The Psyche

The Psyche

ASIN: B0001MXNGA

Editorial Reviews
Product Description
LEROY JENKINS (violin), SIRONE (bass), JEROME COOPER (drums, piano)

"it's a joy and a revelation to finally hear this album." - John Litweiler (from liner notes)

Long awaited reissue of .the Revolutionary Ensemble's1975 album. The Psyche.

This group introduced New York to decided musical advances, many pioneered by Chicago's A.A.C.M. musicians. Ex-Chicagoan Leroy Jenkins, who played violin, of all unheard-of modern jazz instruments, had formed his concept from classical, swing, blues, and modern elements and had been one of the radicals who discovered new concepts of sound, space, and musical relationships in the late 1960s. Jerome Cooper had been a somewhat later Chicago explorer, while Sirone's freedom of motion had grown out of work with the most visionary New Yorkers. Extensive rehearsal led this cooperative trio to a shared, free sense of dynamics, momentum, and form, and a wholly unique sound: their instrumental recombinations yielded a surprising variety of textures and colors. Most of all, these highly sophisticated personalities played together to create an ensemble music even larger than the sum of its parts.

If you doubt the expressive capacity of stringed instruments, The Psyche should change your mind: Jenkins and Sirone have many ways of bowing and plucking, along with dramatic passages high and low on their instruments. Careful listening and sensitive responses sustain this music; accompaniments to solos grow into intense interplay. The ensemble regularly re-forms into solo, duet, and trio combinations, aided by the players' doubling instruments. Jenkins' mastery of thematic improvisation, including motive recall and motivic transformation, provides an especially valuable unifying element. In "Invasion," hear the opening sustained tones over a rattle (ghostly chains?) that are strained into heated tension, erupting into a fast tempo and three long tones that are Jenkin's solo's cell motive. Another highlight of this disc is the wonderfully conceived, far-ranging violin solo that becomes a colorful violin-bass-drums trio improvisation at the center of "Hu-Man." And don't miss! "Col Legno," named for a technique of playing strings with the wood of the bow, which features especially close, intense interplay of violin-bass-piano. There are many other delights in this CD, for these artists are near the peak of their creative powers in The Psyche. Their remarkable realization of the ensemble ideal still is revolutionary, nearly three decades later.

Tracks:

Haunted Heart
River
When Did You Leave Heaven?
You've Changed
Answer Me
My Cherie Amour
In My Life
The Moon Is A Harsh Mistress
Wozzeck/The Midnight Sun
Liebst du um Schit
My One And Only Love/This Is Always
Can do Amor
Psych
Hard Times Come Again No More

Amazon.com

While countless fans flock to see soprano Renee Fleming's performances of the Countess in The Marriage of Figaro because she's got the voice and the dramatic ability to handle such meaty roles, the versatile singer throws her fans a curveball on Haunted Heart, singing popular standards and ballads as well as a few altered classical pieces. In her liner notes, Fleming calls this album a "look back at the road not taken" -- she played a weekly gig in a jazz club while in school. Nonetheless, her feel for the material here is undeniable. Interestingly, she drops her voice a full octave from her usual tessitura, and the change reveals a robust gospel-oriented approach filled with dramatic breaths and moans. The lyrical Fred Hersch (piano) and the idiosyncratic Bill Frisell (guitar) provide support, and both are adventurous jazz players who create subtle and uniquely haunting backdrops. It adds up to an interesting cross-section of ideas well carried off by the generous talents of all involved. --Tad Hendrickson

Interview with Renee Fleming
Renee Fleming speaks about recent projects, including her memoir The Inner Voice and her recent Handel CD, in our interview.

Customer Reviews:

Sublime and ridiculous.......2007-06-13

The sublime: much of the artistry of this recording is about sound, and the subtle blending/responding of voice with guitar sounds and / or piano sounds. It is in the sensitive musical interplay between the artists where this effort shines. Definitely not recommended for road trips!

The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly quite awful: really tasteless, clumsy, and overused big time and I'm amazed at how this ever got released. Without these ersatz testifyin' noises this CD would be stunning.

So, if you have the ability and inclination to edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).

Eeeeeeeeeeewwwwwww.......2007-06-06

Ugh. Like a manufactured home vs. a stick-built house, Fleming's manufactured (aka "training and technique") blues voice compares unfavorably to other jazz/blues singers/lounge acts. Would not, COULD not, listen to this recording straight through--one big long, breathy, minor key train wreck in the making. Took the CD on a road trip and had to pull over and remove from queue--either that or drive into a wall.

Better than I thought it would be.......2007-04-10

I have to admit, Haunted Heart was a lot better than I thought it would be,especially her recordings of "River", "The Moon's a Harsh Mistress, "My Cherie Amour" and "In my life".
I think this is the most artistically successful recording of Pop/Jazz by a classical singer. I enjoyed it even better than the Anna Sophie Von Otter'/ Elvis Costello CD.
The perspective I am coming from is that of a classical singer who started out as a pop singer/songwriter. I perform and teach cross-genre but love a world class instrument such as Flemming's
I wanted to get the perspective of a friend who used to sing jingles and is also a trained singer but is usually critical of any attempts that opera singers make at crossing -over.
My friend is very familiar with Flemming's voice, but did not recognise it in this context when I played the CD for her. Her reaction was very complimentary, although she did comment that the diction was a bit strange.
She then played it for her brother a well known jazz singer and arranger who had a somewhat negative reaction.He found the singing to be overly dark and round. He prefers a cleaner more 'spoken' approach to this style of singing. I understand this perspective and therefore personally prefer Ella to Sarah as well, but let's not get too picky. Obviously, Rene Flemming is of the Sarah Vaghan School of jazz singing, which is not too shabby.

I will continue to enjoy this CD and will wait for another opera diva to top this one. But, somehow I think the next really good CD of Pop/ jazz from an opera star will also come from Rene.

To those who have been unreasonably mean and negative towards her, I can only say you are not fit to polish her shoes!

