Concert in Rhythm, Vol. 2 / The Perfect

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

by Ray Conniff
     
 

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 naturallySee more details below

Overview

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:
07/29/2008
Label:
Collectables
UPC:
0090431787823
catalogNumber:
7878
Rank:
54332

Tracks

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

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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
Ray Conniff Singers   Choir, Chorus

Technical Credits

Ludwig van Beethoven   Composer
Georges Bizet   Composer
Johannes Brahms   Composer
Antonin Dvorák   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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