This Island) mix marches, cakewalks, and of course ragtime to create a rich, compelling score, including Sarah's song to her baby, "Your Daddy's Son," her soaring duet with Coalhouse, "Wheels of a Dream," Mother's self-revealing "Back to Before," and numerous set pieces, all performed by a perfect cast. Ragtime was nominated for 12 Tony Awards in 1998, with wins for McDonald, original score, book, and orchestration. The CD also includes an eight-minute symphonic suite conducted by Paul Gemignani and a booklet with photos, full lyrics, and a history of how the score was written. Tragic, touching, and ultimately triumphant, Ragtime is an American classic. --David Horiuchi

Customer Reviews:

Excellent recording of an excellent show.......2007-05-26

I highly recommend this item, especially if you're looking for a new favorite musical. Buy this 2 CD set, instead of the 1 CD version because 1) the 1 CD version is merely a concept album, and the final show underwent numerous changes before taking its final form, 2) In order to fit on 1 CD some of the best music of the show is cut from the other version, and 3) the 2 CD version contains enough narration and plot songs that if you've never seen the show you have a very good idea of what it's about.

Unlike many other cast albums, "Ragtime" doesn't contain any clunker songs. Every one is either catchy, innovative, heart wrenching, or outright fun.

Ragtime.......2007-05-15

Got the CD after seeing the show, and have listened again and again with increasing appreciation for the show, and the novel, which I re-read after many years.
"It's somehow haunting me . . ."

A Beautiful and Inspirational Cast Recording! .......2006-09-13

This 2-disc set is the most beautiful recording you will ever come across. The sound is perfect and it contains all of the songs from the musical, unlike the 'Highlights' CD. The singers are brilliant and they play their roles perfectly. Brian Stokes Mitchell is a wonderful and intense Coalhouse, and Peter Friedman is a beautiful voice as Tateh. Marin Mazzie and Audra McDonald co-star as Mother and Sarah, and Mark Jacoby is a inspirational and powerful Father. Lynette Perry and Jim Corti are halarious as Evelyn Nesbit and Harry Houndini. Some of the best songs on this recording are:

Prolouge: Ragtime
Journey On
Success
Gettin Ready Rag
New Music
Wheels of a Dream
Justice
Till We Reach That Day
Coalhouse's Silioquy
Coalhouse Demands
What a Game(halarious!)
Atlantic City
Our Children
He Wanted to Say
Look What You've Done
Epilouge

This recording also includes a bonus track: The Ragtime Symphonic Suite, which contains the tunes to the main songs in Ragtime. Like the other songs, this track is wonderful. If you are looking for a recording that will make you laugh, cry, and inspire you all at once, this is the perfect buy for you!

In the Age of Sondheim, this piece stands beside his work and doesn't pale at all........2006-06-18

"Ragtime" utilzes so many different elements. From a compositional stand point, the music begins as does the story. We have three different classes of people and three different styles of music. As the musical proceeds and the classes begin to mingle and then clash, the music does the same thing. This is a subtle element of brilliance; most audience memebers wouldn't catch this. This piece comes as close to opera as does "Sweeney Todd". The recording includes a Orchestra Suite at the end that is so well written that it stands beautifully on it's own and doesn't sound like a last minute Overture. Each character is well defined by musical motif. The cast is outstanding with the very best singers and actors available to Broadway and Lincoln Center. Marin Mazzie sings the remarkable "Back To Before" and Audra MacDonald "Your Daddy's Hands" making them songs that will stand as monuments to theatre the way that "People" does for Streisand, "Rose's Turn" For Merman, "Hello Dolly" for Carol Channing. The musical skill of the orchestra is remarkable, whether it's the pianist, the clarinet sounding like an Eastern European standard. Or the remarkable first violin who climbes up a scale to bring a piece together at the end for a pitch so beautifully played at the top of the instrument's range. The songs themselves are spectacular; each piece develops and we do hear character development themes; each repeated motif in a song has thickened and developed along with the character, so we never ever feel as though the score was written hastily. "Ragtime" is a musical that defies the old line, "Theatre in New York is Dead."

Ragtime, Ragtime , Ragtime, Ragtime, Ragtime, Ragtime, Ragtime!!!!!.......2006-01-27

When I was 11 I got the oppertunity to see Ragtime on Broadway, but back then I really didn't get how deep and beautiful the score was and is. Back then I just thought it was boring and I couldn't wait to leave so I could be that much closer to seeing the Lion King (Which is also an amazing musical, but anyway).
Now that I'm older I truly see how amazing the score is and that it really deserved the Tony. This recording is also inspired, from the first 8 min sweeping introduction into the show, to the it's reprise at the end almost every song is wonderful. Beautifully written and preformed.
Some of my favorites are:
Prolouge
Goodbye My Love
Journy On
The Crime of the Century
Success
His Name was Coalhouse Walker
Henry Ford
Nothing Like the City
Your Daddy's Son
New Music
The Night That Goldman Spoke at Union Square
Gliding
Justice
President
Till We Reach that Day
Coalhouse Soliloquy
Coalhouse Demands
What A Game
Atlantic City
Bufalo Nickle Photoplay INC
Sarah Brown Eyes
He Wanted to Say
Epolouge

I wish that I Could have appreciated this score/show the first time is saw it cause then I wouldn't have wasted time missing these songs. Buy this album , you will not be sorry.

Average customer rating:

My favourite jazz music
The Flair Just Isn't There
Not as good as I had hoped.
Joplin & Joshua, A Historic Partnership
Still my favorite

Scott Joplin: Piano Rags
Joshua Rifkin
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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Complete Piano Music of Scott Joplin
The Sting: Original Motion Picture Soundtrack
The Greatest Ragtime of the Century
Joplin - Complete Rags for Piano (Schirmer's Library of Musical Classics) Vol. 2020
Rags & Tangos [Australia]

ASIN: B000005IYF
Release Date: 1990-10-25

Tracks:

Maple Leaf Rag
The Entertainer -- A Ragtime Two-Step
The Ragtime Dance
Gladiolus Rag
Fig Leaf Rag
Scott Joplin's New Rag
Euphonic Sounds -- A Syncopated Novelty
Elite Syncopations
Bethena -- A Concert Waltz
Paragon Rag
Solace -- A Mexican Serenade
Pine Apple Rag
Weeping Willow -- A Ragtime Two-Step
The Cascades -- A Rag
Country Club -- Ragtime Two-step
Stoptime Rag
Magnetic Rag -- Syncopations Classiques

Customer Reviews:

My favourite jazz music.......2007-07-15

I have had Joshua Rifkin's Scott Joplin Piano Rags for more than 20 years and listened to them very often. Later when I bought SCott Joplin's pianola version I liked it much less. Joplin's music is superb and Rifkin's piano version brings its beauty up where it should be. The reason I bought it on the CD is to put it on my ipod! A marvellous record.

