I can see how sax fans find this album a revelation but it is a stain on the track record of the Hilliard Ensemble. I can see (kinda) what the involved parties tried to do but it still is painful to listing to it and even with a lot of good will this is simply a waste of money and time. To all those admirers of the Hilliard Ensemble: Don't do it to yourself!
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I first heard this record at a friends house. I was completely blown away. I went straight to the first record store and bought it. Since then it became my favorite Jazz album of all times, and has put Keith Jarret, in my opinion, on the top of the world's greatest piano players.
I've been a fan ever since and bought every single live album he has released. They are all amazing, but there's no love like the first one.
No record collection will be complete without it.
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Of all the Pentangle albums, this is by far my favourite - if you could add Cruel Sister & Let No Man Steal Your Thyme to it, it would be perfect! Sally Free & Easy is sublime, and the only song that betters it in my mind is Willy O'Winsbury (the tune of which will be familiar to Fairport fans as it was used to set the words of Farewell Farewell to). The only song I'm not too keen on is the Lady of Carlisle, but then you can't have everything!
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This CD is stunning, track three blows me away. I can't express how amazing it makes me feel, buy it and listen to all of the songs. Put track three on repeat!
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What started life as a christmas present is one of the most honest sincere, heartfelt and musical albums I have ever heard. There is also no grunting and groaning here.
To me another huge Plus.
Enaugh said!!
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On John Surman and Christopher Laurence's Coruscating, sax, bass and classical strings swoop clear and free as October skies - with no kitsch in sight this is Millennial music for our isle full of noises. Lacking the sometimes overbearing, older sister gravitas of Jan Garbarek's Officium project, and with no hint of minimalistic make-do (the music is too generous for that) there is a shy smile loose in these tunes that sounds wonderfully like the freedom for happy and sad thoughts to mingle in the smoke and the spray, not quite able to tell one another apart.
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so you've got bert jansch one of the greatest folk guitarists or guitarists of all time and john renbourne the most immatated guitarist of his time,jacqui mcshee who i can only discribe as the beth orton of her time (she also shares likeness' with nico from the velvet underground), and danny thompson on bass and terry cox on drums and what do you get?...possibly the greatest fusions of folk, jazz, blues of all time, possibly even one of the greatest albums of its time. This record is quintessentially sixties. If you like your blues, your folk, your jazz, buy this album. I love it and you will too, i can almost guarantee.
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This is a peculiarly lifeless record. There's that beautiful saxophone tone of course, but unfortunately there are no stories being told with it. It's a pity that the writing gives wonderful players of Garbarek and Kashkashian's calibre so little to chew on.
This music is emotionally empty and one-dimensional, with little ambiguity or mystery. To my ears it seems that Garbarek's signature style of combining jazz and folkish melodies with minimalist intensity has resulted in something entirely numb this time around. The cheesy and unimaginative electronic backings don't help matters. There are plenty of good records exploring the possibilities of jazz and electronica, give yourself a treat and try Arve Henriksen's 'Chiaroscuro' instead.
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I am not musically trained and so I can't offer a technical appraisal of Keith Jarrett's solo work, but I have found his music to be life changing. This is partly because I was unaware that sounds like this could emanate from a piano. As beautiful and uplifting as I have found parts of the Paris and Koln Concerts to be, the Vienna Concert in particular is a meditation that can stir the soul. The opening 10-15 minutes of the first piece are transcendentally exquisite, and in a strange way, even humbling. I think this is because experiencing the music is like being taken to a hidden and very special place inside oneself or else being allowed to share the "sacred vision" of the musician. The latter part of the first piece is dark and stormy. After the warmth and glow of the opening ... Read More:
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