Brava Renee.......2007-04-09

This talented woman can sing anything. I really enjoyed this cd with the lights turned down and a glass of wine to relax after a very stressful day at work. Renee could definitely have another singing career outside of opera should she choose. Hearing her drop that gorgeous voice down one octave rivals the best chanteuses in the business - Cassandra Wilson, Nancy Wilson, Regina Belle, Sarah Vaughan, etc. This cd of different musical styles reminds me of Nina Simone and Cassandra Wilson, two great singers whom could interpret any song genre and make their versions special. I loved all the songs and the standouts here are "Haunted Heart", "River", "My One and Only Love", "My Cherie Amour", "Cancao do Amor", and Beatles "In My Life", and "Hard Times Come Again No More".
I hope Renee keeps recording whatever catches her fancy because I'll certainly always listen.

Art is always new. .......2007-03-10

Renee Fleming is an artist bringing us something new, and beautiful. The poor will always be with us as manifest in those who resent other's movement from their established zones. Renee Fleming is a great female voice with accomplishments her detractors will never have, but in their dreams.

I welcome Renee's elan demonstrated with her recent recordings, Love sublime with Brad Mehldau, and Haunted Heart with Fred Hersch and Bill Frissell. Bravery, fun, and talent combined by artists and for people who are listening. Hearing long time favorites Mehldau, Hersch, and Frissell is all the more sublime.

Average customer rating:

This album never gets old,and it takes me back to 1985
TAKE ME BACK TO A PLACE!!!
love cupid and psyche
scritti politti
Get this cd!

Cupid & Psyche 85
Scritti Politti
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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White Bread Black Beer
Provision
Songs to Remember
Early
Provision

ASIN: B000002L7Z
Release Date: 1990-10-25

Tracks:

The Word Girl
Small Talk
Absolute
A Little Knowledge
Don't Work That Hard
Perfect Way
Lover To Fall
Wood Beez
Hypnotize
Flesh & Blood
Absolute (Version)
Wood Beez (Version)
Hypnotize (Version)

Amazon.com

Around the time of Cupid & Psyche 85's release, Scritti Politti mastermind Green Gartside was fond of citing deconstructionist theory as an influence on his subversion of boy-meets-girl lyrics. He might just as well have named Elvis Costello, given the trenchant nature of bubbly-on-the-surface pop tunes such as the U.S. Top 20 single "Perfect Way" ("You want a margin of error for two") and "The Word Girl" ("The girl was never real / She stands for your abuse"). With veteran Aretha/Dusty/Bee Gees cohort Arif Mardin on board for several cuts, and contributions by pop subversives such as Fred Maher and Robert Quine, Cupid remains a classic of hyperintelligent post-new-wave pop funk. --Rickey Wright

Customer Reviews:

This album never gets old,and it takes me back to 1985.......2007-04-10

So the scrit boys decided to make a sequel to 1982's 'Songs To Remember'. Hmmm. Or did they release anything between those two records that I didn't know about. I don't know . Anyway...here goes my review . "The Word Girl" Lovely song,there are two keyboard breaks here that are just excellent. Keyboard riffs that are enough to give you chills !! " Small Talk " this song just has a very cool mid-eighties sound and a keyboard that is all over the place . ' I heard a whisper...'ext. " Absolute " I can't explain just where the keyboards in this song take me. Especially the ones in the middle part of this song!! "A Little Knowledge" Possibly one of the best ballads I have EVER heard. "Don't Work That Hard" That whu-whu sounding keyboard is something else! "Perfect Way" hOW can you not love a song that is driven by a siren-like keyboard.Nifty elecrontic drums,too. The piano break is just something else. Someone else said that when they first heard this song,they thought 'what in the world is this' Well,that's what I thought,too. "Lover To Fall" something about the zing and zest of this song makes me think of the giddy excitement of a crush! And lyrics that make you go 'What the ----! 'I've got the time that you left me,you've got the keys to his car,we've got the nerve to have gone this far' "Wood Beez" very cute... "Hypnotize" 'Down on the beach and out in the bay' and Baby,your heart keeps rocking' GREAT!! "Flesh & Blood" is interesting because it is basically just the intrumental track of "The Word Girl" with Green's vocals removed and new vocals added. Wonders can be done in a recording studio,I tell you...

TAKE ME BACK TO A PLACE!!!.......2007-04-07

I was a sophomore in high school when I first heard this album, one of my best friends at the time put me on to it.....and I was open. HYPNOTIZE has got to be one of the funkiest techno cuts that your ears will ever hear. Although it is considered mid tempo, you can kind of jam to it, definitely bob your head to it. The syncopated beats and the synthesizer creates just enough balance along with the soulful yet light vocals. WORD GIRL is still one of my favorite reaggae cuts, and reaggae was not that happening at the time. I like the fact that they were brave enough to use a female vocalist on this cut which was not happening at this time and the lyrics, if you pay attention speak of true girl power and respect due to a woman. My absolutely favorite cut is ABSOULUTE(long version) because the vocals by the ladies on this cut, two of them I believe is Brenda Wethers formerly of Atlantic Starr fame and Wanakee Agee who did the lead vocals on the r&b group IMTUME's eighties hit JUICY(JUICY FRUIT). This cut is just hard hitting with the synth and I do believe I hear some live percussion if I'm not mistaken. Definitely a head banger. This British group was very innovative, even if it was producer driven and up there with other british groups such as Go West and Level 42. Even twenty years later(dang!!! that long huh?!) Cupid and Pysche still sounds fresh.

love cupid and psyche.......2006-11-10

This is very classy synth-pop work with wonderfully ambigious lyrics to match. Beautifully recorded with oh so special tongue-in-cheek petshop boys dance steps - songs of lost and found love for the new generation.
Also includes remixes of 4 of the original tracks.

scritti politti.......2006-08-07

Weren't they some sort of New Wave group? This is a fine Electro-pop album, well produced, both musically and lyrically. If Marcus Miller can appear on an album where you can find the words 'I found a new hermeneutic' (look it up, like I had to), then it's well worth a listen. If you want an authentic sound of the mid-80's, this is the album, bar none.

Get this cd!.......2006-07-26

This is a great cd. With the exception of one song, all the others have that great SP sound that we all know & love. SP are at their best when they stick to that great, distinctive pop sound that made them famous in the 80's. The only song that didn't work for me was "Flesh & Blood", which had a reggae sound. All their hits are here, which is great for taking a trip down "retro lane". If you love the sound that put SP on the map, then this is the cd for you.