The Flair Just Isn't There.......2007-06-16

Rifkin performs these pieces to perfection- too perfect for my taste. Music (and rags in particular) is not about technical perfection, but that intangible something that resonates within us and moves us. The life, enthusiasm, emotion, soul - whatever you want to call it- just isn't there on this CD. To hear Joplin's great artistry sterilized like this is a real disappointment.

Not as good as I had hoped........2007-03-08

I regard music the same way most people regard art; I don't know that much about it, but I know what I like. And I like Joplin's piano rags when played with a fast upbeat tempo. Based on the reviews I read here I was led to believe that this album is the standard by which all other Joplin rags are measured, and therefore ideal for a casual fan's first album.

Rifkin's version of the 'Maple Leaf Rag' was solidly OK, but I have heard versions I liked much better. His rendition of 'The Entertainer' started off way too slowly and softly, and seemed to only get slower and softer as the piece progressed. It was like watching a drag race in slow motion; you keep expecting the cars to go faster, but they never do. This is particularly frustrating because 'The Entertainer' was 50% of the reason I bought the album.

I suspect that expert musicians who love this album will want to brand me as some culturally ignorant redneck for giving it only 3-stars, but I have to call it as I hear it.

Joplin & Joshua, A Historic Partnership.......2006-08-05

As a kid back in the 70's, I started my classical piano training. Bach, Chopin, Beethoven, etc. One day by chance, I caught the sound of music coming from my cousin's room that I'd never heard. To me it was remarkable. I ran to the phonograph to see what was playing. It was Mr. Rifkins Scott Joplin Piano Rags, Volume 1. Being classically trained, I was immediately drawn to the music's intricate,flowing,syncopated rhythms. I had to play this stuff. My first rag purchased was Maple Leaf. That was in 1977. Since then I've played them all. I'm in my 40's now and have yet to master the sound produced by Mr. Rifkin. I have basically given up. I can't play as well and thank God he can.

I've enjoyed reading the reviews here and noticed some people actually criticize Mr. Rifkin's playing. What a joke. I'd like to see these so called music afficionados play one measure of Euphonic Sounds.

Be that as it may, this recording will stand the test of time.

It is absolutely the most important interpretation of Joplin's music in our lifetimes.

Anybody that says otherwise is trying to sell something.

Still my favorite.......2006-05-02

Although these are remastered from older recordings and neither the playing nor the sound quality are absolutely perfect, this album is still my favorite recording of Joplin's music. The pared-down piano arrangements are interesting (band arrangements are nice, too, but serve a different purpose) and Rifkin treated the music respecfully--the playing is neither too fast nor exaggeratedly bright or "ragged". My biggest complaint is that it is too short and does not include all of the tracks originally available on the LP's (which I also have and which are worth getting if you can find them).

Average customer rating:

The Complete Piano Music of Scott Joplin
Another Performer Rewrites Joplin's Masterpieces
complete piano music of Scott Joplin on 4 CD's
Ragtime Marvel
Complete, but poor quality

Complete Piano Music of Scott Joplin

Manufacturer: Compendia
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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Similar Items:

Scott Joplin: Piano Rags
The Greatest Ragtime of the Century
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Rags to Riches: The Essential Hits of Scott Joplin
Joplin - Complete Rags for Piano (Schirmer's Library of Musical Classics) Vol. 2020

ASIN: B000003QWN
Release Date: 1997-01-28

Tracks:

The Crush Collision March
Combination March
Harmony Club Waltz
Original Rags
Maple Leaf Rag
Swipesy Cakewalk
Reacherine Rag
Sunflower Slow Drag
The Augustan Club Waltz
The Easy Winners
Cleopha
A Breeze From Alabama
Elite Syncopations

Tracks:

The Entertainer
The Strenouous Life
March Majestic
Something Doing
Weaping Willow
Patr Leaf Rag
The Favorite
The Sycamore
The Cascades
The Chysanthemum
Bethena
Bink's Waltz
The Rosebud March

Tracks:

Leola
Eugenia
Antoinette
The Ragtime Dance
Searchlight Rag
Gladiolus Rag
Lily Queen
Rose Leaf Rag
Heliotrope Bouquet
The Nonpareil
Fig Leaf Rag
Sugarcane
Pineapple Rag

Tracks:

Wall Street Rag (1909)
Solace (1909)
Pleasant Moments (1909)
Country Club (1909)
Euphonic Moments (1909)
Paragon Rag (1909)
Stop-Time Rag (1910)
Felicity Rag (1911)
Scott Joplin's New Rag (1912)
Kismet Rag (1913)
Magnetic Rag (1914)
Reflection Rag (1917)
Silver Swan Rag (1917)

Customer Reviews:

The Complete Piano Music of Scott Joplin.......2007-06-08

John Arpin does a great job with these pieces. The songs carry a consistent sound and are played very close to as-written, which comes and goes with old ragtime pieces. The stamping on Stop-Time Rag doesn't have a consistent sound to it, can be a little distracting. Everything else is great, overall I think that it's a great buy, I'm very happy with it.

Another Performer Rewrites Joplin's Masterpieces.......2007-05-31

Once again, another performer feels the need to rewrite the music of the King of Ragtime. Scott Joplin spins in his grave each and every time this recording is played.

Again, to those who believe that concert music is meant to be rewritten by each and every performer I ask, is the same treatment also acceptable for Chopin's and Rachmaninoff's music? Would "Moonlight Sonata" sound better if played at twice the tempo and with a reprise of the first Adagio movement thrown in at the end? Obviously, the answer to these questions is a resounding NO!, so why does one of America's greatest composers get such disrespect?

Interpretation is an integral part of every performance. Adding one's own notes, phrases and chords where none should be is not. Randomly changing the structure of the piece is not. Playing a piece at twice the indicated tempo is not.

One the plus side, the depth of this collection is outstanding. Joplin's lesser known pieces like "Harmony Club Waltz" really shine. The recording is decent in quality, although a bit bassy in places.

While its been stated before, I feel its worth repeating: Buy Joshua Rifkin's performances of Joplin in order to hear how the Master intended his pieces to sound.

complete piano music of Scott Joplin on 4 CD's.......2007-02-14

Although all of the music is terrific it is rather a lot of a similar sound. I think I would have preferred 2 CD's of selected piano works of Scott Joplin. But I did get the music at a good price.

Ragtime Marvel.......2005-10-09

This collection of Scott Joplin's piano music is outstanding. As a lover of ragtime which was a prelude to jazz, I am thoroughly enjoying this collection. If you are not a lover of jazz, you may be a lover of ragtime. Jazz can sometimes be grating on the nerves, whereas ragtime lifts the spirit.

