Ta strona wykorzystuje mechanizm ciasteczek (cookies) do poprawnego działania. Więcej informacji na stronie Polityka Prywatności. Zamknij.


Don Byron, Uri Caine

A Fine Line

  • Don Byron - A Fine Line
  • 01. Check Up (4:54)
  • 02. Zwielicht (Twilight) (2:53)
  • 03. Glitter And Be Gay (8:06)
  • 04. Basquiat (5:06)
  • 05. It's Over (2:43)
  • 06. Creepin' (4:56)
  • 07. Nessun dorma (4:02)
  • 08. Soldier In The Rain (3:51)
  • 09. Reach Out I'll Be There (4:53)
  • 10. The Ladies Who Lunch (6:17)
  • 11. Larghetto (2:16)
  • Don Byron - clarinet
  • Uri Caine - piano
Add to Basket

49.00 PLN


Nr kat.: 526801
Label  : Blue Note

AllMusic Review by David R. Adler [-] Arias and lieder are forms strongly associated with classical music, yet clarinetist Don Byron defines them in a newly expansive way for this remarkable project. To Byron, arias and lieder belong not only to classical figures, but also to writers as diverse as Ornette Coleman, Roy Orbison, Stevie Wonder, Henry Mancini, and Stephen Sondheim. Byron's right-hand man in this endeavor is pianist Uri Caine. The two play a series of duets throughout the program: "Zwielecht (Twilight)" by Robert Schumann, "Basquiat" by Byron himself, "Nessun Dorma" by Puccini, and "Reach Out (I'll Be There)," the 1966 Holland/Dozier/Holland hit sung by the Four Tops. Byron concludes the album with a solo clarinet rendition of the "Larghetto" from Chopin's second piano concerto. These duo and solo vignettes frame the full ensemble pieces, on which Byron and Caine are joined by Jerome Harris, Paulo Braga, and a number of very effective guest vocalists. Former Pat Metheny Group vocalist Mark Ledford is wispy and ethereal on Ornette Coleman's "Check Up," deep-toned and far more dramatic on Roy Orbison's "It's Over." Patricia O'Callaghan takes a turn on Leonard Bernstein's "Glitter and Be Gay," an epic piece which Byron infuses with a strong dose of calypso. Both vocalists are joined by Dean Bowman and Harris to form a four-voice choir on Henry Mancini's "Soldier in the Rain." And finally, the great Cassandra Wilson turns in a spellbinding performance on Stephen Sondheim's "The Ladies Who Lunch." The juxtapositions are unusual, and almost certain to be rejected by purists of any stripe. But at a time when more and more creative artists are bringing together classical, jazz, and pop influences, Byron's attempt surely ranks as one of the most personal and least calculating.