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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
I rate Nigel Kennedy very highly and have a number of his cds, but was very disappointed with this cd.
It is a jamming session after a night's performance and so very unrehearsed and natural recording. I feel that it could have been digitally improved as it was sold to the public. I have only played it twice and unlikely to play it again.
It is a jamming session after a night's performance and so very unrehearsed and natural recording. I feel that it could have been digitally improved as it was sold to the public. I have only played it twice and unlikely to play it again.
8 of 10 people found the following review helpful
Format:Audio CD
Excellent music for the Nigel Kennedy fans who enjoy his modern jazz side rather than his classical. I think he is very versatile and proves his knowledge of jazz through his interpretation of each piece.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3 reviews
11 of 11 people found the following review helpful
Do you really want to do jazz, Nigel?
28 Dec 2000
Format:Audio CD
I have much admiration for Nigel Kennedy. I love his classical CDs and I LOVE his rock interpretations, but somehow he misses the mark with jazz. I don't really know why--he is such a good musician. But I don't think he understands the fundamental nature of jazz, the way it lends itself to improvisation, and the "conversational" expression that takes place among jazz musicians while they play that makes jazz so distinctive and compeling.
This is still an admirably creative endevor and worth a listen. It's just not as entertaining some of his other work.
4 of 4 people found the following review helpful
a breakthrough recording
9 Jun 2006
Format:Audio CD
This recording was made the same day as Kennedy's debut recording ( Elgar Sonata.) He had some studio time left over, so he and Peter Pettinger spontaneously played some jazz standards. No planning, no rehearsal, no previous experience playing jazz together.
In that context, this is a remarkable recording. And a historical first that will likely never be repeated - debut classical and debut jazz recording being recorded on the same day.
Jazz violin is hard to come by. Few people have the technique to play the violin well enough to even begin to serve the free flow and spontaneity of jazz. And few, if any, jazz musicians have ever recorded a more than passable performance of classical repertoire.
The members of the Turtle Island String Quartet has broken ground in this area since; but in 1984, when this recording was made, this was one of a handful of recorded attempts at jazz violin outside of Stephanne Grappelli and Svend Asmussen. (Please don't mention Jean-Luc Ponty.) And there is little argument that Kennedy's technique in this recording outclassed his predecessors, setting a new standard for tone, clarity, intonation, and overall technique.
So he may have been young and unprepared to make this record, but I will always remember this recording as a turning point in jazz violin.
Back in it's day, I listened to this album all the time, leaving the Elgar behind. Quite a feat for any classical musician.
In that context, this is a remarkable recording. And a historical first that will likely never be repeated - debut classical and debut jazz recording being recorded on the same day.
Jazz violin is hard to come by. Few people have the technique to play the violin well enough to even begin to serve the free flow and spontaneity of jazz. And few, if any, jazz musicians have ever recorded a more than passable performance of classical repertoire.
The members of the Turtle Island String Quartet has broken ground in this area since; but in 1984, when this recording was made, this was one of a handful of recorded attempts at jazz violin outside of Stephanne Grappelli and Svend Asmussen. (Please don't mention Jean-Luc Ponty.) And there is little argument that Kennedy's technique in this recording outclassed his predecessors, setting a new standard for tone, clarity, intonation, and overall technique.
So he may have been young and unprepared to make this record, but I will always remember this recording as a turning point in jazz violin.
Back in it's day, I listened to this album all the time, leaving the Elgar behind. Quite a feat for any classical musician.
Stick to Mendelssohn, Nigel!
14 Aug 2011
I have great enthusiasm for NK's classical recordings. When I found this CD in a thrift store for $1, I overcame my fear that it might be as bad as other jazz ventures I've heard by classical musicians. Even those with genius-level talent generally don't have the flexibility and spontaneity to play jazz. But for one lousy buck, why not give it a chance?
Despite some nice licks by the pianist, this is going back to the thrift store immediately. Kennedy's idea of jazz playing seems to be mainly playing with bad intonation. NOT the same as some carefully chosen blue notes! Also, the violin tone on the record is horrible, and sounds like either an electric violin or a ghastly overloaded digital recording. Not recommended, even for the curious.
Despite some nice licks by the pianist, this is going back to the thrift store immediately. Kennedy's idea of jazz playing seems to be mainly playing with bad intonation. NOT the same as some carefully chosen blue notes! Also, the violin tone on the record is horrible, and sounds like either an electric violin or a ghastly overloaded digital recording. Not recommended, even for the curious.
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