Music Review: Paavo Jarvi - The Planets

One of the 20th century’s most enduring Classical works is Gustav Holst’s The Planets. It has been recorded by nearly every leading orchestra in the world, including the New York Philharmonic, the London Symphony Orchestra, and the Vienna Philharmonic.

Excerpts from The Planets have appeared throughout popular culture. Sci-Fi films such as Star Trek IV, Return Of The Jedi, and The Man Who Fell To Earth have all incorporated selections of it.

Even Jimmy Page has paid tribute Holst‘s masterpiece. In the midst of his extended solo in “Dazed And Confused” from The Song Remains The Same, Page quotes “Mars, The Bringer Of War.”

With the myriad of recordings available, one might wonder, why another? Conductor Paavo Jarvi and The Cincinnati Orchestra bring an intimate knowledge of the material to the studio. Their vision, from November 2008 is as pristine a version of the work as has ever been presented.

The Planets as a whole is an incredible achievement. Written between 1914-16, the suite cannot help but to reflect it’s time. Holst’s homeland of England were swept up in the carnage of World War I at this point. He volunteered, and was reportedly torn apart because his service was declined due to his terrible eyesight.

Instead, Holst taught music and was introduced to astrology, which in turn lead to his composition of The Planets.

Beginning with “Mars, The Bringer Of War” through “Neptune, The Mystic,” The Planets is really of reflection of the various states of mankind. This view of man is seen through the astrological eyes of the ancient Greek gods, who correspond to the planets in our solar system.

The remaining five pieces in Holst’s suite are:

“Venus, The Bringer Of Peace”
“Mercury, The Winged Messenger”
“Jupiter, The Bringer Of Jollity”
“Saturn, The Bringer Of Old Age”
“Uranus, The Magician”

It is an amazing conceit, taking the gods of yore, and writing music to describe them. As there is no astrological sign for Earth, and Pluto had yet to be discovered, Holst’s composition remains a seven-song cycle. It is certainly one of the most influential of its type.

As something of a bonus, Benjamin Britten’s Young Person’s Guide To The Orchestra is included in the disc as well. Britten wrote the piece in 1946 as a literal guide to the orchestra, sans narration. Jarvi and The Cincinnati Symphony recorded this in 2006, and it has been previously released.

I recommend this CD to everyone, but most especially to parents. Paavo Jarvi and The Cincinnati Symphony Orchestra have put together a program that serves as a marvelous introduction to some of the best classical music of the 20th century.

The Planets and The Young Persons Guide To The Orchestra is a nice place to start in appreciating what formal music has to offer. More to the point, it is a great recording of some of the finest classical music of the past 100 years.

Book Review: The Beatles: Box Of Vision

Like the remastered Beatles mono box set, the companion Box Of Vision book box sold out immediately upon release. None of the sets even made it out of the US into the world market. The printers have been working overtime however, and The Beatles - Box Of Vision is finally available in the UK and Europe.

The set is a worthy companion piece to the CD boxes. Book one - The LP Sized Album Artwork Book is just that. 200 pages of both the US and UK artwork for every album, including back covers, gatefolds, inserts, and booklets.

This is the first time all the US and UK artwork has been collected in one book. The book itself is the size of an LP, so that each cover is reproduced exactly as they originally appeared.

Book two - The Catalography is an exhaustive discography of every US and UK Beatles release, with tons of photos.

Book three - Box Of Vision Storage Book holds all of the re-mastered CDs in one convenient, lavish book, which has separate spots for the discs themselves.

This three book set is the ultimate companion to the re-mastered CDs. You can check it out or get ordering information at www.boxofvision.com

For fans looking to upgrade their Beatles collections, these books are something of a must. They provide the fan with an attractive venue to display their CDs and a comprehensive discography. They also give us back something we have sacrificed to the digital age, the dimensions of the original artwork, in all of it's splendor. Dating back to Meet The Beatles, the graphics of their LPs was a huge part of the appeal. Box Of Vision brings it all back home, and is the perfect addition to a Remasters upgrade.

Music Review: Keith Jarrett - Testament

The genius of Keith Jarrett is his ability to improvise fully-formed compositions for solo piano in a live setting. While this is practically unheard of, Jarrett has been doing it for decades. One of the highest selling albums in jazz history is his Köln Concert from 1975. On Köln, Jarrett is simply amazing, with one piece clocking in at 41 minutes, all of it improvised on the spot.

