..:: audio-music dot info ::..


Main Page     The Desert Island     Copyright Notice
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Nigel Kennedy: Plays Jazz

 A l b u m   D e t a i l s


Label: Chandos Records
Released: 1990
Time:
 54:54
Category: Jazz
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.nigelkennedy.com
Appears with:
Purchase date: 2001.01.06
Price in €: 14,99



 S o n g s ,   T r a c k s


[1] Body and Soul (Eaton/Eaton/Green/Heyman) - 8:40
[2] Bags' Groove (Jackson) - 9:24
[3] Autumn Leaves (Kosma/Mercer) - 9:32
[4] Swing '39 (Grappelli/Reinhardt) - 6:01
[5] Isn't She Lovely (Wonder) - 4:24
[6] Lover Man (Davis/Ramirez/Sherman) - 9:00
[7] Girl from Ipanema (Jobim) - 7:11

 A r t i s t s ,   P e r s o n n e l


Dr. Nigel Kennedy - Violin, Liner Notes

Peter Pettinger - Piano

Brian Couzens - Producer, Engineer
Peter Reynolds - Mastering
Mark Thirsk - Art Direction
Penny Olymbios - Design
Robbie Jack - Photography
Renate Maria Wendel - Translation

 C o m m e n t s ,   N o t e s


As one of the most successful classical performers of his time, violinist Nigel Kennedy's genre-defying music helped him achieve a level of fame typically reserved for pop stars. A native of Brighton, England, he studied music at the Yehudi Menuhin School and at Juilliard; his debut recording, Elgar Violin Concerto, appeared in 1984, shortly followed by Nigel Kennedy Plays Jazz. In the years to follow, Kennedy collaborated not only with the more traditional likes of Riccardo Muti and the Philharmonia Orchestra, the Berlin Philharmonic Orchestra and Andre Previn, but also with pop figures including Paul McCartney and Kate Bush; his fame reached new heights with the 1989 release of his recording of Vivaldi's The Four Seasons, which went as high as number three on the U.K. pop charts and went on to sell well over a million copies. In 1992, neck surgery forced Kennedy to retire for several years; when he resurfaced with 1996's Kafka, he performed his own compositions for the first time, broadening his scope to include not only classical music but also elements of Celtic, rock and jazz. The Jimi Hendrix tribute The Kennedy Experience followed in 1999.

Jason Ankeny, All-Music Guide



As he admits in the liner notes for "Nigel Kennedy Plays Jazz," Kennedy is more well known for his classical playing than his jazz. Or at least that used to be the case. No one will be suprised by his excursions outside classical, however. His image within the classical world was non-traditional, with a punk haircut and clothes (and now his use of only his last name on show bills follows in the rock tradition of one-name artists).

Unlike his American counterpart Nadja Salerno-Sonnenberg (who also started her classical career with a good deal more leather in her wardrobe), Kennedy hasn't toned down his image. And although Sonnenberg has made some limited sojurns into non-classical music with one or two recordings, Kennedy has gone so far as to create an entire band for non-classical string music. Unfortunately I'm working from memory on this, as I don't have the issue of the Strad in which I saw a picture of said band. But I'll fill in the details here when I get more info.



Einfach klasse!

Nigel Kennedy wurde von vielen anderen Violinisten lange Zeit als Punk-Geiger belächelt. Dies ist wohl hauptsächlich auf seine äußere Erscheinung zurückzuführen. Wer jedoch seine Qualitäten im Spiel mit der Violine anzweifelt, ist wohl eher neidisch. Immerhin war Nigel Kennedy ein Schüler von Yehudi Menuhin. Das besondere an Nigel Kennedy ist seine Einstellung zur Musik. Eigentlich als klassischer Musiker ausgebildet, verspürt er ein Verlangen, alle Art von Musik zu spielen. Bester Beweis für diese unkonventionelle Ader ist seine CD "The Kennedy Experience", die von Werken von Jimmy Hendrix inspiriert ist. Auf der vorliegenden CD stellt er zusammen mit Peter Pettinger, dem bekannten Jazz-Pianisten, sieben Jazz-Songs vor, die in dieser Form wohl vorher nicht aufgeführt wurden. Nigel Kennedy schafft es, seiner Geige Töne zu entlocken, denen man ihre Herkunft bestimmt nicht anhört. Man könnte fast meinen, die Geige gehöre zu den Standardinstrumenten des Jazz und die Songs wären nie für ein anderes Instrument geschrieben worden. Erstaunlich ist außerdem, daß diese Aufnahme völlig spontan, ohne jeglichen Proben oder Bearbeitungen, entstanden ist. Der Spaß der beiden Musiker bei der Aufnahme ist direkt hör- und fühlbar und überträgt sich auf den Hörer. Diese CD ist für alle Nigel Kennedy-Fans obligatorisch, aber auch Jazz-Liebhaber werden daran ihre Freude haben.

Saarbrücken, Deutschland , 15. Dezember 1999
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!