UHF No 70 (Net).indd - Ultra High Fidelity Magazine
UHF No 70 (Net).indd - Ultra High Fidelity Magazine
UHF No 70 (Net).indd - Ultra High Fidelity Magazine
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south. In 1973, the hit movie The Sting<br />
won awards not only for best picture but<br />
also for best musical score…for the rag<br />
The Entertainer.<br />
Do I like rags? Yes I do, for one of the<br />
benefi ts of being eclectic is the ability to<br />
fi nd happiness with many different musical<br />
styles. I envy the composers, who can<br />
express so many fi ne sentiments using<br />
this very complex music that merely<br />
sounds easy, if only because it is played<br />
by pianists with astonishing talent. The<br />
originators of ragtime were all magicians<br />
of the keyboard.<br />
The present recording features Richard<br />
Dowling and his Steinway, playing<br />
rags by such celebrities as Joseph C.<br />
<strong>No</strong>rthup, Artie Matthews, James Scott,<br />
Joseph F. Lamb, Gershwin, and Scott<br />
Joplin — dubbed the king of ragtime.<br />
Included are Joplin’s Bethena, Maple Leaf<br />
Rag and A Mexican Serenade. This last is<br />
as sentimental as you could wish, with<br />
rubato, pregnant pauses…the works.<br />
Except for William Bolcom, who was<br />
younger, the others were born before the<br />
turn of the century.<br />
68 ULTRA HIGH FIDELITY <strong>Magazine</strong><br />
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The CD opens with Bolcom’s The<br />
Cannon Ball of 1905, a highly original<br />
blend of classics and ragtime. The<br />
booklet says that it recalls (What? Did<br />
I read right!) Franz Liszt. Begging your<br />
pardon, I don’t agree. And yet… Listen<br />
to those rapid cascades of arpeggios,<br />
staccatos and clever repetitions, blended<br />
with the syncopated rhythm typical of<br />
ragtime, and tell me this is not a virtuoso<br />
piece! What we call light music is not<br />
necessarily music that is easy to play,<br />
as this disc demonstrates. Dowling has<br />
the knack for broad chords, thirds and<br />
octave jumps, delivered with remarkable<br />
precision, without ever breaking the<br />
luminous rhythm that make the hours<br />
seem short.<br />
Then come two rags by arranger<br />
Artie Matthews, believed to have also<br />
written the fi rst blues, Baby Seal Blues, in<br />
1915. Joseph E. Lamb’s American Beauty<br />
Rag is especially attractive and a bit sentimental,<br />
though without sacrifi cing the<br />
joyousness of the genre. Lamb’s Ragtime<br />
Nightingale has touches of rubato here<br />
and there. James Scott’s tongue-in-cheek<br />
Hilarity Rag is irresistible. Jay Roberts’<br />
Entertainment Rag is full of contagious<br />
humor, and contains some easily-spotted<br />
quotations. Kitten on the Keys is absolutely<br />
divine, and represents very well a cat<br />
choosing to dance on the black and white<br />
notes.<br />
The list could go on. In short all of<br />
the pieces on this CD are dazzling, both<br />
by their style and by the pianist’s exciting<br />
play. I recommend it warmly.<br />
One Life<br />
Katinka Wilson<br />
Opus 3 CD22032<br />
Rejskind: It seems you can’t go to an<br />
audio show without fi nding a new CD<br />
by a new female jazz singer. Most would<br />
sound fi ne if you ran across them in a<br />
smoky club late at night, but buying the<br />
CD is another matter. A number of these<br />
singers come from the Far East, particularly<br />
Hong Kong. Do they understand<br />
what they are singing? On the primary<br />
level, sure, but…<br />
<strong>No</strong>w and again you get a hit. Sheffi<br />
eld’s Margie Gibson is such a prize.<br />
And remember Thérèse Juel, who sang<br />
so gorgeously in Swedish on the Opus 3’s<br />
original demo disc?<br />
Katinka Wilson is also from Opus 3,<br />
and I’m sorry to say I can’t put her in<br />
the hit category. Despite her un-Swedish<br />
last name and her fl awless English<br />
phrasing, she was born near Stockholm.<br />
She is multitalented, not only singing<br />
but playing guitar, and writing her own<br />
music and lyrics. She has good backup,<br />
which includes Janne Petersson, one of<br />
Eric Bibb’s people.<br />
I tried to get into this music, I really<br />
did, but neither the melodies nor the<br />
words kept me from thinking about<br />
things other than music. Wilson has<br />
studied some pretty good singers, and<br />
she has learned all the tricks well, but<br />
really good singing is not a trick. It is<br />
an art, or should be.<br />
Even the sound left me cold, something<br />
I don’t often say about Opus 3<br />
recordings. It is a hybrid SACD, yet its<br />
sound is oddly fl at and one-dimensional.<br />
Perhaps it’s the fact that this is a multitrack<br />
mix, as given away by the fact that<br />
Wilson sometimes adds in overdubbed<br />
choral effects. I can’t think of a reason<br />
to recommend it.