Performance and Capacity Movie Reviews

When I heard that they were releasing a DVD of Erroll Garner in performance--a full 70 minutes from a 1964 BBC special--I just about hit the ceiling. By 1964, Garner was quite out of fashion, what with the avant-garde ramblings of Cecil Taylor, Ornette Coleman and the likes taking center stage, but he had lost very little of his power. Now, years later, all those experimental trends fall away in the presence of Garner's genius. He's joined that uppermost level of jazz pianists--along with Art Tatum, Bud Powell, Monk, Bill Evans, and a tiny handful of others who have become genres of one...singular geniuses. Garner, like Monk, like Tatum, used all of the keyboard, making 88 keys sound like 188. He was a one-man orchestra. But even more astonishing than his technique was his fresh interpretation of standards, almost like intense studies of the compositions. He'd take a tune like "Autumn Leaves" or "I Cover the Waterfront", slow them down, expose and explore every nuance of the melody, make it new. His playing was often baroque, often complex, but always beautiful, and he never even learned to read music. This performance has about 17 tunes, though strangely, he does not play "Misty", his extraordinary signature tune that he played night after night. However, the guys behind the DVD had their thinking caps on, and added an audio performance of it. Now you're out of excuses.

CELIA CRUZ mentions Erroll Garner in many of her mambo songs. And I know why. Mr. Mambo King at heart: Mr. Garner was the true definement of "Mr. Pianoman". There is no mistaking about that. What a marvelous arrangement of Mr. Garner's left hand was. His left hand appears (to many other pianists) as if its his "RIGHT HAND". Mr. Garner appears to have two right hands!)

My mentor's (Mr. Garner's) recording is presented with class, pride, and an endearment to his music and piano, as witnessed on this DVD, which is to me a most treasurable (and invaluable) piece of item I AM SO PROUD TO OWN. Thanks to the executors for the fond memories captured and recorded on DVD!! Many thanks to them. **AB**

Having heard most of Garner's piano works - including "Solo Time" and "Concert by the Sea" - I agree with mr. Nevagich on the musical quality of this DVD.
It is a BBC production showing the Erroll Garner trio entertaining a London audience, circa 1964.
Being a black-and-white recording in mono, sound and picture quality still has got a reasonable level.
This is the first time I see Garner live, and was VERY impressed musically, technically and on a personal level.
Errol Garner had this inexplicable charisma, which is adding to his performance - something I am sure people will appreciate when watching him.
In his hands just about any piano-technical difficulty LOOKS easy. A sign of class, I would say.
Kelly Martin on drums and Eddy Calhoun on bass are clever musicians backing him up in an intelligent way. It is obvious that they all are having a good time. This includes the audience who is working like "a fourth member of the group", as someone (maybe Garner himself) once said.
As usual nothing is decided, Garner just plays whatever he feels, Martin and Calhoun follow their leader.
That is what jazz is all about: playing what you feel.
Garner was mentally and technically able of carrying this out into practice.
The man for whom the piano was invented, someone said.
The best piano player there ever was, says I.

Kurt Starlit
Copenhagen
February 21, 2003

I have many solo piano recordings, from James P. Johnson to Cecil Taylor. I can listen to Johnson and I can listen to Taylor. But for how long.

To my ear only Keith Jarrett has the ability to play such a variety of musical styles--and all of them so well--that I could listen all night long with no fear of boredom.

And though this solo recording is (for the most part) all standards and ballads, it never mires down like so many in this genre do. Jarrett's mastery of melody, harmony, rhythm, improvisation and "composition," all couple up with--yet are never overwhelmed by--his incredible technique, and together these many facets of his genius take this recording to a level beyond any other recording of similar pieces. His playing here truly runs the gamut from the ethereal and sublime to the "get-up-off-your-...-and-shake-your-body" funky!

Listen, for example, to the way "The Night We Called It A Day" unfolds in "novelistic" fashion. It is as if you are sitting there listening to a beautifully haunting musical book unfold before you. Close your eyes and its beauty washes over you.

Or try "Do Nothing Till You Hear From Me." It is at times achingly restrained, simple, and beautiful; your ears will beg you to just sit down and listen. But then it changes, and suddenly his funky and bluesy left hand bumps into his dazzlingly speedy and bluesy right hand and your body is gonna demand that you to get up and boogie! Jarrett's regrettably-not-often-heard-but-amazing ("semi"?) stride piano ability comes to the fore here. You will not be able to erase from your face your grin of amazement. (By the way, I mentioned Jarrett's ability at "composition" above. Case in point, though the B section here is not the original--unless I am sorely mistaken--it is gorgeous, and melds perfectly with the rest of the piece.)

And though I am quite sure that the purists and traditionalists in the audience will criticize me with the greatest of gusto for the following comment, I believe Jarrett's solo version of "'Round Midnight" is the most beautifully poignant I have ever heard. (Yes, even including the wonderful recording of Monk composing the tune in the studio.)