Complete, but poor quality.......2005-09-25

I have been learning some ragtime and wanted to hear more to find other selections to learn. Listened to Maple Leaf Rag, my favorite, first and was disappointed. Listened to others and was more disappointed. Maple flies - much faster than anyone would play it, you can't make out some of the phrases. And talk about ad libs - Tempo, dynamics, embelishments, nuances - I really think he plays some wrong notes too because he's going so fast. It's really a poor recording - and that's just on Maple Leaf. Others with "intros" start quick and then there's a grand pause, not a rest, but nearly a five second break. It's hard to argue how Joplin would have played it, but this is hardly anything I want to try to imitate. The only qualitating factor is the number of songs for the price. A lot of variety of a poor interpretation is only worth 3 stars. if that. Look for Rifkin or a copy that is as written to listen to first, then go for the ad libs and "artistic interpretations"

Average customer rating:

30 years later, I still listen to this one regularly
On The Track
Leon Redbone - On the Track
Old Times, Good Times
Old-timey tunes, a voice, a guitar and a throat-tromnet ; stir well and serve

On the Track
Leon Redbone
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Double Time
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ASIN: B000002KG2
Release Date: 1990-10-25

Tracks:

Sweet Mama Hurry Home Or I'll Be Gone
Aint Misbehavin' (I'm Savin' My Love For You)
My Walking Stick
Lazybones
Marie
Desert Blues (Big Chief Buffalo Nickel)
Lulu's Back In Town
Some Of These Days
Big Time Woman
Haunted House
Polly Wolly Doodle

Amazon.com

Once cited by Bob Dylan as the first performer he'd want to sign to his own label, Leon Redbone instead made his 1976 recording debut with Warner Brothers. On the Track carries a "very special thanks" to Jelly Roll Morton and Jimmie Rodgers, and indeed sounds like the offspring of the pioneering jazzman and the early hillbilly blues singer, with perhaps a bit of Bing Crosby tossed in. Aided by a small horn section (including a prominent tuba) and violinist Joe Venuti, among others, the disc is a gorgeous, affectionate tribute to pre-World War II vernacular music. Redbone croons and growls his way through a repertoire that includes Rodgers, Fats Waller, Irving Berlin, and "Polly Wolly Doodle," the last of which inspired album-cover artist Chuck Jones to include "a grasshopper sittin' on the railroad track... pickin' his teeth with a carpet tack." Redbone and crew rise to peak after peak (hear Venuti's finessed high-wire act on "Some of These Days"), resulting in a record that makes for perfect Saturday night and Sunday morning listening. --Rickey Wright

Customer Reviews:

30 years later, I still listen to this one regularly.......2007-02-22

This is my favorite Leon Redbone album, although I adore several others. And its the one for which I have memorized the most songs and happily sing with or without the record.

On The Track.......2007-02-14

Loaded with great songs, this album has tunes that I remember not knowing when I was young. They sound fresh & full of wit, charm, and intricate fingerpicked lovelyness. I'm getting his hole catalog... but you might want to start with just this disc first.

Leon Redbone - On the Track.......2007-01-03

The only song I like on this cd is "Saving My Love For You". It's a classic.

Old Times, Good Times.......2006-11-04

Leon Redbone is a master at what he does- producing fun loving songs that are an enjoyment form beginning to end

Old-timey tunes, a voice, a guitar and a throat-tromnet ; stir well and serve.......2006-10-28

A favourite musician of mine, the very secretive Leon Redbone has released twelve studio albums to this day and his first, "On the Track", was released on LP by Warner Bros. in 1975. This album eventually reached Gold LP status.

Leon Redbone applies his skills to the interpretation of an eclectic blend of musical styles including old-timey jazz, ragtime, acoustic folk, blues and country standards, minstrel show tunes and radio ditties coming from a period broadly extending to the turn of the century to WWII. There is a definite nostalgic feel, which relates Redbone's music to a more relaxed period in American musical history.

This artist displays his skills, mainly, as a singer and guitarist. First, of course, there is that voice: a deep, resonant, highly distinctive and somehow gravely baritone, sometimes mutating into his fabled "throat tromnet" that is his way to aurally approximate the sound of brass instruments.
Redbone has a good mastery of the acoustic guitar (he also sometimes plays the banjo.) Although not a virtuoso, he fingerpicks in a ragtime style that allows him to sing and play at the same time. Chords, however, are played with dexterity.

Redbone's interpretations of his chosen material are certainly not faceless covers. If his goal is to communicate the music he loves, he nevertheless adopts an oft irreverent, off beat approach to these old classics and makes just plain fun to listen to these songs again.
One aspect that I really like about his work is that everything is so laid-back. Besides this is an un-plugged recording without any electric instrument to be heard. Another pleasant aspect, to my ears, is the funny double-entendre of some of the lyrics.
On the Track is a fantastic album filled with songs that make you feel like you have been time warped back to the first decades of the past century. His music makes me smile.

Redbone's first LP benefits immensely from the production work of famed jazz producer Joel Dorn. He is supported by a decidedly varied cast of top notch players, from Garnett Brown (trombone) to Steve Gadd (drums) to Joe Venuti (violin), to name a few. Their contributions are discreet and tastefully augment the highly developed and melody-intensive arrangements. It is clear that melodies, harmonies, and finesse figure highly in what Redbone purports to achieve.

The eleven selections include two Jimmie Rodgers compositions: "Sweet Mama Hurry Home Or I'll Be Gone" (with delightful steel guitar and clarinet) and "Desert Blues (Big Chief Buffalo Nickel)" that features delicate brass ensemble playing and Redbone's throat tromnet).
"Big Time Woman" was written by Wilton Crawley, a clarinettist, who recorded it with an orchestra including Ferdinand "Jelly Roll" Morton. Rodgers and Morton receive "very special thanks" from Redbone in the album credits.

The way he treats "Polly Wolly Doodle", the children song, in the same style as the rest of the album is amazing; Don McLean plays great banjo on this track.

Most of the other tunes are popular tunes written by celebrated songwriters (Irving Berlin, Hoagy Carmichael, Fats Waller, Shelton Brooks, etc) and made famous by a truckload of well-known artists (Louis Armstrong, Cab Calloway, Django Reinhardt, Bing Crosby, Tommy Dorsey, you name them!) However, the artists who are the most often associated with six of the tunes are the Mills Brothers. They were a remarkable and talented vocal group that was both long lasting and extremely popular. Their music was smooth, good natured and warm. In the beginning, they incorporated a novelty into their act: they "played" tuba, trombone, and trumpet by cupping their hands over their mouth. They thus influenced Redbone and his throat-tromnet. Their single musical instrument was ... an acoustic guitar.
Those tracks are "Marie", "Lazybones", "Some of These Days", "Ain't Misbehavin'", "My Walking Stick" and "Lulu's Back In Town".