In the 34 years since Köln, Jarrett has tried a number of things. He recorded as a trio with bassist Gary Peacock and drummer Jack DeJohnette in the 1980’s. And he has pursued his abiding interest in classical music over time as well. But something of a personal tragedy turned him back to the approach his audience loves so dearly.

When Keith’s wife of 30 years left him, he was devastated. The liner notes he wrote for Testament are some of the most personal I have ever read. In them he describes getting back onstage in this environment as: “A scramble to stay alive, as music has been my life.”

The two concerts that make up Testament were held in Paris and London. The first disc of this three CD set was recorded in Paris on November 26, 2008. It speaks volumes about his inner turmoil.

Opening the disc is “Part I” (everything is referred to numerically), and it is somewhat tentative as he seems to be casting about as to where this musical journey will go. By “II” though, his muse has returned. This is the Keith Jarrett of old. Confident, and playing as if this is a song he has known forever. From here the pace never slackens. There are some notably dissonant moments to add suspense, and some incredibly soothing selections as well.

My personal favorite of the eight tracks is “VII.” Jarrett seems to reference his old boss Miles Davis here. Actually it is the late Bill Evans, who played piano on Kind Of Blue that this track reminds me of the most. Evans’ solo on Blue’s final cut, “Flamenco Sketches” is one of the most indelible ever. Jarrett seems to use a taste of it as a jumping off point for an exquisite turn of his own.

Discs two and three hail from the London show, December 1, 2008. This was to be Keith Jarrett’s first appearance there in 18 years. The notes convey his state of mind better than anything else could, “ On the way into London, I had as close a brush with a nervous breakdown as I’ve had.”

The London set opens with echoes of Paris, with Jarrett seemingly searching through various motifs, to find what feels right. Fortunately, London proved to be one of his finest nights behind the keys ever.

This is an extremely varied set. In “III” I hear some Ray Charles nods, “IV” is as intimate as a piano can sound, and “V” goes down some dissonant dark alleys. The mood gets playfully sinister on “Part VII,” and “VIII” brings to mind John Coltrane’s “After The Rain.”

The final 17 minutes are impeccable. “XI” is as gorgeous as a solo piano can sound. And with “XII” Jarrett sums up the night, and his return to this type of music with an almost religiously glorious piece.

The master has clearly lost none of his fire. Playing through a deep hurt, and never flinching,Testament becomes a literal testament. It is a recording that not only extolls the joys of music, but it’s healing powers as well.

DVD Review: Anvil: The Story Of Anvil

If you liked The Wrestler, you will love Anvil: The Story Of Anvil. Like Mickey Rourke’s fictitious Randy “The Ram” Robinson, Anvil exist in a state of pure denial. The band wholeheartedly believe that their big break is just around the corner, even after some 30 years of slogging it out.

The DVD opens with footage from the 1984 Super Rock Festival in Japan, a huge event that Anvil played along with metal titans such as The Scorpions, Whitesnake, and Bon Jovi. Cut to some interview segments with famous fans including Lemmy of Motorhead, Lars Ulrich of Metallica, and Slash of Guns And Roses. All are united in their belief that Anvil should have made it.

The next scene shows Steve “Lips” Kudlow at his day job, delivering food for a catering company, on a cold Canadian winter’s day. Apparently Lips is a pretty good worker, according to the testimonials from his fellow employees. But Lips’ heart and soul is in rock and roll.

Anvil’s first album was released in 1981, and the beauty of The Story Of Anvil is in how it shows the guys still believing in the dream all these years later. If you are looking for Spinal Tap type yuks, The Story Of Anvil does not really deliver. Rather you come to root for these 50-something rockers, who refuse to acknowledge the painfully obvious fact that the train left the station years ago.

We follow the band on a disastrous tour of Europe, booked by their inept groupie/manager (who wound up marrying the guitar player). They get a call from a big time record producer in London who wants to work with them, the catch is they need $20,000 to do it. After Lips spends some time in a hellish telemarketing center, his sister loans him the money.

The resulting album, This Is Thirteen was originally sold on the band’s website, after some humiliating turn-downs from record labels. It has just been reissued by the VH1 Classic label, and is a surprisingly good metal album.

