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Titles are: Lulu's Back in Town * How High the Moon * Skylark * Prelude to a Kiss * Stompin' at the Savoy * Too Close for Comfort * You Stepped Out of a Dream * Stars Fell on Alabama * You'd be So Nice to Come Home To * Alexander's Ragtime Band.
The second collection published in the popular Club Date Combo format. The tunes are Johnson Rag * Oh, You Beautiful Doll * Bad, Bad Leroy Brown * My Funny Valentine * Avalon * (We're Gonna) Rock Around the Clock * Moody * It's Deja Vu All Over Again.
Belwin Jazz presents a collection of ten exceptional jazz standards specifically arranged for solo vocalists accompanied by a nine or ten-piece combo. These arrangements, crafted by the esteemed writer Dave Wolpe, are perfect for vocalists seeking a smaller ensemble featuring four or five horns alongside a rhythm section. The horn section comprises trumpet, alto sax, tenor sax, trombone, and baritone sax, with the baritone sax part being optional yet adding richness to the overall sound. The rhythm section includes guitar, bass, drums, and a piano/conductor part that provides cues for the horns. Featured titles in this collection include "How High the Moon," "I Get a Kick Out of You," "I've Got You Under My Skin," "Just Friends," "My Funny Valentine," "Night and Day," "Something's Gotta Give," "Summer Wind," "They Can't Take That Away From Me," and "Too Close For Comfort."
"North American Ballads" and "Squares" comprise two collections of four solo piano pieces originally composed for Paul Jacobs, now performed by the composer himself. The ballads present remarkable variations on American folk and work songs. At times, they commence in a straightforward manner, only to develop into increasingly intricate variations; at other moments, the music begins in a state of ambiguity, as if striving toward a destination that ultimately reveals itself through a powerful thematic statement. Rzewski demonstrates a remarkable capacity to perform and compose with equal fervor, whether navigating lush melodic landscapes or venturing into more abstract realms. In his rendition of "Down by the Riverside," the listener cannot help but be captivated by the rich melody, which is appreciated both as a profound beauty in its own right and as a springboard for further exploration. However, it is in the concluding ballad, "Winnsboro Cotton Mill Blues," that Rzewski truly excels, crafting a masterpiece that evocatively recreates the harsh rhythmic and arrhythmic sounds of an industrial mill. This piece oscillates between being harrowing and mesmerizing, drawing the listener into a relentless vortex. When one is momentarily immersed in the folk-like theme, the reprieve is fleeting, as the relentless backdrop of the mill remains ever-present. This composition has become one of the most favored in his performance repertoire, and its appeal is evident: it showcases both a stunning display of technical prowess and a profound expression of passion and sorrow. The four brief pieces that constitute "Squares" exhibit a more explicitly modernist character, making brief allusions to song structures and jazz while predominantly exploring ambiguous tonalities and rhythms. They reflect Rzewski's own oscillation between populist-oriented works and compositions such as Antigone-Legend. As is often the case, Rzewski's exceptional skills as a pianist render any recordings of his performances essential, and this instance is no exception.
