on 2 September 2012
Garrett plays any musical notes on the violin with consummate grace!
The classical reworking of Michael Jackson's "Smooth Criminal" is full of surprises and bursts with excitement throughout.
"Who Wants to Live Forever?" is dark, eerie, shockingly intense and operatic, and there is a sense of urgency that time is running short while there is so much to experience in life.
Debussy's free flowing "Clair de Lune" (moonlight) is beautiful and dreamlike. The shimmering violin melody and subtle harmonies evoke images of misty landscapes and a flowing river glistening in silvery moonlight.
"He's a Pirate" opens with calm and rising harmonies promising epic adventure (and a whiff of romance in the air). Jack's comic theme takes over, with all his pirate swagger and bravado. The over-the-top action music is great fun: heroic violin battles stylishly with elegantly menacing orchestra force in a swashbuckling tango; various percussion interjections add fun distractions while fog dissipates and small waves rock the boat during brief transitions (rumbling notes, mid-pitched strings). The track ends emphatically as if to incite curtain calls.
"Summertime" sounds very New York. The classical violin rendition, jazz-inflected and misty, perfectly captures the emotional ambiguity. The slow lilt is mesmerizing and the sweet soaring riffs are sensational yet intimate like loud whispers.
"Hungarian Dance No. 5" delights with fluid rhythm, expressive melody, wide leaps between notes, beautiful double stops and frequent key shifts at a ravishing mix of tempos.
In "Chelsea Girl" the emotionally charged violin tenderly kisses good-bye to every note to create a gorgeous tune.
Garrett has a new take on Vivaldi's "Summer" and it sounds like this: intense lightening flashes and loud bangs of thunder, followed by hail storm and heavy rainfall (flying bows at lightning speed!), rinsing dust off lush green foliage and refreshing the air.
"Air" starts off with teasing, even-paced keyboard notes, then the violin takes up the theme and sings the beautiful soaring tune with the most romantic inflection like early morning breeze.
"Thunderstruck" is loud fun, belting out rapid violin phrases, malicious tunes, majestic melodies, hard rock riffs, short sharp sonic stabs and loud bangs and blasts, all in rapid mutating rhythms following a pop song structure.
"New Day" is infinitely lyrical, compelling repeated listening to the poetic violin melody meandering through myriad emotions.
In "Ain't No Sunshine" the unhurried, impromptu musical phrasing has a laid-back feel.
"Rock Prelude" opens with space themed celestial soundscape and a star is born, bursting into melodic Rock in Baroque-tinged fast harmonic rhythms reminiscent of Bach.
"Winter Lullaby" features a lovely violin tune, cute and sweet at a baby-step tempo. Insistent shakes of tambourine (middle section, background) make the soft, velvety violin even more huggable.
In "Zorba's Dance" the flirty, playful violin tune is infinitely improvisational and so inviting that no one would hesitate to join the fun and dance the night away.
Bonus: See booklet for Garrett's amusing stories and musical ideas prefacing each track.
on 29 April 2012
I have never even heard of this artist until very recently, but someone sent me an email and I clicked on it and found this superb musician.
This CD is fantastic and plays 'classical' pop like Smooth Criminal amongst all the other items. If you like classical style, then I would suggest that you buy this as it is fantastic, although a little mourmful in plsces. I have it in the car and play it on longer than average journeys, as it helps to pass the time pleasantly. I would be extremely surprised if anyone was disappointed in the Album, and personally I intend to purchase another CD as soon as my finances allow, which should be next week or the end of it, as my money comes into my account on Tuesday.
on 6 May 2011
I must admit I've found this cd mesmerizing...truly good! David's style is so unique that even if you don't play of listen specifically to classical music, but are just a casual listener you'll love it, because in the end it's always a matter of good melodies well played.
Somebody told before that this kind of projects have already been done (Vanessa Mae, or the cough-cough Bond, etc...) in the past, & I listened to some of those albums as well, but to say it short, I've preferred his excellent style because you can feel that is genuine, you know, it's like a voice that singing is able to deliver an emotion (& live is equally brilliant).
So I'm curious to see which other songs or pieces of symphonies he'll decide to arrange for his own taste, because it's always a twist on a traditional or however popular (rock/cinematic) tune dressed up of a fab new disguise: & of course, also his own original compositions he's beginning to offer to his audience...the thing in my opinion, that distinguish himself from others, is that in any case he's truly respect of the original vibe of the song: you won't find an overly glossed production in studio, or a typical heavy club-pop (with synth) arrangement to it, that's why I've appreciated this once enfant prodige, without fearing anymore that he's another (the umpteeth) pretty face of an hungry market...so, bravo D., keep up the great work!