Bob Dylan (born Robert Allen Zimmerman) is one of the most important singer-songwriters of the era of recorded, commercially available music. His lyrics are a yardstick against which aspiring young singer-songwriters measure themselves. He broke seemingly unbreakable rules, and he did so with stalwart passion and uncompromising honesty. He incorporated musical traditions from a diverse range of genres, from blues, country and gospel to jazz, swing and musical theatre, as well as integrating rock & roll and rockabilly with traditional celtic folk music.
Continuation of an extensive live retrospective from the archives of Anyone's Daughter. The CD offers songs from all creative periods of the band which, apart from one coincidence (an early version of 'Anyone's Daughter'), were not included on the first volume due to lack of space, for instance four tracks which cannot be found on any studio album: 'Schwärzer als die Nacht', a German language cover version of UK's classic 'In The Dead of Night', the instrumentals 'Stampede' and 'Pegasus', as well as an alternative version of 'Land's End', already included on the regular 'Live' album.
Some of the marks of excellence on a Billy Flynn CD are as predictable as they are gratifying. It's a given that the songwriting, music, and players will reflect taste, quality, a savvy knowledge and broad nuanced mastery of the blues (with special emphasis on Chicago sylings) which only a true scholar, virtuoso, and veteran could bring, and a love of exploring both styles and instruments outside of the blues guitar and vocals which remain the core of his music…..
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either. The main difference, I think, is the actual sound. From DG we get a closer, riper sonority, with Zimerman's piano much more forwardly placed. Both orchestra and piano are more distanced on the RCA recording, especially Ax's piano. This, together with Ax's lighter, more translucent semiquaver figuration (and sometimes his greater willingness to stand back and merely accompany—as in certain episodes in the F minor Concerto's finale) often conjures up visions of Chopin himself at the keyboard, and we know he was often criticized for insufficiently strong projection.