There is also one track titled "Haunted House" that is credited as "P.D. - Arranged by Leon Redbone". This blues ballad was recorded by Lonnie Johnson, the originator of the flat-picked single-note style of playing. The tune was recorded with this title by Lonnie Johnson and Elmer Snowden in 1960. However, it is a remake of "Blue Ghost Blues", which Johnson wrote and recorded in 1927. At the beginning of the tune, Redbone takes a rare fifty seconds guitar solo parts of which, to my ears, evoke the playing style of Lonnie Johnson but without a chance to attain the brilliance of Johnson's playing. Although vocally pleasing, I find this the weakest track on the album.

However, be warned: if you listen to this music and begin to dig it, it will prove very addictive.
In which case I suggest you to buy more albums, preferably in chronological order of release.

Now, pour yourself your favourite drink and/or pick your favorite smoke (if this is still allowed in your town), sit yourself comfortably and enjoy this masterpiece.

Lost Sounds: Blacks and the Birth of the Recording Industry 1891-1922

Average customer rating:

Interesting
for audiophiles and history buffs only.
Deserving of Recognition
equal parts fascination and revulsion
Priceless documents in context

Lost Sounds: Blacks and the Birth of the Recording Industry 1891-1922
Various Artists
Manufacturer: Archeophone Records
ProductGroup: Music
Binding: Audio CD

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Jewface

ASIN: B000BPDF4C
Release Date: 2005-10-11

Tracks:

Mamma's Black Baby Boy (Unique Quartette, 1893)
Keep Movin' (Standard Quartette, 1894)
Who Broke the Lock (Unique Quartette, c.1895)
Brother Michael, Won't You Hand Down that Rope (Oriole Quartette, c.1895)
Poor Mourner (Cousins and DeMoss, 1898)
Who Broke the Lock (Cousins and DeMoss, 1898)
Down on the Old Camp Ground (Dinwiddie Colored Quartet, 1902)
Jerusalem Mornin' (Polk Miller and His Old South Quartet, 1909)
Little David / Shout All Over God's Heaven (Fisk University Jubilee Quartet, 1909)
Swing Low, Sweet Chariot (Apollo Jubilee Quartet, 1912)
Shout All Over God's Heaven (Apollo Jubilee Quartet, 1912)
Good News (Tuskegee Institute Singers, 1914)
The Rain Song (Right Quintette, 1915)
Goodnight Angeline (Four Harmony Kings, 1921)
Experiences in the Show Business (Charley Case, 1909)
The Whistling Coon (George W. Johnson, 1891)
Adam and Eve and de Winter Apple (excerpt) (Louis Vasnier, c.1893)
The Laughing Song (George W. Johnson, c.189498)
Minstrel First Part, featuring The Laughing Song (Spencer, Williams & Quinn's Imperial Minstrels, c.1894)
Listen to the Mocking Bird (George W. Johnson, 1896)
The Laughing Coon (George W. Johnson, c.1898)
The Whistling Girl (George W. Johnson, c.1899)
My Little Zulu Babe (Williams and Walker, 1901)
Carving the Duck (George W. Johnson, 1903)
The Merry Mail Man (Len Spencer and George W. Johnson, 1906)
Nobody (Bert Williams, 1906)
My Own Story of the Big Fight (part 1) (Jack Johnson, 1910)
Beans, Beans, Beans (Opal Cooper, 1917)
Great Camp Meetin' Day (Noble Sissle, 1920)

Tracks:

Atlanta Exposition Speech (Booker T. Washington, 1908)
Old Black Joe (Thomas Craig, 1898)
Old Dog Tray (Carroll Clark, 1910)
I Surrender All (Daisy Tapley and Carroll Clark, 1910)
Swing Along (Afro-American Folk Song Singers, 1914)
The Rain Song (Afro-American Folk Song Singers, 1914)
Exhortation (Right Quintette, 1915)
Vesti la Giubba (Roland Hayes, 1918)
Go Down Moses (Harry T. Burleigh, 1919)
Sometimes I Feel Like a Motherless Child (Edward H. S. Boatner, 1919)
Villanelle (Florence ColeTalbert, 1919)
Barcarolle (R. Nathaniel Dett, 1919)
Lament (Clarence Cameron White, 1919)
When de Co'n Pone's Hot / Possum (Edward Sterling Wright, 1913)
Down Home Rag (Europe's Society Orchestra, 1913)
Bregeiro (Rio Brazilian Maxixe) (Joan Sawyer's Persian Garden Orchestra, 1914)
On the Shore at Le-Lei-Wei (Ciro's Club Coon Orchestra, 1916)
Down Home Rag (Wilbur C. Sweatman, 1916)
Some Jazz Blues (Memphis Pickaninny Band, 1917)
Sarah from Sahara (Eubie Blake Trio, 1917)
The Jazz Dance (Blake's Jazzone Orchestra, 1917)
Ev'rybody's Crazy 'Bout the Doggone Blues (Wilbur C. Sweatman's Original Jazz Band, 1918)
Darktown Strutters' Ball (Lieut. Jim Europe's 369th U. S. Infantry Hell Fighters Band, 1919)
Camp Meeting Blues (Ford Dabney's Band, 1919)
St. Louis Blues (W. C. Handy's Memphis Blues Band, 1922)

Product Description

If you believe Robert Johnson was the first to play rock Â’nÂ’ roll, listen up. Records made by African-American artists in the 1890s anticipated by decades the essentials of jazz, rhythm and blues, rock Â’nÂ’ rollÂ—and yes, even Robert Johnson. Unlike the pioneer blues and jazzmen of the 1920sÂ—whose contributions to American music are duly documented and appreciated todayÂ—the achievements of their forgotten predecessors are all but erased from history: the sound too limited, the grooves too noisy, the words too painful. Tim Brooks brought the Lost Sounds of these pioneer black performers to our notice with the publication of his groundbreaking book. Archeophone brings these Lost Sounds to life with the release of this CD. And none too soon, as the precious few sounds that have survived a century of neglect are fading fast. Those experienced with pioneer recordings are in for some surprises, as most are reissued here for the first time. And those who are not . . . youÂ’ve not heard anything like them before. Many are not easy to listen to. But they are worth the effort, as they let us hearÂ—as close to first hand as possibleÂ—the forgotten black artists who contributed so significantly to American music and culture. Your view of history is about to be rocked.