Average customer rating:

LO MEJOR DE LO MEJOR
A Very Fine Compilation

The Essential Falla

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Albéniz: Iberia; Granados: Goyescas
Granados: Spanish Dances
Falla: El Amor Brujo; Sombrero de tres picos; Noches en los jardines de España
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Franck - Sonata for violin and piano · Debussy - Sonatas · Ravel - Introduction and Allegro / Chung · Lupu · Ellis · Melos Ensemble

ASIN: B00001X59X
Release Date: 1999-10-12

Tracks:

Love The Magician: Introduction And Scene... In The Cave
Love The Magician: Song Of Suffering Love
Love The Magician: The Spectre... Dance Of Fear
Love The Magician: Magic Circle... Midnight
Love The Magician: Ritual Fire Dance
Love The Magician: Scene
Love The Magician: Song Of The Will-O'-The-Wisp
Love The Magician: Pantomime
Love The Magician: Dance Of The Game Of Love
Love The Magician: Finale: The Bells Of Dawn
Harpsichord Concerto: I. Allegro
Harpsichord Concerto: II. Lento
Harpsichord Concerto: III. Vivace
Homenaje 'Le Tombeau de Claude Debussy'
Psyche
Nights in the Gardens of Spain: I In The Generalife
Nights in the Gardens of Spain: II Distant Dance
Nights in the Gardens of Spain: III In The Gardens Of The Sierra de Cordoba

Tracks:

La Vida breve: Interludio y Danza
Seven Spanish Folk Songs: The Moorish Cloth
Seven Spanish Folk Songs: Seguidilla From Murcia
Seven Spanish Folk Songs: Asturian Song
Seven Spanish Folk Songs: Jota
Seven Spanish Folk Songs: Lullaby
Seven Spanish Folk Songs: Song
Seven Spanish Folk Songs: Polo
Four Spanish Pieces: Aragonesa
Four Spanish Pieces: Cubana
Four Spanish Pieces: Montanesa
Four Spanish Pieces: Andaluza
The Three-Cornered Hat: Part 1: Introduction
The Three-Cornered Hat: Part 1: Afternoon
The Three-Cornered Hat: Part 1: Dance Of The Miller's Wife
The Three-Cornered Hat: Part 1: The Grapes
The Three-Cornered Hat: Part 2: The Neighbours' Dance
The Three-Cornered Hat: Part 2: The Miller's Dance
The Three-Cornered Hat: Part 2: The Corregidor's Dance
The Three-Cornered Hat: Part 2: Final Dance

Customer Reviews:

LO MEJOR DE LO MEJOR.......2002-03-29

Una grabacion
magistral de los
clasicos de Manuel de Falla.
Este disco contiene el famoso
"Homage a Debussy" la unica
obra original compuesta para
guitarra por la mano del compositor.
Tremenda grabaccion, como para no
perdersela a ese precio...

A Very Fine Compilation.......2000-05-17

"The Essential Falla" is just that, including all of Manuel de Falla's major works (performed by the likes of Dutoit, Fruhbeck de Burgos and de Larrocha) on these two CDs. Highlights are excellent performances of Falla's three most famous works: "El amor brujo", "Noches en los jardines de Espana" and "El Sombrero de tres picos". The rest of the included music is perhaps less well-know but no less enjoyable. Perhaps the only quibble I have with this CD is the enclusion of the Harpsicord Concerto. While it is an enjoyable piece, it is very much a Stravinsky-esque neo-classical work, and it seems somewhat out of place amongst Falla's other, very Spanish, works. Nonetheless, if you enjoy 20th Century Spanish music, this CD is indeed an essential.

Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon

Average customer rating:

Hindemith conducts Hindemith
Hindemith continues the musical traditions of the Germanic schools
Phenomenal performances
Lean, clean and unadorned, as Hindemith intended
Hindemith Himself

Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Kammermusik

ASIN: B0000U1NHE
Release Date: 2004-02-10

Customer Reviews:

Hindemith conducts Hindemith.......2006-11-10

The musician's musician, the most versatile, skilled and knowledgeable composer of the 20th Century can be heard with delight in this excellently remastered Deutsche Grammophon recording of him conducting the Berlin Phiharmonic Orchestra in definitive renditions of some of his own masterpieces. Hindemith by and large was the best interpreter of his own works. Under his direction pure, unadulterated, joyfull music-making of great vitality prevails, thoroughly unpedantic, yet devoid of vanity, pretentious display or exaggeration. The rendition of the Mathis Symphony is, of course, definitive and the nowadays most frequently perfomed Symphonic Metamorphosis is done with gusto. But we would like to call special attention to such an inexplicably neglected masterpiece as the thoroughly delightful, but substantial Symphonic Dances and the unique and profound Konzermusik for piano, brass & harp. What neo-Baroque, roaring twenties exhuberance displayed in the Concerto for Orchestra and what a gem of human insight "The Four Temperaments",
here definitively rendered! ER

Hindemith continues the musical traditions of the Germanic schools.......2006-08-19

Hindemith is a far too overlooked composer, and I daresay that in decades to come people will realize the greatness of his compositions, a Hindemith renaissance will take place. I for one enjoy his music greatly and this box set is a perfect introduction to his music. Contrapuntally Hindemith stands apart from most 20th composers, indeed his music speaks the 20th century idiom, however as one will recognize immediately Hindemith speaks his own language. In fact this composer is one of the most original of his time. Contrapuntally he continues and adds to the great traditions harkening back to the Renaissance. His conducting is no nonsense and gets to the heart of his music. I find this music to be riveting, exciting, intellectual and heartfelt. Hindemith has his place in Music history.

Phenomenal performances.......2006-03-07

Hindemith may not have been a Schoenberg or Stravinsky, but at his most inspired he was certainly way up there near the top of the heap, among the greatest composers of the late lamented 20th Century. What these recordings tell us, however, and to me this comes as something of a shock, is that he was also a truly great conductor. All the performances in this set are in my opinion truly extraordinary, among the very best orchestral performances I've ever heard -- of any music by any composer of any period.

Everything one would expect of a superlative performance is here, the tempi, the balances, the shadings, accents, nuance, intonation, attention to detail, attention to overall structure, sweep, authority, intensity, even expressiveness (YES, expressiveness!) and passion (yes, passion too).

