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When your brother bangs his head to Led Zeppelin and Black Sabbath?

• Mozart: and (Bavarian RadioOrchestra, 1988 and 1990) (DG 427 353 and 431 791). The current trend in Mozartinterpretation is to use period instruments and light, unemotional textures in an effortto replicate the performance practices of 200 years ago. Bernstein's richly romantictemperament was as far removed from this approach as possible. His readings of Mozart'stwo greatest religious works are awash in deep reverence. Whether or not Mozart would haveplayed them this way, the sheer magnitude of profound feeling is overwhelminglypersuasive.

The sixties and seventies were turbulent times for America, and especially the black community.

The fact that a significant number of Africans from closely related cultures came to Louisiana was a factor in their ability to retain many cultural traits and contribute to the Creole culture that was developing in New Orleans and South Louisiana. For example, the Haitians brought the shotgun house and the voodoo religion to Louisiana. The word "voodoo" is derived from the African word , which means "deity" in Yoruba or "insight" in Fon (Bodin 1990). Free-people-of-color dominated many building trades in New Orleans, were often highly educated, and as chefs played an important role in the development of Creole cuisine for which the city is known (Reinecke 1985). Okra, an important ingredient of gumbo, and the word "gumbo" itself (derived from Bantu nkombo) are African.

She developed a gospel following before her change to soul music.

This material is copyrighted and was originally published in  April, 1996.

A basic principle in the study of folklore and anthropology is that in order to understand a cultural feature, one must understand the context in which it exists. Therefore, to understand a basket, dance, song, ritual, or story, one must know about the maker, dancer, singer, practitioner, or teller. One must understand the culture or setting in which it is made or performed. Only then can one know its significance and function within the cultural region for the people. One must take a holistic look at the integrated system to understand each part.

Interestingly, the late Decca years provided two 10" albums that anticipate, and are as good as, anything Ella produced for Verve--duo sessions with pianist Ellis Larkins that were released in 1994 as Pure Ella (originally released as Ella Sings Gershwin [1950] and Songs in a Mellow Mood [1954].) These recordings reveal Ella at her best. Her voice has fully matured, though it retains a girlish suppleness. Like Nat Cole, her voice defies racial stereotype. Her pitch, timing, lyrical inflections are not only perfect, but perfectly showcased by Ellis Larkins' accompaniment, which supplements but never competes. If I were stranded on the proverbial desert island with only one Ella album, I would want this one.

Aloha and welcome back to Found Sound (21th set)

It was a powerful message.Another artist with ties to gospel and Martin Luther King was .

"I was so tired and bothered that night, that I didn't really hear the tune. It was only later, after the record came out, that I realized what a great performance it was. And it was absolutely spontaneous. Fortunately, when we did the tune the following year on the Ella Returns to Berlin album, we had rehearsed it and used only one key change--though Ella still didn't get the lyrics quite right."

That all changed on the afternoon of Sunday, November 14, 1943, as Bruno Walter wasabout to complete a two-week guest stint. Walter had been the protege of none other thanGustav Mahler, the greatest conductor of his time, who had spent the last two years of hislife as music director of the New York Philharmonic. As the inheritor of that mantle,Walter had come to represent the very embodiment of Viennese musical tradition. Hispopularity and reputation were such that Bernstein had brought his parents to New York towitness what promised to be a great event and the highlight of the season.

song, “Say It Loud, I’m Black And I’m Proud” became an anthem in the black community.
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He later released two songs, King Heroin and Public Enemy No.

Among other regrets is the replacement of the original LP album covers, which boastedattractive, innovative and thematically appropriate graphics, type and layouts. Some hadeye-grabbing shots of Lenny in hyperkinetic action or more formal portraits of the proudorchestra and its leader; others added visual beauty to the musical contents, such as aRenoir oil for a Debussy collection; yet others provided a touch of whimsy: three similarportraits of Napoleon, Beethoven and Bernstein for Beethoven's , ora closeup of a target painted on an apple for a collection featuring Rossini's . The Royal Edition, though, substitutes a layout which, whileattractive, becomes boring in its bland uniformity. Worse, the royal watercolors, evenapart from their artistic vacuity, have nothing whatever to do with the music. Indeed,many of the matches go beyond random and seem downright perverse: a placid marsh forStravinsky's ferocious , frigid mountains for Mahler's pastoral , or, worst of all, a phallic tower for Verdi's .

So many tremendous Blues musicians have hailed from Texas, i.e.

3 (1991)
EAC, FLAC image, CUE+LOG - 230 MB | MP3 320 CBR - 179 MB | Complete 600dpi Art, JPG - 46 MB or TIF - 142 MB


Tracklist:



01 - Cardinals - The Door Is Still Open
02 - Joe Turner - Flip, Flop And Fly
03 - Ray Charles - A Fool For You
04 - Ray Charles - This Little Girl Of Mine
05 - LaVern Baker - Play It Fair
06 - Drifters - Adorable
07 - Robins - Smokey Joe's Cafe
08 - Drifters - Ruby Baby
09 - Cookies - In Paradise
10 - Joe Turner - The Chicken And The Hawk
11 - Clovers - Devil Or Angel
12 - Ray Charles - Drown In My Own Tears
13 - Ray Charles - Hallelujah I Love Her So
14 - LaVern Baker - Jim Dandy
15 - Coasters - Down In Mexico
16 - Joe Turner - Corrine Corrina
17 - Clyde McPhatter - Treasure Of Love
18 - Clovers - Love Love Love
19 - Chuck Willis - It's Too Late
20 - Ray Charles - Lonely Avenue
21 - Ivory Joe Hunter - Since I Met You Baby
22 - Ruth Brown - Lucky Lips
23 - Clyde McPhatter - Without Love (There Is Nothing)
24 - Drifters - Fools Fall In Love
25 - Joe Turner - Midnight Special Train
26 - Ivory Joe Hunter - Empty Arms
27 - Chuck Willis - C.C.

But notice the lyric that Sandy sings:

Foremost among these is the absurd linkage of America's greatest conductor with, of allpeople, His Royal Highness Prince Charles. What, you may properly ask, does America'sflamboyant supreme musical genius have to do with the staid wastrel English monarch-to-be?And yet HRH's goopy face and insipid watercolors disgrace each cover and his patheticartistic creed bloats every booklet. The unintended contrast between the richness ofBernstein's talent and the poverty of the Prince of Wales's privileged affluence is bothstriking and pitiful.

Copyright 1995 and 1999 by Peter Gutmann

Similarly, many of the albums had extensive, informative notes that would have beenmeaningful to perpetuate. Nielsen and Ives symphonies had biographical booklets tofamiliarize buyers with the lives and music of their relatively unknown composers. Several1959 releases had proud photos and reviews of the Philharmonic's triumphant overseasconcert tour. The Beethoven reprinted Beethoven's fascinatingletters haggling over the publishing rights for his masterpiece. And many albums presentedBernstein's own cogent and highly personal observations about the music. These have allbeen discarded in favor of generic program notes (mostly translated from German authors,for whatever inappropriate reason) which make little pretense of addressing the specificperformances; indeed, the notes in volume 40 dwell upon Ives's ,a Bernstein hallmark that isn't even included in the Royal Edition, and volume 97 leaveslisteners wondering how Bernstein managed to grab a dozen opera megastars to sing cameoslivers of Vaughan William's . (The reason, of which the notesgive not even a clue: this auspicious performance was recorded live at the gala dedicationof Lincoln Center in 1962.) While the booklets do present some fine black and whiteportraits of the young conductor by Don Hunstein, they bulge unnecessarily withmultilingual translations.

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