Customer Reviews:

Interesting .......2007-03-11

This is not my favorite of my many compilations of early American recordings but it does have some very interesting stuff on it. A better comp in my opinion is Roots N' Blues,The Retrospective(1925-1950). Now thats a great overview of early americana. But still, Lost Sounds has its merits. The songs that have very rough reproduction actually give the CD a haunting quality. If you want to go way back to the dawn of the recording industry like I did then you will not be disappointed but if you want something a little more listenable, then go w/ the Roots CD. Hope that was helpful to somebody...

for audiophiles and history buffs only........2007-02-22

if like me, you are fascinated with sound, and find it mind-boggling to put on a pair of headphones and hear the voice of someone who was alive in 1891 coming back to life right in your ears, then this 2 disc set is for you. if you are simply looking for a purely rewarding musical experience, then this set is probably not for you. understandably, all the stuff recorded before roughly 1910 has very, very poor sound quality. it is the fascination with the mere existence of these sounds that is the thrill, not the tunes themselves. the post 1910 tracks have basically good sound quality for the most part, and there is a wide variety of styles, all pre-blues, except for the last song of disc 2, w.c. handy's memphis blues band playing their legendary "st louis blues," which is still part marching band, part vaudeville, as much as it is blues. elsewhere you get gospel, singing quartets, folk tunes, classical, opera, orchestras, jazz, and 2 spoken word tracks (one by then heavyweight boxing champion jack johnson, and one by booker t. washington). you also get a lot of novelty tunes (i repeat a lot of novelty tunes), especially on disc one. i don't know if these novelty numbers actually passed for funny back in the day, but they wear pretty thin pretty quick to the modern sensiblity. anyway, fascinating for lovers of history, or collectors of old-time audio, but will not fulfill your wildest musical dreams i am afraid.

Deserving of Recognition.......2007-02-14

First of all, congratulations to Archeophone Records and Lost Sounds for winning the 2007 Grammy Award for Best Historical Album. Hopefully this recognition will allow the music and its message to be more widespread.

Again, not much can be added to what has been written; the significance of this CD cannot be overlooked. I've been fortunate to have been exposed to a wide variety of music since childhood, but Lost Sounds is unlike anything I had previously heard. It's a great piece of history that offers a new perspective on music as a whole. I still can't get over the fact that some of these recordings have survived over one hundred years - despite the disposable age we seem to live in.

No matter what your musical tastes, Lost Sounds deserves a listen - especially to the history aficionado.

equal parts fascination and revulsion.......2006-07-07

There's not too much I can say that hasn't already been mentioned in the previous review, but I felt a need to add to (or help start) the chorus of praise for this collection.
As a fan of country blues and songster material (often predating country blues) this collection has been a real eye-opener. While I've heard some minstrel material from Jim Jackson, Pink Anderson, and some early blues players, this collection shows just how much more disturbing the minstrel tradition could be.
I suppose this album is best described as bittersweet; it contains some breathtaking music in a variety of genres, (the earliest examples I've ever heard of blues, jazz, gospel, minstrelsy, and the astounding vocal groups). However, it is in some of the self-defacing subject matter where the abhorant racism of the times left its audible mark the most (sometimes making songs difficult to listen to). That said, I truly believe that this is material to be embraced and understood; so as to both appreciate the artistry of it, and to ensure that such horrendous persecution does not occur again; if approached in this light, "Lost Sounds" is a true landmark for which listeners owe Archeophone records their sincerest thanks (and/or dollars). I honestly believe that any person with interests in black music created in the U.S. over the past century, or modern history for that matter, should not be without this collection.
It never ceases to astound me how something so beautiful can be quite so disturbing at the same time, but I'm so thankful I have had the chance to be disturbed at all.

Priceless documents in context.......2006-01-05

I read Tim Brooks' book Lost Sounds soon after it came out. Both early recordings and pre-jazz African-American music have been interests of mine for a while now, and Brooks' book is an invaluable work on both. This companion double CD set, used either as aural illustration for the book or by itself, is equally invaluable.

As Brooks readily admits, many of these sounds were forgotten and nearly extinguished because of their discomforting nature. Many of the black performers before 1922 engaged in one sort of "tomming" or another. The recording industry was a whites-only business, and only those artists who appealed to whites in some way got recorded at this time. Thus these recordings can't be taken as representative of the music African-Americans made for their own enjoyment.

The variety of styles and approaches in the black music recorded in the 90's, aughts, and teens reflects the variety of ideas and approaches to black self-representation in these times. From dignified gospel styles to minstrel songs, from sentimental ballads to the startling proto-jazz of Jim Europe, Ford Dabney and Wilbur Sweatman, every expression of black artists was necessarily related to political or social ideals and realities. The CDs not only present this wide variety of material, but the 58-page notes help draw out the social significance of each type of recording.

Rather than proceeding chronologically, the contents are divided roughly into four sections, Vocal Harmonies, Minstrel and Vaudelville Traditions, Aspirational Motives, and Dance Rhythms. Except for the last section which focuses on later instrumentals, there is a good deal of overlap between the sections, but this only helps illustrate the overlaps in the traditions.

The sound quality, while never hi-fi, is amazing considering the sources. Some of the best people in the early-sound restoration field contributed their efforts and it shows. I know from experience just how difficult it is to get all the sound out of an early recording. All involved deserve a big hand.

My one complaint with the package is the inclusion at the beginning of the Minstrel notes of a noxious quote from Stanley Crouch dismissing all rap music as new minstrelsy aimed at white audiences. Brooks is aware that the politics of self-representation among early 20th Century African-Americans were extremely complex. How he could fail to see that they still are complex, and how he could miss the blinding upper-class bias of Crouch, is beyond me. It's possible the quote was supposed to be a demonstration of the continuing complexity of these politics, but it appears to be just an endorsement of Crouch's ignorance.

Average customer rating:

Awesome to hear the old masters almost live.
The Greatest Ragtime of the Century
A great introduction and sampling.

The Greatest Ragtime of the Century

Manufacturer: Shout Factory
ProductGroup: Music
Binding: Audio CD

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Complete Piano Music of Scott Joplin
Scott Joplin: Piano Rags
King of the Ragtime Writers
The Sting: Original Motion Picture Soundtrack
Red Hot Ragtime Volume 1

ASIN: B00009PJST
Release Date: 2003-06-10

Tracks:

Shreveport Stomp - Jelly Roll Morton
Sweet Man - Jelly Roll Morton
Tom Cat Blues - Jelly Roll Morton
A New Kind Of Man With A New Kind Of Love For Me - Thomas 'Fats' Waller
Nobody But My Baby - Thomas 'Fats' Waller
Got To Cool My Doggies Now - Thomas 'Fats' Waller
Maple Leaf Rag - Scott Joplin
Weeping Willow Rag - Scott Joplin
Something Doing - Scott Joplin
Steeplechase Rag - James P Johnson
Twilight Rag - James P Johnson
Charleston Rag - Eubie Blake
It's Right Here For You - Eubie Blake
Fare Thee Honey Blues - Eubie Blake
Mr. Freddie Blues - Jimmy Blythe
Regal Stomp - Jimmy Blythe

Customer Reviews:

Awesome to hear the old masters almost live........2007-03-27

It was an awesome experience to hear Ragtime and early blues played by the masters themselves. When you hear the music from their own hands, if not their own pianos, it makes the music immediate, and makes even clearer the stylistic differences of the various American musical pioneers. The sound quality is excellent. I'd strongly recommend this recording to anyone who enjoys early-20th-century jazz.