To get a sense of how remarkable a conductor Hindemith is, listen carefully to the slow movement of Mathis. With tempi this slow (and this is the slowest I've heard for this piece, extremely slow), it's very difficult to maintain interest, not to mention control. However, in the hands of Hindemith and this remarkable orchestra, with whom he's obviously established an extraordinary rapport, the tempo works beautifully and the piece takes on an almost Mahlerian intensity I'd never heard before.

As if this weren't enough, the set contains one of the most remarkable pianistic performances I've ever heard, from Hindemith's composition student, Hans Otte. The "Four Temperaments" begins in typical middle period Hindemithian style, with a statement of the rather steady, bland and predictable theme, but with the entry of the piano for the first variation, all is transformed -- and suddenly we are back in the world of early Hindemith, one of the most inventive and masterful composers since Bach himself. The pianism is simply beyond belief here, just stunning in its verve, precision, virtuosity, nuance and phrasing. With the entry of the piano the piece just takes off, soars into the stratosphere, thanks to composer and pianist both. Otte was hand picked by Hindemith for this performance so possibly what we hear is at least in part due to careful coaching. But it's hard to understand how mere coaching could produce such marvels of nuance and such complete control of the instrument and total musical involvement in passage after passage. If you ever want to inspire a young performer with the possibilities of his art, you would do well to play your student this recording.

As for the more mundane details, even they are all good. The sonics are fantastic for a recording of this vintage, clear, even vibrant, with lots of body and power when called for. The orchestra itself is superb and in perfect rapport with its director. Even the piano selected for these recordings is a marvel, simply one of the finest instruments of its kind I've ever heard.

I know, it's easy to be skeptical in the face of all these superlatives, but I assure you I'm not usually this enthusiastic. These recordings truly are gems, trust me. HAH!

Lean, clean and unadorned, as Hindemith intended.......2006-02-04

Hindemith jumped at the chance to record his major works with Deutsche Grammophon when it was offered in the early 1950s.

First, was his theory of conducting. He felt the conductor should, as much as possible, be "transparent" and not add anything to the music, i.e., through not gesticulating (especially wildly), etc.

Second, he had seen and heard conductors do just that to his works. And he had heard this result in what he considered overconducting.

Now, that doesn't mean that Hindemith wanted some "native" style of conducting, or even people conducting his works as sight-reading exercises. He expected a piece to be properly understood so that such overconducting was unnecessary.

The result is to be heard here. Now, by "lean and clean," we're not not talking Boulez. But, compared to his day and age, to the Furtwaenglers and others, we are talking something almost that spare.

When you hear these CDs, you'll immediately understand why Hindemith thought that other composers made his music sound too muddy.

These are mono recordings, but in studio in the early and mid 1950s with the Berlin Philharmonic, the baseline sound quality was quite good and the CDs have been well-engineered.

This is an outstanding buy of a great 20th-century composer.

Hindemith Himself.......2005-02-24

"Hindemith Conducts Hindemith: The Complete Recordings on Deutsche Grammophon" is another essential release in Universal's "Original Masters" series. This 3CD set features the composer himself conducting some of his best known works, including his two Symphonies, Symphonic Metamorphosis, Concerto for Orchestra, and Konzertmusik with Monique Haas on piano. All of the recordings hail from 1954-57 and while they are in mono, the DG sound is clear as a bell. Previously I owned a dozen or so CDs featuring various Hindemith works (performed by conductors Abbado, Bernstein, Blomstedt, Goossens, Kletzki, Kubelik, Szell, etc.), but only one with Hindemith himself conducting his own music (the Violin Concerto with David Oistrakh -- see my review). Well if you like a composer and have the ability to hear them conduct their own music, then you should do it, whatever the cost. I mean what would you give to have the opportunity to hear Beethoven or Mozart perform! Luckily in this case you don't have to fantasize, you just have to buy this affordable, budget-priced box set.

Lully: Les Divertissements de Versailles

Average customer rating:

Wonderful CD
Versailles, Le Roi Soleil, et Lully
A great introduction to the father of French opera

Lully: Les Divertissements de Versailles
Jean-Baptiste Lully , Les Arts Florissants , William Christie , Sophie Daneman , and Paul Agnew
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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Le Roi Danse (Original French Version with English Subtitles)

ASIN: B000063TE8
Release Date: 2002-06-11

Tracks:

Prelude pour les trompetes
Chantons les plaisirs charmants
Quittons notre vaine querelle
Chantons tous de l'Amour
Enfin il est en ma puissance
Chere Climene, dis-moi
Je vous aime, Nymphe charmante & Plainte du Dieu Pan
Duo des Nymphes
Laisse-nous en repos, Philene
L'hiver qui nous tourmente
Que le feu des forges s'allume
Trop indiscret Amour
Ah! J'attendrai longtemps
Armide, vous m'allez quitter/Passacaille

Customer Reviews:

Wonderful CD.......2005-09-22

I only would like to say that this is a first class disc. I love classical music since the barroque century to our days. Thank you very much.

Versailles, Le Roi Soleil, et Lully.......2002-06-19

Great music, wonderfully performed, historically accurrate,
what else could we ask for.

A great introduction to the father of French opera.......2002-06-11

Considering his historical importance as the founder of French Baroque opera, it is perhaps surprising that Jean-Baptiste Lully has not received the same degree of attention on disc as his rivals and followers. The revival of French Baroque music which has been such a phenomenon over the last two or three decades has only rarely paid him much attention. Listeners seem to find the harmonic daring of Marc-Antoine Charpentier or the incredible colour and imagination of Jean-Philippe Rameau far more to their taste. Lully's suave, well-crafted music is often dismissed as bland beside the music of these figures and that of Lully's English follower, Purcell. But as this well-filled (78 minutes) disc of extracts from the whole range of his stage music demonstrates, Lully was a considerable and innovative composer in his own right. If you are new to Lully, this is the ideal place to start.

The new recording tells the story of how this ambitious, and frequently ruthless, young Florentine transformed himself into a French citizen and friend of "Le Roi Soleil", just as he transformed the Italian opera of the mid-seventeenth century into something uniquely Gallic. Lully began by catering to the young King Louis XIV's mania for dance with a series of comedies-ballets written in collaboration with Moliere. Extracts from two of them, "Georges Dandin" and "L'Amour Medecin" are included here, where the Italian influence is still strong with plenty of lively comedy. This phase of Lully's career culminated with the amazing five-hour extravaganza, "Psyche", in 1671. Two powerful choruses from this divertissement start the disc.

