Jarrett plays brilliantly.
Personally, I love Jarrett's playing; he is one of the most sensitive and lyrical of contemporary pianists, and his long illness has deprived us of what would surely have been a larger body of baroque music recordings. So make your own mind up.
I highly recommend this collection to lovers of Bach, Jarrett and the diabolical harpsichord.
is the ninth studio album released by . The album was released simultaneously with A and was 's first that failed to chart in the Top 10 of the Billboard 200 when it peaked at #12. was recorded March 14, 15 and 20th, 1967. According to Billboard Magazine, Columbia Records reports a sale of nearly 250,000 in its first two weeks on the market. The album was certified Gold by RIAA in April 24, 2002.
Wanda Landowska brought the Goldbergs out of hiding on the harpsichord in the '40s and Glenn Gould made them a bonafide hit on the piano in the '50s, opening the floodgates for keyboardists of all stripes. So, in one of his earlier recorded voyages into the classical world, Keith Jarrett is up against an imposing legacy as he tackles what has become the most famous set of variations in Western music. First, he chooses to play them on a double-manual harpsichord – which makes the task somewhat easier, avoiding the finger-tangling cross hand difficulties that can trip up a piano performance.
An amazing piece of work – a massive eight-disc boxed set that contains every one of Fats Domino's 1949-1962 Imperial waxings. That's a tremendous load of one artist, but the legacy of Domino and his partner Dave Bartholomew is so consistently innovative and infectious that it never grows tiresome for a second. From the clarion call of "The Fat Man," Domino's 1949 debut, to the storming "Dance with Mr. Domino" in 1962, he typified everything charming about Crescent City R&B, his Creole patois and boogie-based piano a non-threatening vehicle for the rise of rock & roll. A thick, photo-filled book accompanies the disc, and there's an exhaustive discography that makes sense of Domino's many visits to Cosimo Matassa's studios. If you care about Fats Domino, this is the package for you!
As they evolved in the 1980s, retrospective box sets tended to contain a full complement of an artist's essential recordings, plus enough rarities to suggest the artist's inspirations and ambitions. Not all box sets conformed to this outline, however. Barbra Streisand was unusual, in that she had a large base of devoted fans interested in the minutiae of her career, and in that her entire recorded catalog remained in print.