The Greatest Ragtime of the Century.......2005-10-30

What a terrific CD. What a joy to add to your life. Everyone should begin their day with this Great Ragtime.We would all be much better.

As a former dancer, Flapper, wth the Charleston in my routine, I do appreciate Great Music. I'm not quite as good as I used to be, but neither are you, Gal. Will be 66 next birthday. Still have the rhythm and love life.

Put some spice in your life and don't let this CD get away. Please, just get it today.

A great introduction and sampling........2005-08-23

Prior to this album, the only ragtime I really knew was "The Entertainer" and "Maple Leaf Rag". I don't know how this album fares for enthusiasts, but I've thoroughly enjoyed it. It introduced me to several different composers. The way the album is organized by giving you a two or three song block by each composer is good. As you listen to this, you can easily hear the different styles from one composer to another. As for the recording quality, I don't have any complaints whatsoever. Each note is clear without much noticable fuzz or hissing. The versions of Scott Joplin's songs are played a bit brash and speedy when compared to Joshua Rifkin, but I think they sound livlier because of it. Overall a solid release.

Rags to Riches: The Essential Hits of Scott Joplin

Average customer rating:

What the heck???
More Than Excellent

Rags to Riches: The Essential Hits of Scott Joplin

Manufacturer: Compendia
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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Complete Piano Music of Scott Joplin
The Greatest Ragtime of the Century
The Sting: Original Motion Picture Soundtrack
Scott Joplin: Piano Rags
Joplin - Complete Rags for Piano (Schirmer's Library of Musical Classics) Vol. 2020

ASIN: B0009J4OAO
Release Date: 2005-06-21

Tracks:

Original Rags
Maple Leaf Rag
Easy Winners
Elite Syncopations
The Entertainer
The Cascades
Bethena
Leola
Gladiolas
Searchlight
Fig Leaf Rag
Sugar Cane
Euphonic Sounds
Paragon Rag
Solace
Wall Street Rag
Treemonisha
Magnetic Rag

Album Description

Celebrate the diversity of American music with RAGS TO RICHES: THE ESSENTIAL SCOTT JOPLIN, a comprehensive collection of 18 pieces by one of ragtime's greatest composers. From his signature hit "Maple Leaf Rag" to classics such as "The Entertainer" and "Wall Street Rag", RAGS TO RICHES: THE ESSENTIAL SCOTT JOPLIN contains some of the most revered tunes in musical history and will be treasured by music fans for years to come.

Customer Reviews:

What the heck???.......2007-03-20

Music is great, as is the playing. However, the last song is not Magnetic Rag but rather the same version of Maple Leaf Rag heard earlier on the album.

What is with that?

More Than Excellent.......2006-08-16

I had previously purchased a Scott Joplin CD and was disappointed by the dull quality and dispirited playing by the artist. This CD more than makes up for it. The music was beautifully performed and the recording was very clear. Every piece was perfect!

Jo Anne Castle - 22 Greatest Ragtime Hits

Average customer rating:

Jo Anne Castle
Jo Anne Castle 22 Greatest Ragtime Hits, Vol. 1
22 Ragtime Hits
I like Jo Ann, always have and I like rag time
Great toe tapping music!

Jo Anne Castle - 22 Greatest Ragtime Hits
Jo Anne Castle
Manufacturer: Ranwood Records
ProductGroup: Music
Binding: Audio CD

Traditional Jazz General | Traditional Jazz & Ragtime | Jazz | Styles | Music

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22 Great Ragtime Hits Volume 2
Ragtime Favorites
The Best of Jo Ann Castle
Red Hot Ragtime Volume 1
Red Hot Ragtime Volume 2

ASIN: B000000B80
Release Date: 1992-08-25

Tracks:

Down Yonder
I'm Looking Over A Four Leaf Clover
Alabamy Bound
Bill Bailey
Frankie & Johnny
Hot Time In The Old Town Tonight
Maple Leaf Rag
Wang Wang Blues
Pagan Love Song
Spaghetti Rag
Baby Face
Black & White Rag
Down Home Rag
Sweet Georgia Brown
Dill Pickles Rag
When You & I Were Young Maggie
In A Shanty In Old Shanty Town
The Sheik Of Araby
Tickle The Ivories Rag
Skater's Boogie
Down Among The Sheltering Palms
The Days Of Old Vaudeville

Customer Reviews:

Jo Anne Castle.......2007-01-11

The music and songs are excellent, anytime, not just at ragtime. Jo Anne is one of the best, if not THE BEST!

Jo Anne Castle 22 Greatest Ragtime Hits, Vol. 1.......2005-08-14

Jo Anne is the best when is comes to ragtime. She really knows her piano and ragtime.

22 Ragtime Hits.......2005-07-23

I am a great fan of Joann Castle ever since she was on the Lawrence Welk Show. This is the first time that I have ever seen Joann's CD's for sale. This album is really great nnd we
need more albusm like this on the market.. Dean Belknap

I like Jo Ann, always have and I like rag time.......2004-05-24

Jo Ann is a really good rag time player, but I agree with the other reviewer that she plays the tunes too fast, especailly Maple Leaf Rag. Alas, that is her style. She ain't going to change it just because we are critical of it. Despite that criticism I still like this record.

Great toe tapping music!.......2001-08-31

Jo Ann Castle has to be the best ragtime piano player to come along since Big Tiny, and she plays with her normal gusto! I know some think "rag" should be played a certain way, but I'm thankful New Orleans never listened to them. If you remember ragtime piano from the Welk show and liked it, you'll love this CD. You may even want to get Vol. 2. You can't sit and listen to this and not start moving hands and feet to the music.

Average customer rating:

Delightful
A Master Class in Singing
Bryn is swell, but the bombast is annoying
Surprisingly Fine Crossover from Fleming and Terfel
BREATHTAKING VOCAL MAGNIFICENCE~BRAVO!!!