It was while he was working on "Psyche" that Lully met the librettist Philippe Quinault who was to be his partner in forging a distinctively French form of opera, the 'tragedie lyrique'. Quinault's contribution was vitally important since Lully saw opera as an equal marriage of words and music. The key would be expressive recitative rather than the show arias that dominated the Italian 'opera seria' of the time. The chorus and ballet would also play a major part in the divertissements which ended each act, offering a chance for Lully to show off his musical imagination. Some of the best examples of this come in the extracts from the opera "Isis" (1677) included here. In fact the first audience found the music rather too imaginative and it soon acquired the reputation as a work for connoisseurs only, 'the musicians' opera'. One of the connoisseurs who appreciated it was Henry Purcell. The "Scene de Froid" inspired him to write the wonderfully atmospheric Frost Scene in his "King Arthur" (1691). You can hear immediately what appealed to the Englishman's imagination - the chattering chorus and shivering violins conjure up a vivid impression of extreme cold. It is quickly followed by a scene depicting blazing heat - the smithy of the Chalybes, where the ringing percussion suggests the music of Wagner's Nibelheim two hundred years later. But the most haunting music is a lament by the god Pan for the nymph Syrinx, after her transformation into a reed. It is touchingly accompanied by woodwind and an organ. The characteristic Lullian blend of words and music (which is possibly one reason why many non-French speaking Baroque enthusiasts find a whole Lully opera hard to listen to) is illustrated by scenes from "Armide" and "Roland". In the latter, the hero Roland searches for his lost love Angelique. Lully's music conjures up a beautiful pastoral scene using only smoothly sliding strings, becoming more and more troubled as Roland learns from the names carved into the trees that his beloved has married his rival, Medor. Finally, Roland explodes into rage, his anguish turns to madness and the music rages too. In "Armide", the eponymous heroine, a pagan sorceress, has lulled the Christian hero Renaud asleep so she can stab him to death. However, when she sees him lying defenceless, she falls in love with him and cannot bring herself to commit the murder. Armide's monologue included here, where she hesitates between hatred and love, has always been rightly regarded as one of the high points of the entire French repertoire with its masterly psychological depiction of the tortured enchantress. The disc ends with a love duet between Armide and Renaud from the final act of the opera, followed by another dance, the massive 'grande passecaille'. Its interweaving musical lines have an extraordinary, hypnotic beauty.

Tracks:

I. Overtura (Largo)-Allegro-Adagio
II. Aria (Affettuoso)
III. Paesana (Allegro)
IV. Minuet (Allegro)
V. Gia Del Postiglione (Allegro)
I. Adagio
II. Allegro
III. Andante
IV. Allegro
I. Grand Air (Vivace)
II. Les Vents (Allegro)
III. Festes Galantes [Sarabanda] (Largo)
IV. Badinage (Allegro)
V. Du Sommeil (Largo E Piano)
VI. L'amour En Courroux Au Desespoir (Allegro E Staccato)
VII. Calme Amoureux (Largo)
VII. La Noce Allemande [Allemanda]
IX. Suite De La Noce [Forlana] (Allegro)
X. Derniere Suite De La Noce (Allegro)
I. Andante
II. Presto
III. Allegro Affettuoso
I. Largo
II. Allegro
III. Allegro Assai

Amazon.com

One tends to associate the virtuoso violin repertoire with the 19th century, but in their own way these five sonatas, written between 1714 and 1743, offer an equally dazzling display of speed, facility, bow control and tonal variety. No wonder: the composers were among the foremost violin virtuosos of their time, as well as tireless innovators of technique and style; several even wrote treatises on violin playing. The earliest, and least familiar, is Michele Mascitti, a Neapolitan who moved to Paris when he was 30. His "Psyché," the program's only piece in a major key, is a divertissement in ten short "tableaux" on the theme of Cupid and Psyche, with the violin and continuo as the two protagonists. Refined and elegant, varied in texture, expression and character, it ranges from tender love songs to slow and fast dances, including a wild Badinage. Veracini's Sonata Op. 1 No. 1, a dance suite with an unusually active cello part, opens with a slow Overture and ends with a Giga del Postiglione, in which the violin imitates a posthorn's call. The other three sonatas are basically dramatic and melancholy, highly ornamented, full of double stops, running passages and cadenzas. Locatelli's is distinguished by a very elaborate keyboard part and a lot of spiky syncopation in the finale. Geminiani makes the violin sound quite luscious, almost romantic; his rhythms and phrases are startlingly irregular. He shares the exploration of the high register with Tartini, whose Sonata displays his incomparable melodic gift and trademark obsession with trills. The performances are beyond praise. Biondi, one of the deservedly most renowned baroque violinists, plays with enormous brilliance, expressiveness, and endlessly varied articulation and nuance; there is a sense of spontaneous exhilaration in his inventive, improvisatory ornamentation: he seems to be playing with the music and the violin. His partners, some manning several instruments, match him in every way. --Edith Eisler

Customer Reviews:

All roads lead back to Rome - and Corelli.......2005-11-27

The liner notes give a colorful history of the five "minor composers" of the Italian violin virtuoso era featured on this CD - revealing a fascinating commonality (beyond the fact that all their names end in the letter "i"). And this was that they all seeem to have been guided, metaphorically at least, to Rome and Arcangelo Corelli. All studied his methods, modelled his style and payed homage to his legend in their compositions seen here on this sampler of a few not-so-famous Italian violin sonatas. Like Corelli, many of these composers wrote brilliant concerto grossi in the spirit of the master. But the less exaulted sonatas here are no less musically interesting - especially when played by one of the masters of the Italian Baroque, Fabio Biondi.

