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| Paganini: After a Dream |
| Regina Carter |
első megjelenés éve: 2002
49 perc |
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| (2003)
[ ENHANCED ]
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CD |
| 4.161 Ft
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| 1. | Pavane Pour une Infante Défunte
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| 2. | Black Orpheus Manha de Carnaval
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| 3. | Pavane
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| 4. | Oblivion
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| 5. | Réverie
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| 6. | Healing in Foreign Lands
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| 7. | Aprés un Réve
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| 8. | Excerpt from Alexandra
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| 9. | Cinema Paradiso
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"Oblivion" was nominated for the 2004 Grammy Award for Best Instrumental Arrangement.
Classical; Jazz / Classical Crossover; Post-Bop
Recorded: Nov 11-Dec 4, 2002, Right Track, Hit Factory Studios, New York, New York and Auditorium E Montale, Genoa, Italy
Regina Carter - vocals, violin, arranger
Werner "Vana" Gierig - piano
Chris Lightcap - bass
Alvester Garnett - (8) drums, vocal
Mayra Casales - (8) percussion
Borislav Strulev - (2,7) cello
Ettore Stratta - (1,4,9) conductor
Jorge Calandrelli - (1-2, 4-5, 7, 9) arranger
Joyce Hammann, Robert Chausow, Natalie Cenovia Cummins, Laura Seaton, Katherine Livolsi-Stern, Karen Milne, Carol Pool, Mary Rowell, Yuri Vodovoz, Mary Whitaker, Belinda Whitney-Barratt - violin
Ralph Farris, Maxine Roach, Debra Shufelt - viola
Dorothy Lawson - cello
Susan Jolles - harp
Jeffrey Carney - bass
Paganini: After a Dream is a landmark album from the acclaimed violinist Regina Carter. This recording-which features Carter and her band of Werner "Vana" Gierig, piano, Chris Lightcap, bass, Alvester Garnett, drums, and Mayra Casales, percussion-is the culmination of a fairy tale: a once-in-a lifetime encounter between a jazz musician from Detroit and the most famous violin in classical music, Paganini's Guarneri.
Perhaps the most legendary classical violinist in history, Nicolò Paganini, born in Genoa, Italy in 1782, had a technique so dazzling he was rumored to have sold his soul to the devil. When he died in 1840 he left his famous Guarneri violin, called "Il Cannone" or "The Cannon," to his beloved City of Genoa. Now it is kept in impeccable condition by the City of Genoa, and great violinists from around the globe make the pilgrimage there to play and record on it, but only under the watchful eyes of the conservators and two armed guards.
In December 2001, Carter, who had trained as a classical violinist but switched to jazz late in her high-school years, received an extraordinary invitation from the City of Genoa to perform on Paganini's violin. No jazz musician had ever laid hand on the violin, nor had any African-American. The idea of jazz being played on the precious instrument unleashed heated controversy in Genoa - until Carter held a press conference and charmed the Italian press by her gracious appreciation for the honor of playing the violin - and by speaking Italian! The press rallied around her, the concert sold out, and Carter received a standing ovation and became a heroine in Genoa.
Includes liner notes by Regina Carter.
Regina Carter
Active Decades: '90s and '00s
Genre: Jazz
Styles: Chamber Jazz, Fusion, Post-Bop, Mainstream Jazz, Classical Crossover
Violinist Regina Carter is a highly original soloist whose sophisticated technique and rich, lush tone took the jazz world by pleasant surprise when she arrived in New York from her native Detroit. And jazz fans weren't the only people who heard that mercurial quality in her playing: artists as diverse as Faith Evans, Elliot Sharp, and Mary J. Blige have employed her talents on their recordings, as has filmmaker Ken Burns on his soundtrack for The Civil War. Add this to an extremely long list of jazzers that includes Tom Harrell, Wynton Marsalis, and Oliver Lake. Carter began playing her instrument at age four and attended Detroit's prestigious Cass Technical High School. Upon graduating, she departed for the new England Conservatory of Music, only to return to Michigan to join the all-female jazz quartet Straight Ahead. After two recordings for the Atlantic label, Carter left the band in 1994 in search of a solo career. She had already been doing session work in the city and sought to make the move permanent. Carter found herself working with Max Roach, the String Trio of New York, and the Uptown String Quartet before recording her self-titled debut recording on Atlantic in 1995. Its mixture of R&B, pop, and jazz confused jazz fans and delighted pop critics. It sold well enough for her to record Something for Grace, which leaned in the jazz direction, though it featured R&B sheen in its production. Carter left Atlantic for Verve in 1998 and recorded two more outings under her own name, the last of which, Motor City Moments, is her finest session. In 2001, Carter recorded a duet session with Kenny Barron that has been universally acclaimed for its lyrical qualities and stunning range of dynamics and harmonic invention. She has since released the classical-influenced Paganini: After a Dream in 2003 and the American songbook album I'll Be Seeing You: A Sentimental Journey in 2006.
---Thom Jurek, All Music Guide |
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