Renee and Bryn: Under the Stars
John Harold Kander , Andrew Lloyd Webber , Claude-Michel Schoenberg , Richard Rodgers , Gerard Presgurvic , Jason Robert Brown , Meredith Willson , Lucy Simon , Cole Porter , Stephen Flaherty , Ralph Salmins , and David Hartley
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bryn Terfel - Something Wonderful (Bryn Terfel sings Rodgers & Hammerstein)
Bryn Terfel - If Ever I Would Leave You (Songs from My Fair Lady, On a Clear Day, Camelot, The Little Prince, Brigadoon)
Bryn Terfel - Simple Gifts
Bryn Terfel Sings Favorites
Silent Noon

ASIN: B000088E7D
Release Date: 2003-02-11

Tracks:

"Not While I'm Around" (from Sweeney Todd by Stephen Sondheim)
"Moonfall" (from The Mystery of Edwin Drood by R. Holmes)
"I Don't Remember You The Happy Tim" and "Sometimes a Day Goes By" (from Woman of the Year by Kander & Ebb)
"All the Love I Have" (from The Beautiful Game by Ben Elton & Andrew Lloyd Webber)
"I Wish I Could Forget You / Loving You" (from Passion by Stephen Sondheim)
"Stars" (from Les Misirables by Boublil & Schvnberg)
"All I Ask of You" (from The Phantom of the Opera by Andrew Lloyd Webber)
"Hello, Young Lovers" (from The King and I by Rodgers & Hammerstein)
"Pretty Women" (from Sweeney Todd by Stephen Sondheim)
"Aimer" (from Romio et Juliette by Presgurvic)
"All the Wasted Time" (from Parade by J. Brown)
"Seventy-Six Trombones" (from The Music Man by Willson)
"How Could I Ever Know" (from The Secret Garden by Simon and Norman)
"So In Love" (from Kiss Me Kate by Cole Porter)
"Wheels Of a Dream" (from Ragtime by Ahrens & Flaherty)

Amazon.com

In these days of the crossover, it is hardly surprising to find two great opera singers making a foray into numbers from Broadway musicals by such composers as Cole Porter, Stephen Sondheim, and Andrew Lloyd Webber. What's remarkable is that they seem completely at home in this music. Both say they grew up listening to it, and indeed they approach these songs with no less care and seriousness than they'd give the most demanding operatic arias, and without a trace of condescension. However, their vocal, expressive, and interpretive styles are very different, both in the solos and the duets. Terfel projects assertive manliness, tender, intimate affection, and rollicking humor without external effects, using only his incomparably sonorous voice and powerful personality. His diction is impeccably clear, and though he has sometimes let his theatrical flair spill over into Schubert songs, he is the soul of simplicity here. This is in stark contrast to Fleming's tendency to exaggerate colors and dynamics and to turn sentiment into sentimentality. Moreover, though she claims a background as a jazz singer, her "crooning" sounds artificial and unnatural. However, her top notes, culminating in a triumphant high C at the end of the final number, ring gloriously. Her voice glows and shimmers with irresistible luster, soaring from seductive whispers to thrilling climaxes. The program features a great variety of love songs, and includes an antiwar protest (from Beautiful Game), a celebration of the American dream (from Ragtime), and a rousing fun piece (from The Music Man). Unfortunately, even the best songs are marred by thoroughly corny arrangements. Listeners will find their own favorites, but the real "stars" on this record are the two singers. --Edith Eisler

Customer Reviews:

Delightful .......2006-07-24

I truly enjoy Terfel's vocal talent and found it to be well suited for this genre. Fleming's impeccable soprano voice is a bit overpowering for this style of music. (I own this CD)

A Master Class in Singing.......2006-06-20

This CD is a must-have for any person interested in the singing art. Ms. Fleming and Mr. Terfel gives new light to these Musical Theatre classics. Their fine vocalism in the musical theatre genre coupled with the depth of musicality and dramatic phrasing in each of the selections is truly a breath of fresh air. This recording is indeed a Master Class!

Bryn is swell, but the bombast is annoying.......2006-05-03

Love Bryn Terfel, the finest bass-baritone in Opera. Love Renee Fleming's luscious soprano. But the arrangements! Kettle drums and bombast and bang, bang, bang! Once Renee starts swooping, things go downhill, with little redemption.

It starts out beautifully. "Not While I'm Around" has never sounded more intimate to me than Terfel's caressing pianissimo. Fleming's "Moonglow" is stunningly good. Terfel makes a medley out of "I Don't Remember You and Sometimes a Day Goes By" that makes you want to cheer, and Fleming does a lovely Sondheim medley as well. Bryn sings "Stars" and makes me long for him in Les Mis. And then...things tend to go downhill. The bombast takes over and gets to you - it overwhelms two of the biggest voices now recording. Then Fleming begins to swoop and scoop, over-coloring and often coming off as simply self-indulgent, reminding one of a kid who makes a point of putting his face in a camera shot.

I don't mind Bryn as Prof. Harold Hill - I frankly think the Welsh accent is kinda cute - and it doesn't bother me on "Wheels of Dream," either, but Fleming seems to have lost her mind on that great song, and rather than indulging her, it would have simply been better left off the album. Ditto "All that Wasted Time" which is pretty much unlistenable. Ms. Fleming needs to stop thinking she is a jazz singer.

The four stars are because this album does contain some truly GLORIOUS moments, particularly in the duets, and in Terfel's solo's which are warm and memorable. Without him, the kettle drums and Fleming's self-indulgence would have made the whole endeavor unbearable.

Surprisingly Fine Crossover from Fleming and Terfel.......2006-04-18

Bryn Terfel and Renee Fleming are two of the most acclaimed opera singers of our day. But the musical theatre fan who puts on their Broadway CD, RENEE AND BRYN: UNDER THE STARS, expecting to hear a carelessly compiled hodgepodge of songs sung by voices ill-suited to them is in for a big surprise, beginning with the first phrases of the duo's warmly sung "Not While I'm Around" from SWEENEY TODD. True, these singers' beautiful voices have greater power and range than even the best of the Broadway stars', but this is an asset in these songs, most of which are either semi-operatic in nature or call (like THE MUSIC MAN's "Seventy-Six Trombones") for such an outsize personality as Terfel's. Fleming's sensuous and tonally gorgeous rendition of "Moonfall" from THE MYSTERY OF EDWIN DROOD can be placed among her very finest recordings, operatic and otherwise. And Terfel is ideally suited to both "Pretty Women" from SWEENEY TODD and "Stars" from LES MISERABLES; few if any Broadway Javerts could match the impact of his "This I swear by the stars!" Kander and Ebb's "I Don't Remember You" and "Sometimes a Day Goes By" make a perfect medley here, as do Sondheim's "I Wish I Could Forget You" and "Loving You" from PASSION. And though I don't care for the Andrew Lloyd Webber selections (ersatz Puccini) or the Jason Robert Brown one (which sounds too much like a pop song), Terfel and Fleming's singing of them is beyond reproach. The program ends with a bang: a rendition of "Wheels of a Dream" worthy to stand beside the now-classic one by Brian Stokes Mitchell and Audra McDonald on the original cast album of RAGTIME. Welshman Terfel's natural accent is noticeable here; but if one imagines him as, say, an Irish immigrant married to an African-American woman (as Fleming here sounds uncannily like McDonald or like Leontyne Price) his accent is appropriate and his voicing of the "bridge" section ("Oh Sarah, it's more than promises/Sarah, it must be true...") especially moving. Fleming's ecstatic final high note makes one want to applaud and cheer, both for the song and for the successful "crossover" effort.