The lead Amazon reviewer above summarized this CD well, so no need to repeat much, other than to say that the collection of violin sonatas here are wonderfully played with the typical verve, artistry, expressivity and sensuous tone that has earned Biondi an enthusiastic following worldwide. If you like Biondi in Vivaldi, Bach or other his other Baroque music, this CD will surely not disappoint. It spotlights his lyrical talents in a more intimate way via the simpler violin sonata genre. The sound quality on Veritas/Virgin is pleasantly forward, most vivid and is very good overall (but not quite perfect). As with most of the Virgin recordings I have of the Europa Galante as compared to others, there seems to be a depth of "sound stage" somewhat lacking (to me at least), but really nothing to discourage aquiring and enjoying this CD or the others. Five stars for a most enthalling performance of these lesser-known works from Biondi and the Galante.

Average customer rating:

Superb recording
Baffling!

La Belle Homicide: Manuscrit barbe

Manufacturer: Astree
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Alfabeto
Santiago De Murcia Codex
Nuove Musiche
Kapsberger: Libro Quarto D'Inta Volatura Di Chitarone
Orient - Occident

ASIN: B00009W3RF
Release Date: 2003-09-23

Customer Reviews:

Superb recording.......2007-01-12

The material on this CD was clearly chosen with an ear toward atmosphere, which, far from giving an overdone effect, is elegantly understated. Rolf Lislevand's performance is exquisite, and the acoustics are wonderful. If all baroque-era music and recordings were like this, I would become a dedicated fan of the genre.

I'm hoping to find more music of this nature and this quality; the purchases would be money well-spent.

Baffling!.......2006-12-13

This music is like a highly complicated, second-guessing, crebral yet intuitive dance...
Lislevand's playing is very open and sensitive.
Highly recommended!

Average customer rating:

Awesome musicality
Fabulous? Yes!!!

The Fabulous Victoria De Los Angeles

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
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Songs Of Spain / De Los Angeles, et al
Very Best of
Massenet: Werther

ASIN: B000002S5G
Release Date: 1994-02-15

Tracks:

Sheherazade: Asie
Sheherazade: La Flute enchantee
Sheherazade: L'Indifferent
Cinq Melodies populaires grecques: Le Reveil de la mariee
Cinq Melodies populaires grecques: La-bas vers l'eglise
Cinq Melodies populaires grecques: Quel galant m'est comparable
Cinq Melodies populaires grecques: Chanson des cueilleuses de lentisques
Cinq Melodies populaires grecques: Tout gai!
Duex Melodies hebraiques: Kaddisch
Duex Melodies hebraiques: L'Enigme eternelle
L'Invitaiton au voyage
Phidyle
L'Enfant Prodigue: Recit. & Air de Lia: L'annee en vain chasse l'annee
Poeme de l'amour et de la mer: La Fleur des eaux
Poeme de l'amour et de la mer: Interlude
Poeme de l'amour et de la mer: La Mort de l'amour

Tracks:

Cinco Canciones Negras: Cuba dentro de un piano
Cinco Canciones Negras: Punto de habanera
Cinco Canciones Negras: Chevere
Cinco Canciones Negras: Cancion de cuna para dormir a un negrito
Cinco Canciones Negras: Canto negro
Coleccion de canciones amatorias: Llorad corazon
Coleccion de canciones amatorias: Iban al pinar
Cuatro madrigales amatorios: Con que la lavare?
Cuatro madrigales amatorios: Vos me matasteis
Cuatro madrigales amatorios: De donde venis, amore?
Cuatro madrigales amatorios: De los alamos vengo, madre
Cinco canciones playeras espanolas: Rutas
Cinco canciones playeras espanolas: Pregon
Cinco canciones playeras espanolas: Las 12
Cinco canciones playeras espanolas: El pescador sin dinero
Cinco canciones playeras espanolas: Coplilla
Quatre cancons: Canco de grumet
Quatre cancons: Cancon incerta
Quatre cancons: Maig
Quatre cancons: Anacreontica
La Dama d'Arago
El can dels ocells
Canco de Sega
El combat del somni: Damunt de tu nomes les flors
El combat del somni: Aquesta nit un mateix vent
El combat del somni: Jo et presentia com la mar
Triptic de Mossen Cinto: L'Harpa Sagrada
Triptic de Mossen Cinto: Lo violi de Sant Francesh
Triptic de Mossen Cinto: Sant Fransech i la cigala

Tracks:

Chansons de Bilitis: La Flute de Pan
Chansons de Bilitis: La Chevelure
Chansons de Bilitis: Le Tombeau des Naiades
Fetes galantes: En sourdine
Fetes galantes: Fantoches
Fetes galantes: Clair de lune
Noel de enfants qui n'ont plus de maisons
Chants populaires: Chanson espagnole
Chants populaires: Chanson francaise
Chants populaires: Chanson italienne
Chants populaires: Chanson Herbraique
Trois jours de vendange
Le Rossignol des lilas
Tristesse, Op. 6, No. 2
Au bord de l'eau, Op. 8, No. 1
Les Roses d'Ispahan, Op. 39, No. 4
Troujours (No. 2 de Trois Poemes d'un jour, Op. 21)
Siete Canciones populares espanolas: El pano murano
Siete Canciones populares espanolas: Sequidilla murciana
Siete Canciones populares espanolas: Asturiana
Siete Canciones populares espanolas: Jota
Siete Canciones populares espanolas: Nana
Siete Canciones populares espanolas: Cancion
Siete Canciones populares espanolas: Polo
Doce canciones gallegas: As florinas dos toxos
Triptico, Op. 45: Farruca
Villancicos: Pastorcito santo
Psyche
Soneto a Cordoba

Tracks:

Proserpina: E dove t'aggiri
Le violette
Joshua: Oh! had I Jubal's lyre
Der Tod und das Madchen, D. 531
Die schone Mullerin, D. 795: No. 2: Wohin?
D. 547: An die Musik
Op. 59, No. 8: Dein blaues Auge
Op. 84, No. 4: Vergebliches Standchen
Op. 27, No. 1: Chanson d'amour
Op. 46, No. 2: Clair de lune
Let Us Wander
Lost Is My Quiet
Schlaf in deiner engen Kammer
Ah! lamenta, oh bella Irene
Irish Songs: Oh! Would I Were But That Sweet Linnet
Irish Songs: He Promised Me At Parting
Irish Songs: They Bid Me Slight My Dermot Dear
Welsh songs: The Dream
Mignon und der Harfner, D. 877: Nur wer die Sehnsucht kennt
Les Fleurs des landes: Le Trebuchet
Moglichkeit
Der Apfel
Schottische Ballade
Pastorale
Pleurs d'or
Sapphische Ode
La Partenza

