Concert in Rhythm, Vol. 2 / The Perfect "10" Classics

Editorial Reviews

All Music Guide - Uncle Dave Lewis
Generally ignored by his label, Sony ex-Columbia, in the digital era, the Collectables label has discovered that Conniff has a niche market, and are reissuing everything of his for which they can gain clearances; this disc combines Concert in Rhythm, Vol. 2 (1961) with The Perfect 10 Classics (1980). Conniff was a big fan of classical music and naturally would not avoid taking on the classics as he did nearly any other kind of well-known music. Concert in Rhythm, Vol. 2 was a follow-up to Conniff's hugely successful 1958 album Concert in Rhythm, but it does not represent him at his best, nor even at his most characteristic. Several of the pieces are referred to as ...
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Editorial Reviews

All Music Guide - Uncle Dave Lewis
Generally ignored by his label, Sony ex-Columbia, in the digital era, the Collectables label has discovered that Conniff has a niche market, and are reissuing everything of his for which they can gain clearances; this disc combines Concert in Rhythm, Vol. 2 (1961) with The Perfect 10 Classics (1980). Conniff was a big fan of classical music and naturally would not avoid taking on the classics as he did nearly any other kind of well-known music. Concert in Rhythm, Vol. 2 was a follow-up to Conniff's hugely successful 1958 album Concert in Rhythm, but it does not represent him at his best, nor even at his most characteristic. Several of the pieces are referred to as "Improvisation on [put name of classical work here]," but these are not improvisations in the usual sense. This designation stems from the fact that these interpretations began with a single-line improvisation on the trombone, using the classical melody as its basis, which Conniff then fills out for his whole ensemble -- as with most things Conniff, it is an imaginative and practical idea. However, classical music, apart from fast allegros in Mozart symphonies and, say, the Prokofiev "Toccata" -- is heavily invested in music that has some degree of melodic flexibility, and this is at cross-purposes with Conniff's arranging style, which relies on the constant, "happy" beat. In order to synchronize the foxtrot rhythm to the melody, Conniff has to slow the tune, or parts of it, down, usually at a value of half the original, but in some places as slow as three times. The ear, already familiar with the tune, cannot help but become impatient; please Mr. Conniff, pick up the pace. The situation is even worse with The Perfect 10 Classics, a cynical attempt to cash in on the popularity of the movie 10 that's not even very proficiently played, apart from long-suffering piano soloist Ralph Grierson, whose name doesn't even get spelled right in the liner notes; this album is way below Conniff's usual standard. There are three classes of Ray Conniff albums; the first being generally early albums like 'S Wonderful! (1955) and 'S Awful Nice (1958), of which every track is prime Conniff. The second, which accounts for most of his output, consists of albums that have a few tracks here and there that are outstanding, whereas the rest are merely mediocre. These two belong to the third and smallest class among Ray Conniff's enormous output, albums that are conceptually defective which contain nothing particularly good and, true to Conniff's homogenous vision and working methods, are consistent in this regard.
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Product Details

  • Release Date: 7/29/2008
  • Label: Collectables
  • UPC: 090431787823
  • Catalog Number: 7878
  • Sales rank: 54,873

Tracks

Disc 1
  1. 1 An Improvisation on Liszt's Liebestraum, for chorus & pops orchestra (2:35)
  2. 2 Dein ist mein ganzes Herz, for voice & piano (or orchestra) (from "Das (2:58)
  3. 3 An Improvisation on "None But the Lonely Heart", for chorus & pops orchest (3:25)
  4. 4 I'll See You Again, song (from "Bitter Sweet") (2:32)
  5. 5 An Improvisation on "My Heart at Thy Sweet Voice", for chorus & pops orche (3:01)
  6. 6 An Improvisation on Fibich's Poème, for chorus & pops orchestra (2:51)
  7. 7 [Excerpt] (3:03)
  8. 8 An Improvisation on Chopin's Nocturne in E flat, for chorus & pops orchest (2:47)
  9. 9 An Improvisation on the Dance of the Sugar-Plum Fairy from Tchaikovsky's N (2:51)
  10. 10 Favorite Themes from Tchaikovsky's Sixth Symphony, for chorus & pops or (2:42)
  11. 11 Favorite Themes from Grieg's Piano Concerto in A minor, for chorus & po (2:57)
  12. 12 One Fine Day (3:00)
  13. 13 [Excerpt] (4:46)
  14. 14 Mini Minuet (in G), for chorus & pops orchestra (after Bach) (2:57)
  15. 15 Improvisation on Bizet's Carmen, for chorus & pops orchestra (2:39)
  16. 16 Lullaby for Tamara, for chorus & pops orchestra (2:35)
  17. 17 An Improvisation on Leoncavallo's Pagliacci, for chorus & pops orchestra (3:34)
  18. 18 A Bit of Beethoven, for chorus & pops orchestra (3:32)
  19. 19 Bagatelle for piano in A minor ("Für Elise"), WoO 59 (3:32)
  20. 20 Boogie Woogie Humoresque, for chorus & pops orchestra (2:49)
  21. 21 Melody from Mozart, for chorus & pops orchestra (3:20)
  22. 22 Mozart in Latin, for chorus & pops orchestra (3:27)
  23. 23 Excerpts from Beethoven's Moonlight Sonata, for chorus & pops orchestra (4:21)
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Album Credits

Performance Credits
Ray Conniff Primary Artist, Piano, Conductor
Pete Jolly Piano, Electric Piano
Ralph Grierson Piano
Jimmy Salko Trumpet
Ray Conniff & His Orchestra Performing Ensemble
The Ray Conniff Singers Choir, Chorus
Technical Credits
Ludwig van Beethoven Composer
Georges Bizet Composer
Johannes Brahms Composer
Antonin Dvorak Composer
Edvard Grieg Composer
Ruggero Leoncavallo Composer
Franz Liszt Composer
Wolfgang Amadeus Mozart Composer
Camille Saint-Saëns Composer
Peter Ilich Tchaikovsky Composer
Ray Conniff Arranger, Composer, Producer, Adaptation
Noël Coward Composer
Zdenek Fibich Composer
Dick Bogert Engineer
Frédéric Chopin Composer
Vera Conniff Cover Design
Robert Riley Original Liner Notes
Luis Alfonso Lizarraga Original Photography
Luis Lizarraga Original Photography
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