BREATHTAKING VOCAL MAGNIFICENCE~BRAVO!!!.......2004-10-11

So captivating are these incredible singers in the glorious live concert "Under The Stars" creating an unforgettable musical masterpiece of epic proportions that is so moving and great to watch that I ran out and purchased this studio recorded Compact Disc the next day!! The brilliance of the live broadcast carried over into the recording studio capturing Renee and Bryn at the peak of their incredible powers emotionally and vocally making them the most effective crossover artists since the great Barbara Cook who like Miss Cook sing with emotion that is accurate for this type of material which is usually not the case with classical voices. Renee Fleming sings with genuine passion and stirring emotions and her timing is absolutely flawless and this lady has alot of soul and the Torrie Zito arranged "Moonfall" is a stunning masterpiece that clearly illustrates this. A dazzling medley each show both singers in glorious peak form with Bryn splendid in the enchanting "I Don't Remember You/Sometimes A Day Goes By" and Renee spellbinding and haunting in the gorgeous "I Wish I Could Forget You/Loving You" which will make anyone who loves a great voice fall in love with this amazingly gifted singer. "Stars" features a commanding performance from Bryn that raises the roof and this is so refreshing and inspired in these musically tired times!!! This superb showcase is full of wonderfully exciting performances which are capable of making people feel again and this is what is sorely needed in music today and BRAVO to Bryn Terfel and the gorgeous Renee Fleming for achieving this with complete artistic brilliance. Captivating duets fill this wonderous collection and never have classics such as "Not While I'm Around" or "All I Ask Of You" been sung more brilliantly than here. Renee is magical with "Hello, Young Lovers" while Bryn is commanding and winning with "Pretty Women". Renee's stunning "All The Wasted Time" is a vocal and emotional tour-de-force that is like a wild roller-coaster ride that you won't want to end as this is one of the most riveting songs that I have ever heard from a Broadway score and this certainly must be the definitive performance of this great song. This lady can really really sing and this is some deeply serious singing~WOW!!! Gorgeous together again in the beautiful "How Could I Ever Know" which is hair-raising and wonderfully soulful and sophisicated together in Cole Porter's "So In Love". A grand finale by these two awesome vocal wonders lives up to expectations being a complete blowout vocal festival and they definitely do not disappoint here!!! "Wheels Of A Dream" is mesmerizing and soars to magnificent heights with Bryn and Renee in peak form singing to the skies and hitting notes that I swear I have never heard before~BRAVO!!!!!!! You are both magically inspired and simply put as good as it gets!!!! Highly recommended if you love two awesome vocal wonders at their absolute peak in a magnificent beautifully orchestrated setting!!! Thank you Bryn & Renee...

Average customer rating:

great music
Best Redbone Release Out There
Blind Blake's son plays here !!
Blind Blake's son plays here !!!!
a pleasant oddball

Champagne Charlie
Leon Redbone
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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On the Track
Double Time
Branch to Branch
Up a Lazy River
No Regrets

ASIN: B000002KIH
Release Date: 1990-10-25

Tracks:

Champagne Charlie
Please Don't Talk About Me When I'm Gone
Sweet Sue (Just You)
The One Rose (That's Left In My Heart)
Alabama Jubilee
Big Band Bill (Is Sweet William Now)
Yearning (Just For You)
If Someone Would Only Love Me
I Hate A Man Like You
T.B. Blues

Customer Reviews:

great music.......2007-06-11

I have always enjoyed Leon Redbone and bought this to replace what I lost in august 2005. Fantastic music!

Best Redbone Release Out There.......2004-08-18

His music is entertaining, but this is the Leon Redbone album that stands above the others. You get a good mix of mellow old tunes like "Please Don't Talk About Me When I'm Gone," to the upbeat "Champagne Charlie" and "Alabama Jubilee."

I especially enjoyed his almost solemn tone in "Sweet Sue" and "Big Bad Bill." "Big Bad Bill" is a silly and endearing song about a burly Terror of the Town who is humbled and tamed by his wife, and only Redbone could bring out the humor by singing it at such a snail-pace.

As much as I enjoyed several other Leon Redbone CDs, the tracks tend to blend into one another after awhile, and I found this album to be such a dramatic exception. I don't think I could ever hate a Leon Redbone album, but "Champagne Charlie" is the only one of his releases I would rave about.

Blind Blake's son plays here !!.......2001-08-29

Leon Redbone is Blind Blake's son.Just listen to "Champagne Charlie" or "big bad Bill is sweet William now" to be sure.THis is another great record by the martian.On three tunes,Leon has a special guest star : Sammy Price and Little Brother Montgomery. Once again,he pays tribute to Jelly Roll Morton ("I hate a man like you").And plays marvelous versions of old standards,"please don't talk about me when I'm gone","sweet Sue".As estimable as any of Leon's recordings,and surely one of the three Leon's records to buy in priority.

Blind Blake's son plays here !!!!.......2001-08-29

a pleasant oddball.......1999-10-05

For those of you who have not heard of Leon Redbone before, this disc is a good starting point. Redbone is one of the most original and eccentric characters in the music scenes. This guy appeared in 70's, a time when everyone else was busy crafting their Dylan-Beatles-esque stuff, with a top hat, a Mr. Penut-like cane, a pair of vintage sunglasses and a collection of charming ragtime and pre-war Jazzy tunes. Redbone has a raw and unpolished voice and ability to bring any song alive. This disc showcases his typical styles. A good buy for anyone looking for something different.

Music Review:

Music Review

music review

Music Review

Ice Cold Riddim Makatak Riddim Killa

The 4 Seasons, Vol.4: Winter

Shulamit Ran - Mirage - Chamber Works for Flute

The Complete Thom Bell Sessions [Import]

Static Patterns & Souvenirs

Schoenberg - Die Glückliche Hand · Variations for Orchestra, Op.31 · Verklärte Nacht / Nimsgern · BBC Orch. · NY Phil. · Boulez

Streets of the City

Sabor A Chocolate

Salsa, Solamente Salsa

Bach J.S: Musical Offering

The Best of LeVert

1. Alexander Rag
2. Green Leaf Prelude
3. Russian Rag
4. Get Well Rag
5. Blue Rose
6. Eliza's Aria
7. Backstate Rag
8. Birthday Rag
9. Brothers
10. Peggy's Minute Rag
11. Reflections
12. Cocktail Rag
13. Butterflying
14. Sunday Rag
15. Nostalgic Piece
16. Bucharian Melody
17. Revolving Doors
18. Suburban Rag
19. Sapphire Rag
20. Tranquil Interlude