Interestingly, Jarrett--dare I say it--actually loses it momentarily in "'Round Midnight." (Now it's the Jarrett die-hards chance to pounce on me!) The rhythm just falls apart. But, you know what? I could care less. Unlike Glenn Gould's belief that perfection, in part, awaited its creation in the editing room--and I personally believe that he was at least partially correct when one is recording classical music--Jarrett's "perfection" is that he will not play it safe, that he will reach and stretch, farther and farther, even to the point that he occassionally stumbles. It would be so easy for a musician of his ability to make a safe, mistake-proof recording. But he doesn't believe that that is what this kind of music is about. More power to him for being willing to fall in front of us unashamed. Thank you, Mr. Jarrett, for always taking that extra chance. It allows us a chance to hear what we otherwise never would. It is a blessing to be alive in a world with your music.

The performance of Keith Jarrett is just the best thing I have heard or seen in solo piano. The genius of Keith Jarrett becomes obvious when he plays "There is no greater love" and improvises a short part of it in a Barock /Bach style.
The DVD is a must for every Jazz-Lover and of course for every Keith Jarrett fan.

The review below may be misleading. This is not the usual Jarrett solo epic. It is approx 100 mins of solo standards (except for one track which is probably an instant improvisation) and is recommended to anyone who is looking for something else like the wonderful "The Melody At Night, With You". I have only recently bought this video with only the review below top go by and was surprised by the format as I didn't realise that he had done the "standards thing" solo before.

I really think this video is invaluable because it contains the 30-minute video A DANCER'S WORLD. This video starts out with Martha in the dressing room talking about dance as a profession, and then it switches scenes to show her dancers from the late 1950s performing some of her classic "floor work" as well as bits of choreography from Martha's works, such as, I believe, Diversion of Angels.

More than anything, what makes this video valuable in my eyes is that we get to see Martha talk about what she loves: dance. She really was an incredible woman (as if me saying it makes it so - who hasn't said that about Martha?), and I hope her legacy will be preserved. Videos like this will aid in such preservation.

This videotape is a tribute to one of the greatest dancers and choreographers of the 20th century. It is done in black and white and actually, this makes it even better, for it serves to concentrate attention on the dance forms and the many abstractions that so characterize the Graham technique. There are three parts of the tape: 1. "A Dancer's World", which is 30-minutes long and shows Graham and her company demonstrating dance expression and techniques. Viewers can see Graham in the dressing room, in the studio, and dancing herself. 2. "Night Journey", which is my all time favorite piece by Graham. Graham dances the part of Jocasta, Paul Taylor as Tiresais, and Bertram Ross as Oedipus. 3. "Appalachian Spring", which is the most popular of Graham's works, is accompanied by the music of Aaron Copland.

All of the parts exemplify the mystery and majesty of this pioneer of modern dance. Graham is unrelenting in her expression, things are never subtle in her dances, and she always (delightfully) comes across with an overabundance of passion. Given the length of time she actually performend on stage, one can only feel a deep sense of respect and awe at this incredible woman.

The two dances and one personal account of a dancer's world included in this hour and a half long vido were amazing. Anyone who has heard of Martha Graham's revolutionary dancing but has never seen any of her work should see this- it is truly spectacular.

I have been a fan of Jennifer Larmore ever since her early, spectacular recording of Handel's "Julius Caesar," but have unfortunately never seen her sing. This video, then, fills an important gap in my collection, and I cannot praise it highly enough. Larmore is both a fine artist and an entertaining singer: though some of her acting seems a little contrived when compared to, say, Janet Baker, she is never overly silly or annoying. The way she "acts out" the three Rossini songs that comprise "The Venetian Regatta," for instance, is amusing without being irksome, and to see her settle into the crook of the piano to deliver Kurt Weill's French cabaret songs is simply delightful.

In addition to all this, Larmore is in excellent voice and the program is well-chosen, except for the two songs by Jake Heggie which are drivel. It is also interesting to watch the way Larmore positions herself and manages her vocal equipment: you can tell that this is a singer who works very hard to appear "effortless" in both sound and motion. She surprises one with her sensitive renditions of Purcell and Debussy, then launches into more popular material like "Brazil" and "Art is Calling Me" with no suggestion of preciousness. In short, Larmore leaves a good taste in the ear...she is always worth hearing and, on this wonderful video, definitely worth watching.

If you are a drummer or a friend of a drummer you must purchase this DVD. Tim plays many of his favorite jams from Primus and Laundry. Please note that this is a drum only format so no other music will be accompying him. You get to see him play and in the commentary he tells you a few pointers to get you started. I recommend this title for any die hard Tim Alexander fans.

Good picture quality in "pre-concert rehearsal" part.
Prokofiev's music is really exciting.
The orchestra is very good.

