Customer Reviews

Paganini: After a Dream

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4 star:		(4)
3 star:		(0)
2 star:		(1)
1 star:		(3)

 

 

I can honestly state that I've been waiting many months for this release, having read about the future possibility of its existence when the original performances took place well over a year ago, with recording sessions a year later. And I'm one happy camper now that it's safely here.

Regina Carter is surely one of the finest jazz violinists playing today. (On the distaff side, it's simply no contest. While there's no shortage of distaff Celtic, bluegrass or country fiddlers, Ms. Carter has the jazz sphere all to herself.) But the provenance of this release makes it more than a little special.

The (somewhat) short version of the provenance: Ms. Carter plays Paganini's own personal violin, a 1743 Guarneri del Gesu known as "Il Cannone" ("The Cannon"), the first jazz (and, for that matter, African American) artist to have done so. It is an instrument with gorgeous, lustrous tone, and, given its pedigree, an instrument that is closely guarded by its Genoese museum curators. The idea of Ms. Carter's performing on this rarest of rare instruments came about by way of "a friend of a friend" who thought the matchmaking to be appropriate. The actual amount of logistical legwork and preparation required to pull it off, and the uncertainty of the success of the venture at every stage, are nicely described by her in the booklet notes. Good for her! What a coup!

Most of the works Ms. Carter has chosen are classics: either from the world of classical music, in suitable arrangements for her inimitable style, or are Latin American classics that fit her style quite naturally. The former are all French (well-known works of Ravel, Debussy and Fauré); the arrangements (all nicely tasteful) to some might suggest - or even shout - "crossover" (and all that the genre implies), but Ms. Carter plays them with such panache and soul, taking full advantage of the remarkable instrument provided her, that I can't imagine even the most hardened jazz-head not liking them.

The two Latin American classics are among my (and, I'm sure, others) favorites: the main theme from "Black Orpheus," by Luiz Bonfá, and Astor Piazzolla's insinuiatingly langorous tango, "Oblivion" (one of my all-time favorite Piazzolla pieces). Another obviously Latin piece is by the great film score composer Ennio Morricone, from his music for "Cinema Paradiso." The album is rounded out with two works written for the occasion: "Healing in Foreign Lands" by Werner "Vana" Gierig, the pianist in Ms. Carter's combo, and an excerpt from her own "Alexandra," a work commissioned by the John F. Kennedy Center for the Performing Arts.

All of the works have Ms. Carter backed by her combo of piano, bass and percussion, with a nice addition of cello on the Bonfá track and one of the two Fauré tracks. Some works are discreetly backed by strings, particularly nicely in the Piazzolla and Morricone tracks.

But Ms. Carter is front and center throughout the album. And this classically-trained jazz artist is simply terrific everywhere, blending her classical skills and her hard-swinging jazz abilities, on what must be one of the finest fiddles in the world, to what can only be described as wonderful and gorgeous effect. Every single track on this album is a winner; not a dog amongst them; not even close!

An added bonus: My first listen to this (with several already behind me now as I write) was in my desk-located Discman. I saw that there is a separate band on the outer edge of the CD. Figuring it for a CD-ROM band, I stuck it in my computer CD slot. Sure enough, the disc includes a travelogue of Genoa. Of course, had I taken the trouble to actually READ the jewel box, I would have seen the "Enhanced CD" logo. So there you have it: A nice no-charge extra.

My early prediction: This album will be in every jazz lover's and fiddle fanatic's library in short order. Better get yours now.

Bob Zeidler

It might only be May, but Ms. Carter's new release, "Paganini: After a Dream" should be at or near the top of all the critics' lists come December. While this reviewer has greatly enjoyed all of her other releases, this recording is by far one of the best made by any artist in the past thirty years. Ms. Carter (one of the best musicians in any genre playing in the world right now) and her ensemble evoke such profound emotion on all of the tracks, but two particularly stand out: Ravel's "Pavane pour une infante defunte" and Morricone's "Cinema Paradiso" theme. These works defy musical category; they are simply statements of pure artistic brilliance on the part of Ms. Carter and her colleagues, and listening to them will leave a lump in your throat. An absolutely extraordinary emotional statement.

I a Jazz fan. However, I have never though that a violin can do that magic. It is not like anything that I have listened to before.