The movie ends on an up note, with Anvil playing another metal festival in Japan, to an adoring crowd. The Story Of Anvil is a great documentary, whether you are a metal fan or not. The story of boyhood pals Lips, and drummer Robb Reiner refusing to stop pursuing their dream is downright inspirational. With the release of The Story Of Anvil, the band have received more attention than ever before. And that is a heart warming turn of events.

The bonus features on the DVD are fairly minimal. There are some deleted scenes featuring interviews with former band members, Lips’ brother, and more of Lips’ co-workers at Choice Children’s Catering. Producer Sacha Gervasi gets the gift of a lifetime when he is invited onstage in Japan to drum on “School Love.”

The interview with Metallica drummer Lars Ulrich is really worth seeing though. Over the course of this 30 minute segment, Ulrich goes from the bored rock star we all have grown tired of, to the 18 year old metalhead he once was. He really dug Anvil back in the day, and still does.

If jaded old rockers like Ulrich can still get excited about Anvil, there is hope yet. The Story Of Anvil is a damn fine DVD, and carries a nice message of believing in your dreams, no matter what the odds are.

DVD Review: On The Road With Charles Kuralt

Beginning in 1967, On The Road With Charles Kuralt ran for an unprecedented quarter century. The show elevated Charles Kuralt into a beloved national icon, and won a slew of awards. The premise of On The Road was deceptively simple. Kuralt and his crew traveled the United States in a motor home, looking for interesting, offbeat stories.

Over the course of 25 years, On The Road hit all 50 states, and managed to go through six motor homes. All told, the show produced over 500 segments. This three-disc set marks the first appearance of On The Road on DVD.

The set contains 18 episodes, featuring a total of 77 individual pieces. Like a Reader’s Digest condensed article, each segment is bite-sized, averaging approximately five minutes in length.

One of the unifying traits of the On The Road pieces was their celebration of a vanishing America. Since Kuralt’s passing in 1997, nobody has stepped up to fill his shoes. And so these vignettes become ever more poignant as time marches on, revealing themselves to be the work of a one of a kind television journalist.

When I was growing up, we watched this show regularly, and I fondly remember many of them. There is the great story of a small town library in Oregon that stays open 24 hours a day, 365 days a year. Another classic features a man who actively solicits for junk mail, to burn in his wood stove as a source of heat.

I recall marveling at learning that the Zildjian cymbal company manufactures 90% of the cymbals used in the world. The segment on the covered bridges in Vermont was also memorable, and led to an abiding interest in the subject for me. In fact, there really isn’t a dud in any of these 77 pieces.

As for bonus material, there is very little. Each disc contains a couple of paragraphs updating some of the stories, and disc one has a biography of Kuralt. All of this is text only.

But it hardly matters. On The Road With Charles Kuralt is kind of like comfort food for your DVD player. While the nutritional value may be questionable, the satisfaction level is off the chart.

Music Review: Keith Jarrett - Testament

The genius of Keith Jarrett is his ability to improvise fully-formed compositions for solo piano in a live setting. While this is practically unheard of, Jarrett has been doing it for decades. One of the highest selling albums in jazz history is his Köln Concert from 1975. On Köln, Jarrett is simply amazing, with one piece clocking in at 41 minutes, all of it improvised on the spot.

In the 34 years since Köln, Jarrett has tried a number of things. He recorded as a trio with bassist Gary Peacock and drummer Jack DeJohnette in the 1980’s. And he has pursued his abiding interest in classical music over time as well. But something of a personal tragedy turned him back to the approach his audience loves so dearly.

When Keith’s wife of 30 years left him, he was devastated. The liner notes he wrote for Testament are some of the most personal I have ever read. In them he describes getting back onstage in this environment as: “A scramble to stay alive, as music has been my life.”

The two concerts that make up Testament were held in Paris and London. The first disc of this three CD set was recorded in Paris on November 26, 2008. It speaks volumes about his inner turmoil.

Opening the disc is “Part I” (everything is referred to numerically), and it is somewhat tentative as he seems to be casting about as to where this musical journey will go. By “II” though, his muse has returned. This is the Keith Jarrett of old. Confident, and playing as if this is a song he has known forever. From here the pace never slackens. There are some notably dissonant moments to add suspense, and some incredibly soothing selections as well.

My personal favorite of the eight tracks is “VII.” Jarrett seems to reference his old boss Miles Davis here. Actually it is the late Bill Evans, who played piano on Kind Of Blue that this track reminds me of the most. Evans’ solo on Blue’s final cut, “Flamenco Sketches” is one of the most indelible ever. Jarrett seems to use a taste of it as a jumping off point for an exquisite turn of his own.