A major problem with Amazon's listing of classical videos is that they don't tell you who the performers are. This makes a rational buying decision impossible. You can't even get a large image of the box to tell who it is. So I'm writing this review as a public service since I can recognize the box (similar to the CD) as being the second Marriner recording. It has
Sylvia McNair, soprano
Anne Sofie von Otter, mezzo
Michael Chance, countertenor
Jerry Hadley, tenor
Robert Lloyd, bass.
St. Martin in the Fields Orch and Chorus.

Musically, this is a better performance than most. von Otter is particularly fine in "He was Despised", and trumpeter Mark Bennett does the best Messiah trumpeting ever recorded, bar none. Many of the choruses are well done, and Chance is good if you like countertenors. Hadley is out of his element. Lloyd and McNair are mid-pack.

Can't comment on the video direction since I haven't seen the video yet. But based on the CD I will get it.

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I just noticed the ONE STAR that was on my post below.
BIG MISTAKE !

I'm their biggest fan!

First let me say that I'm a 15yr+ jazz guitarist that have seen S&F 5 times including this DVD.Every single time was like seeing them for the first time!This DVD was a special treat for me because it was the first time I have seen the guys go
" UN-PLUGGED " This was the best idea ever! The clean acoustic sound was KILLER!Besides,the two songs at the end of the DVD was shot live somewhere....Nice balance!

The audio and video quality of this DVD is EXCELLENT ! Very clean crisp audio...and video!

Buy This DVD! And The Rio De Colores CD !

Btw,for anyone interested I have 95% of S&F performing their Rio De Colores material from The Berchmere Theater.High Res Digital Video footage! KILLER SHOW!!!

Smra

First let me begin by saying that I'm a 15yr + jazz guitarist. And including this DVD we have seen S&F 5 glorious times!And have enjoyed every single show!
This DVD was AMAZING!Being that I have seen them LIVE 4 times prior, this " Un-Plugged " performance was MIND BOGGLING!
The audio and video of this DVD is SUPERB!Crisp,clean,unplugged guitar sound!And LIFE LIKE clear,crisp video......
I wouldn't change a thing!

Good job guys!!!!!!!!!

Btw,for anyone interested,I have S&F on " Hi Res Digital Video " performing their "Rio De Colores" material "LIVE" from The Berchmere 95% of the concert! KILLER SHOW as well!

smra

Acorn Media has done the fans of Good Neighbors (known in the UK as The Good Life) a disservice with their transcription of the final series onto two DVDs. Please bear in mind when reading this review that this is my favorite British comedy, ahead even of Monty Python's Flying Circus.

The quality of the pictures is no better than fair. I could tolerate that, because my set of off-the-air VHS tapes has been played so much that the images are almost Impressionist pastels. I was irritated that the bonus material is of such paucity as to be not worth your time; you can find out more about the show and its players from the Internet Moive Database than you can from the DVD. But even this is bearable.

What roused my anger was the fact that these brand new disks arrived in their original shrinkwrap but will not play properly. Of the eight episodes provided, only three would play without trouble. Of the remaining five, none would play normally; you get a portion of an episode, and then for unknown reasons the disk starts skipping as if you were fast-forwarding at 16 time normal speed. One episode would not play at all. And in the case of the bonus material, one part plays only in skip mode while the other won't play at all.

I have waited a long time for a DVD set of Good Neighbors that could replace my worn-out VHS tapes. It now appears that I will have to wait until BBC America deigns to produce a complete set of DVDs of one of their most popular comedies ever, before I will be able to view Good Neighbors as it originally aired.

I just purchased the DVD version of the Final Episode and the Royal Command Performance. After watching just the first disk, I am disappointed. This product has not been video remastered and some scenes are very hard to watch indeed. They seem to shimmer a slightly out of focus haze that is distracting and not the quality that we expect of a DVD. In this regard AcornMedia has cheated us and I probably will not buy the rest of the series on DVD.
Otherwise I agree with all of the other comments. Good Neighbors is an excellent show and a wonderful laugh.

I caught this show back in the mid '80's on PBS and have been wearing my videotape copies down to where they are barely watchable anymore. Thank the powers that be that someone finally got around to releasing this series (or part of it, anyway) on DVD. My question is, where's the rest of it? I just emailed the distributor, and they said there are no current plans to release the rest of the series on this format. ???

My two pence worth:

CATS: not my favorite ALW musical but I found this version enjoyable for its superior cast. God's not fair--to some he gives both singing AND dancing talent. Loads of such double talent in this production.

SUPERSTAR: interesting, updated production, fabulous voices. Shorn of its 60s/70s hippie trappings, it effectively re-engages you in the message of the lyrics.

JOSEPH: at first I thought--Donny Osmond, UGH! YUCK!--but he's surprisingly appealing in this production.

ROYAL ALBERT CELEBRATION: my only peeves (and reason for 4 instead of 5 stars) are 1) the total absence of Michael Crawford (Music of the Night is sung competently but not brilliantly by Antonio Banderas) and 2) a few too many titles from ALW's least successful work, Whistle Down the Wind.