Amazon.com

The word "fabulous" seems vulgar when applied to the Spanish diva whose delicately shaded voice encompassed music from the middle ages to the present. This four-disc compilation emphasizes her song repertoire, to which she brought warmth, intelligence, linguistic integrity and irresistible sincerity. Her dignity makes listeners want to come to her, and she rewards them with an intimate, personal experience, especially in this small-scale repertoire by Ravel, Debussy, Duparc, Fauré, lots of Spanish composers and German masters such as Schubert and Brahms. --David Patrick Stearns

Customer Reviews:

Awesome musicality.......2006-07-26

This 4-CD set is a tribute to the concert career of the great Victoria de Los Angeles. The first 3 CDs show her totally at home in the art song of France and of her native Spain. In the French art songs, her silvery, creamy tone, her legendary legato and her perfect French diction make for wonderful and unforgettable performances. These include a sensual Scheherazade, magnificient singing in the Duparc songs and a phenomenal Poeme de L'amour et de la mer of Chausson (try to keep your eyes dry by the end of La mort de l'amour). In the Chausson, while de Los Angeles does not opt for the intensely Wagnerian approach, her sensitive singing more than does justice to the poetry and the feelings of the character. The Spanish songs showcase de Los Angeles at her most natural, flamboyant and attractive singing. The tunes are catchy, full of bouncy rhythms and De Los Angeles's fabulous voice never ceases to amaze. The 4th CD shows the wonderful chemistry between de Los angeles and the great Gerald Moore. While she does not erase memories of Fischer-Dieskau and Schwarzkopf in the Schubert selections, the Brahms songs are excellent and her Faure songs here are earth shaking in their elegance and refinement. The Italian and the famous Handel aria helps to prove De Los Angeles's reputation as an excellent bel canto singer. Her duets with Fischer-Dieskau are absolutely memorable and gorgeous.
The set comes with booklet including full words plus translations, helpful notes on De Los Angeles's concert career and a dozen of beautiful and rare black and white photos. Victoria de Los Angeles's concert career was as prolific as her legendary operatic performances and continued well after her retirement from the operatic stage. This introspective and almost encycopledic release is a real treat and is absolutely recommended. I totally agree with the editor's review who states that the word "fabulous" fails in every respect to fully capture the artistry of the Spanish soprano. Victoria de Los Angeles is definitely one of the most wonderful lyric sopranos of the 20th century and is one of the most heavenly artists to have ever graced the concert scene. A must-have for any collection.

Fabulous? Yes!!!.......1999-09-13

The album is a marvelous sampling of this great singer's artistry. Her performances of the French and Spanish composers are something special. The De Falla "Seven Popular Folksongs" are powerful, passionate; the last song, "Jota," raised the hair on the back of my neck.

I was delighted to see Faure's "Claire de lune" on the album, and equally delighted with De Los Angeles' elegant rendition of this work. The only recording of the song I've liked better is from an LP featuring Frederika Von Stade.

Tracks:

Act I, Scene 1: Ah! Ah! Ande La Tarea! - Orfeon Donostiarra/Juan Gorostidi
Act I, Scene 1: Mi Querer Es Como El Hierro - Jose Maria Higuero/Ines Rivadeneyra/Orfeon Donostiarra/Juan Gorostidi
Act I, Scene 1: Ramicos De Claveles! - Orfeon Donostiarra/Juan Gorostidi/Juan De Andia/Juan De Andia/Ines Rivadeneyra/Anna Maria Higueras
Act I, Scene 2: Abuela, No Viene! - Victoria De Los Angeles/Ines Rivadeneyra
Act I, Scene 2: Solo Tengo Dos Carinos - Victoria De Los Angeles/Ines Rivadeneyra
Act I, Scene 3: Ande La Tarea! - Orfeon Donostiarra/Juan Gorostidi
Act I, Scene 3: Vivan Los Que Rien! - Victoria De Los Angeles
Act I, Scene 3: Malhaya El Hombre, Malhaya! - Jose Maria Higuero
Act I, Scene 4: Salud!...Que? Que Pasa? - Ines Rivadeneyra/Victoria De Los Angeles
Act I, Scene 5: Paco! Paco!...Mi Salud! - Victoria De Los Angeles/Carlo Cossutta
Act I, Scene 5: Dime, Paco - Victoria De Los Angeles/Carlo Cossutta
Act I, Scene 6: Paco!...Mi Chavala! - Victoria De Los Angeles/Carlo Cossutta/Ines Rivadenyra/Orfeon Donostiarra/Juan Gorostidi
Act I, Scene 6: Ande Vas? - Ines Rivadeneyra/Victor De Narke/Victoria De Los Angeles/Carlo Cossutta
Act I, Scene 6: Malhaya La Jembra Pobre! - Jose Maria Higuero/Victor De Narke/Victoria De Los Angeles/Carlo Cossutta
Act I, Scene 6: Intermedio - Orquesta Nacional De Espana/Rafael Fruhbeck De Brugos/Orfeon Donostiarra/Juan Gorostidi...
Act II, Scene 1: Ole!...Ay! Yo Canto Por Soleares! - Orfeon Donostiarra/Juna Gorostidi/Gabriel Moreno/Victor Monge
Act II, Scene 1: Danza - Orquesta Nacional De Espana/Rafael Fruhbeck De Burgos
Act II, Scene 2: Alli Esta! Riyendo - Victoria De Los Angeles
Act II, Scene 2: Ay Que Mundo Y Ay Que Cosas! - Gabriel Moreno/Orfeon Donostiarra/Juan Gorostidi/Victoria De Los Angeles
Act II, Scene 3: No Te Dije? La Ves? - Victor De Narke/Ines Rivadeneyra/Victoria De Los Angeles/Orfeon Donostiarra/Juan Gorostidi
Act II, Scene 3: Malhaya La Jembra Pobre! - Victoria De Los Angeles/Ines Rivadeneyra/Victor De Narke/Anna Maria Higueras/Carlo Cossutta...
Act II, Scene 3: Intermedio - Orquesta Nacional De Espana/Rafael Fruhbeck De Burgos
Act II, Scene 3: Danza - Orquesta Nacional De Espana/Rafael Fruhbeck De Burgos/Orfeon Donostiarra/Juan Gorostidi
Act II, Scene 3: Carmela Mia! - Carlo Cossutta/Anna Maria Higueras/Luis Villarejo/Victor De Narke
Act II, Scene 3: Qie Gracia! - Luis Villarejo/Orfeon Donostiarra/Juan Gorostidi/Victor De Narke/Carlo Cossutta...
Act II, Scene 3: Yo No Vengo A Cantar! - Luis Villarejo/Carlo Cossutta/Ines Rivadeneyra/Luis Villarejo/Victor De Narke/Ines Rivadeneyra...
Siete Canciones Populares Espanolas: El Pano Moruno - Victoria De Los Angeles/Gonzalo Soriano
Siete Canciones Populares Espanolas: Seguidilla Muriciana - Victoria De Los Angeles/Gonzalo Soriano
Siete Canciones Populares Espanolas: Asturiana - Victoria De Los Angeles/Gonzalo Soriano
Siete Canciones Populares Espanolas: Jota - Victoria De Los Angeles/Gonzalo Soriano
Siete Canciones Populares Espanolas: Nana - Victoria De Los Angeles/Gonzalo Soriano
Siete Canciones Populares Espanolas: Cancion - Victoria De Los Angeles/Gonzalo Soriano
Siete Canciones Populares Espanolas: Polo - Victoria De Los Angeles/Gonzalo Soriano