Regina Carter is the reigning queen of contemporary jazz violin. On this CD, she pulls the musical sword from the stone. Carter recently became the first non-classical violinist to play Paganini's (yes, THAT Paganini) legendary violin, "The Cannon," a national treasure in Italy. This isn't just a CD. It's a musical event as Carter introduces jazz elements to classical favorites by Ravel, Debussy and an amazing rendition of "Cinema Paradiso." This disc could live in your player forever and never grow tiresome. Carter turns dinner music into dinner conversation with this extraordinary fusion of jazz violin and classical grace.

I read a blurb in a recent national magazine and got the chills with what they described. Showed my mother the article we shook our heads in unison. No doubt it would be a part of both of our musical collections. I got it first. Sat alone in my living room with my eyes closed and basked in the beauty of an absolutely gorgeous musical outing. She took my breath away and brought tears to my eyes. The liner notes tell of how this project came to be and inspired me to add Genoa Italy to the list of places I would love to someday visit. It's a shame that more people don't appreciate the treasure she is to the musical world. If you think this is something you would not enjoy...expand your horizons because you are very sadly mistaken. I'm expecting her to do very well during next year's awards ceremonies. Superb from beginning to end.

This is a cd to listen to again and again. I've given it as gifts and as a violinist myself who has been to Cremona and viewed those beautiful old violins, it has been a treat! I recommend this cd to anyone who wants a flavor of the classical that has been jazz inspired. Regina Carter's style plus "The Cannon" was a match made in heaven. I own a great deal of music, but this cd is one of my top ten favorites! She is definitely on my list of performers to see as friends have told me that she is wonderful!

I read an article a couple years ago in Oprah's O magazine about Regina Carter traveling to Italy to play Paganini's violin. I thought, what an accomplishment, but then didn't think about it again until the other night. I was driving home from work, listening to an NPR jazz program, when the most beautiful classical violin piece came on. I was completely captivated by the emotional, wonderful music, and I was really hoping the announcer would say the musician's name before I got home. Right after the song, sure enough, he announced that it was Regina Carter playing Paganini's violin! I went right out the next day and bought this cd, and it's one of my favorites. The music has so much feeling, and Carter has so much talent!

Who knew that solo violin could be so pleasing to the ear?! This CD is simply wonderful. I have heard so many solo violins that sound little better than a cat being strangled, this CD renews my belief that no matter how "caustic" an instrument may seem, at the hands of a master amazing things can happen. Regina Carter is truly a master at her craft.

ES LA PRIMERA VEZ QUE ESCUCHO A REGINA CARTER Y CREO DEFINITIVAMENTE QUE NO SERA LA ULTIMA.LA TECNICA ES IMPECABLE Y LAS ADAPTACIONES SENCILLAMENTE FASCINANTES.SOBREMANERA ME ENCANTA SU INTERPRETACION DE LA OBRA DE SU AUTORIA ALEXANDRA.A VECES CLASICO , A VECES JAZZ,POR DONDE QUIERA QUE SE LE MIRE ES UN TRABAJO IMPRESCINDIBLE EN CUALQUIER COLECCION DE ESTE TIPO DE MUSICA

Well, you know how there are some songs that work best in their original form and should not be remade / remixed / jazzed up by any musician at all? Regina Carter is the exception to that rule, for her touch is magic.

Save for Regina's own composition, every song on this album is given a contemporary jazzy twist. The sound is light, breezy and wistful. Regina possesses the inimitable ability to make a violin sing so tenderly, it breaks your heart just listening to her play. This lovingly produced album is the perfect companion for many things: a candle-lit dinner, appreciating a beautiful painting, retrospection, a drink in a bar, a ride in a car, gazing at scenery from afar... the possibilities are endless.

Generally, the problem with remaking well-known songs is that playing the tune, give and take some rephrasing or improvisation, is not enough. To impress, the arrangement, playing, and overall production has to be inspired and tight. In this respect, Regina delivers. It is unfortunate that there are some moments on this album which sound a tad "too easy" or, for lack of a better word, pedestrian. But given the overall substance of this album, those moments are easily overlooked.

For those familiar with the original classical works on this album, they would surely appreciate and marvel at how Regina manages to make songs that are tough to remake, sound so gloriously refreshing. Like a breeze, caressing and loving you, this album is a god-sent.