Discs two and three hail from the London show, December 1, 2008. This was to be Keith Jarrett’s first appearance there in 18 years. The notes convey his state of mind better than anything else could, “ On the way into London, I had as close a brush with a nervous breakdown as I’ve had.”

The London set opens with echoes of Paris, with Jarrett seemingly searching through various motifs, to find what feels right. Fortunately, London proved to be one of his finest nights behind the keys ever.

This is an extremely varied set. In “III” I hear some Ray Charles nods, “IV” is as intimate as a piano can sound, and “V” goes down some dissonant dark alleys. The mood gets playfully sinister on “Part VII,” and “VIII” brings to mind John Coltrane’s “After The Rain.”

The final 17 minutes are impeccable. “XI” is as gorgeous as a solo piano can sound. And with “XII” Jarrett sums up the night, and his return to this type of music with an almost religiously glorious piece.

The master has clearly lost none of his fire. Playing through a deep hurt, and never flinching,Testament becomes a literal testament. It is a recording that not only extolls the joys of music, but it’s healing powers as well

Music Review: The Flaming Lips - Embryonic

Listening to a new Flaming Lips record is like waking up from a fever dream. The imagery is always vivid, and the soundtrack veers wildly between the lush and the outrageously chaotic. In the end, everything somehow manages to make sense, and follows an internal logic all it’s own.

Embryonic is no exception. Somehow, over the course of a 26 (!) year career, The Flaming Lips continue to top themselves. The Soft Bulletin (1999) was their first undeniable masterpiece. Ten years later, the band has released what I consider to be a serious contender for their best yet.

“Confused By The Hex” opens up Embryonic with some of the most thunderous sounds ever on a Flaming Lips record. The dual drum attack of Steven Drozd and Kliph Scurlock are the first things you hear.

The disturbing lyrics foreshadow what is to come. According to Wayne Coyne, the song was inspired by the 1974 film The Night Porter: “The themes of submission and obsession and cruelty and pleasure really put the zap on my sleep-deprived head,” he states.

Coyne describes the making of Embryonic as the “merging of low-fi distortion jams with hi-fi computer overdubs.” The five astrologically titled tracks sprinkled through the disc bear witness to this. The first, “Aquarius Sabotage” disrupts the established mood with the sound of breaking glass and utter chaos.

“Powerless” is Wayne Coyne’s guitar extravaganza. Despite his claims that he “is not a very good musician,” Coyne’s solo here is riveting. Sometimes it is not the technique, but the feeling that matters most. Like Neil Young, Coyne has feeling down in spades. Check out his guitar on “Worm Mountain” as well.

“I Can Be A Frog” features Karen O of the Yeah Yeah Yeahs, and is a childlike sketch. It creates one of those moods of wonder that the Lips are masters at inducing.

Of the 18 songs comprising Embryonic, “The Impulse” is my favorite. While I fully expect others to call this track indulgent filler, I love it. With a melody as sweet as anything in the band’s catalog, and treated vocals extolling the virtues of a positive outlook in all situations, this is an amazing piece of music.

The final triad of tunes form a suite of sorts. “Silver Trembling Hands” steadily builds a nervous feeling, until the joyous release of the chorus. The all-too knowing repeated phrase of “When she’s high” make the subject matter explicit.

The song segues into something called “Virgo Self-Esteem Broadcast,” which seems like a darker continuation of what had come before. In fact, it sounds otherworldly, as if the heroine of “Silver Trembling Hands” has gone beyond. In this context, the repeated disembodied chant of “This is the beginning,” becomes absolutely spooky.

The organic, tribal feel of Embryonic is never more pronounced than on the final track, “Watching The Planets.” Karen O returns to chant the lyrics “Killing the ego tonight,” with both Wayne and Steven Drozd.

What

What does it mean

To dream what you dream

To believe what you’ve seen?

(From “The Sparrow Looks Up At The Machine”)

Emerging from the fugue Embryonic puts me in, I am reminded of a favorite Frank Zappa quote: “Writing about music is like dancing about architecture.”

Capturing transcendence in music is an even more elusive challenge. With album number twelve, The Flaming Lips have somehow managed do it. They have trapped lightning in a bottle.

Embryonic is a brilliant record.