Tracks:

El Sombrero De Tres Picos: Intro - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: The Blackbird - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: The Dandy And The Procession - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: The Girl - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: The Corregidor - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: Dance Of The Miller's Wife - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: Minuet - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: The Grapes - Victoria De Los Angeles
El Sombrero De Tres Picos: Part One: Fandango - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: The Neighbours' Dance - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: The Miller's Dance - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: The Arrest - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: Nocturne - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: The Corregidor's Dance - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: The Confrontation - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: The Miller's Return - Victoria De Los Angeles
El Sombrero De Tres Picos: Part Two: Final Dance - Victoria De Los Angeles
El Amor Brujo: Intro And Scene - Victoria De Los Angeles
El Amor Brujo: In The Cave - Victoria De Los Angeles
El Amor Brujo: Song Of Plaintive Love - Victoria De Los Angeles
El Amor Brujo: The Apparition - Victoria De Los Angeles
El Amor Brujo: Dance Of Terror - Victoria De Los Angeles
El Amor Brujo: The Magic Circle - Victoria De Los Angeles
El Amor Brujo: Midnight - Victoria De Los Angeles
El Amor Brujo: Ritual Fire Dance - Victoria De Los Angeles
El Amor Brujo: Scene - Victoria De Los Angeles
El Amor Brujo: Song Of The Will-o'-the Wisp - Victoria De Los Angeles
El Amor Brujo: Pantomime - Victoria De Los Angeles
El Amor Brujo: Dance Of The Game Of Love - Victoria De Los Angeles
El Amor Brujo: Morning Bells - Victoria De Los Angeles
Soneto A Cordoba - Victoria De Los Angeles/Anne Challan
Psyche - Victoria De Los Angeles/Anne Challan/Jean-Claude Gerard/trio A Cordes Francais

Customer Reviews:

De Los Angeles IS Salud.......2006-07-29

The role of Salud in Falla's La Vida Breve is the role which brought the great Victoria de Los Angeles to international fame, ever since she sang it on a BBC Broadcast in the late 40s. This recording, boasting a total Spanish cast, gives a heartfelt and totally idiomatic reading. De Los Angeles totally convinces as Salud, singing with great sympathy and gives an incredibly touching portrayal of the gypsy girl. She IS Salud and will perhaps never be surpassed in the role. Rivadeneyra gives an intense portrayal as the grandmother and Cossutta's Paco is appropriately shallow as the faithless lover. Rafael Fruhbeck de Burgos conducts with idiom and vigour. Sound quality is wonderful. Highly recommended.

Average customer rating:

Conceptual Excellence {4 Stars}
Get Gassed Up

The Standard
Psyche Origami
Manufacturer: Arcthefinger Records
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

Experimental Rap | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
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Tres Presents Shipping and Handling
Trail Mix
Angles Without Edges
Sound Directions: Funky Side of Life
E&A

ASIN: B000ARWIGC
Release Date: 2005-09-20

Tracks:

Fool Service
For Those That Know
No Line, No Waiting
Wherever You ARe
Maybeezanifs
Critics Choice
Commerical Property
Self-Serv-Us
The Quantum Mechanics
Get It Correct
The Standard
Directions
Three Eighty Seven (Interlude)
Get Gassed-Up
Spare Change
Check-Out Line

Customer Reviews:

Conceptual Excellence {4 Stars}.......2006-12-07

The Atlanta, Georgia trio (most popular for their spots on Adult Swim commercials) consists of emcee Mr. Wyzard, and DJs Synthesis and Dainja. Mr. Wyzard produces all but three of the tracks and his sound can be summed up as boom bap with a bouncy twist. With well thought out conceptual rhymes, tight beats, and excellent scratches and cuts from DJs Dainja and Synthesis, Psyche Origami is proof positive that rap music from the south can be so much more than the misogynistic zombie music that you see on television or hear on the radio.

Get Gassed Up.......2006-03-21

Ok, so i won't lie, My friend and myself bought this album knowing absolutely nothing of them. We walked in the record exchange and picked out the album with the most peculiar Album cover. It really paid off in this case. Pysche Origami have fresh beats and classy textbook rhymes. Very similar sound to J5. I was extremely surprised to find out that these MC's and DJ's are from Georgia. I have nothing against The south, except that in these days, they produce mindless, down right awful music. Peace to all the Talent from the south, but thats not a lot. Goodie Mob, Outkast, (In their early days), thanks for putting forth real music. When We first heard Pyshce, my fellow rap scholar in training, and I believed them to be From somewhere in California. The Bay Area??? Well, we were INcorrect. Sorry, But The Standard Is such a great album. Overflowing with creativity, and dripping with talent, Its an instant favorite. I promise it.

Jazz Music:

Jazz Music

Jazz Music