Benedetti

This collection contains just about every major well known Baroque piece ever used for a wedding,graduation or ultimate Baroque 'starter kit'.Vocalists such as the Welsh Baritone Bryn Terfel,the late great Pavarotti,the world's foremost oboist of the '70 and '80is Heinz Holliger and Orchestras such as Saint Martin-in-the-Fields and I Musici are assembled with defining renditions of these great favorites.There are two tracks of particular interest that is of great delight:the little recorded "Le Coucou" by Jean Daquin as performed by harpsichord virtuoso Trevor Pinnock.Pinnock wisely has chosen a "stopped" sound for his performance instead of full sound and it is a delight to the ears;another unusual delight was to hear the choral "Zadok the Priest" from Handel's "Coronation Anthems", a most majestic rendering from The Westminster Abbey Choir and The English Consort under the baton of Simon Preston.This 2 disc collection is hard to beat for the price.It has vocal,instrumental,orchestral,chamber,solo,allegro and largo,German,Italian,French and Polish to present an outstanding overview of the Baroque Era.Highly recommended.

This is the essential Baroque collection! I have always loved Baroque music the best out of all the classical styles. Sonia Choquette recommended listening to Baroque music as one way to meditate, so I sought out this album. It has 35 pieces, which is more than enough for me to choose from when putting together my "meditation music" on my MP3 player.

Essential Baroque is a great collection, especially for the price. It has two CDs packd full of the best Baroque music. Like most Baroque collections, it has the best of some of the better known artists like Handel, Bach, and Vivaldi. However, unlike most other collections, it excels in adding some good pieces from lesser known artists from the period.

A fine selection of pieces excerpted from the chamber ensemble, solo and opera repertory. Some recordings, though from paramount artists, are elderly; yet, performers are anyway flawless. It may be objected that a few of Vivaldi's masterpieces were disregarded.

I am buying this as the perfect gift for Russian and Chinese scientist friends. They have knowledge of classical music but perhaps not much about baroque music, which achieved special popularity in the U.S. during the 1970's and 1980's. Russians seem to have more familiarity with romantic classical music, while the more recently arrived Asian classical buffs have special affinity to the "Classical" classical period and the great 19th Century romantics. How can a baroque sampler be better than with a span of music ranging from solo harpsichord to full orchestra and chorus, and from the very familiar (Pachelbel Canon and Hallelujah Chorus from Handel's Messiah) to a trio sonata by Zelenka and the Dardanus Overture by Rameau. Not only that, but both the period instrument and living tradition baroque styles are represented by noted performers (e.g. Trevor Pinnock and Christopher Hogwood; and Henryk Szeryng, Andras Schiff, Pepe Romero, and Alicia de Larrocha, respectively). The producers were careful enough to state that the "Albinoni Adagio in g minor" was actually composed by Remo Giazotto - though in fact Giazotto did use a fragment of Albinoni. This is definitely not a supermarket special, but a box of choice musical bonbons.

This is one of those truly astounding recordings that lives up to any & all of the advanced notice & stellar accolades it has ever received. One would be hard pressed to find enough superlatives for what an amazing cd this is. Michelangeli's playing in the Ravel, in particular, is nothing short of utter brilliance; his jaw-dropping technique will dazzle the imagination. This is one of those rare achievements in music sound recording that belongs in every serious music collection, regardless if the listener is a die-hard classical fan or not. Audiophiles will want this one for amazing, pristine sound. When Michelangeli was at his best, he was unrivalled. This is Michelangeli at his very best!

The usual superlatives -- astonishing, amazing, extraordinary, etc -- do not do justice to this recording. Michelangeli's interpretation is superhuman, almost God-like in its majestic grandeur. I have a collection of more than 250 romantic piano concerti and no other pianist comes close to this level of genius.

Technically it is difficult to imagine either of these performances being surpassed. Michelangeli's technique was dazzling in its brilliance and refinement, and brilliance counts for a great deal in both the Ravel and Rachmaninov here. In Ettore Gracis, he's got a strong and sympathetic accompanist with the late-1950s Philharmonia at its peak.

However... to hear what either of these works are made of, you should turn to other recordings. The recent Stephen Hough 2-disc set of all four Rachmaninov concerti includes a Fourth that gets to the heart of this underappreciated work and makes the Michelangeli sound like an empty display of virtuosity. Similarly, the early-jazz element of Ravel's G Major concerto comes out far more positively in another 2-disc set, in which the late Werner Haas is heard in both Ravel concerti and in his works for solo piano. Moreover, in the Adagio assai second movement Haas is more attuned to the spell the composer casts; Michelangeli, for all his patrician refinement, seems outside the music if not the notes. The Michelangeli disc is one of those standard-recommendation "classics" that makes one suspicious of standard-recommendation classics, in that there's less here than its reputation would suggest. Put another way, it's great pianism for great pianism's sake, but those who care about either composer represented here should look elsewhere.

One of my favorite albums has always been the Ravel Concertos with Argerich playing the G maj Concerto and Beroff play the Concerto in D. I still think this disc is unmatched when it comes to an album with both concertos. I've always loved the Argerich and always thought the performance couldn't be matched. This was until I heard Michelangeli's version on the radio. The first movement was coming to an end and I didn't know who the performer was. Then the 2nd movement came on and the rest was history. It's one of the most devastating experiences of my musical life so far. Until this, I had the ever-familiar misperception of Michelangeli just being a technician, and that he is cold. Nothing can be further from the truth. I've learned that you really need a completely blinded test to truly gauge a performance because the preconceptions and reputations can unjustly influence a listening experience. The Argerich seems like child's play compared to Michelangeli, beyond comparison. This is also extremely well-recorded for 1958, better than Argerich's. The Rach 4 is simply stunning. I had never heard this work before and now I can't stop listening to it. Again, this is unmatched, nothing and I mean nothing comes closer. Not Wild, Ashkenazy, no one! Michelangeli had very few studio concerto recordings and these 2 concertos must have been special to him. I own >1300 clasical discs and can't think of a better concerto recording. It ranks up there with such great recordings as Kleiber Beethoven 5th and 7th as one of the greatest albums ever!

I love Ravel's concerto in G ever since I heard it for the first time back in 1982! The first version I bought was the one with Pascal Roge (directed by Charles Dutoit); a nice version indeed! However, I love this concerto so much that this year I decided to buy two more versions that I was always curious about: the one with Martha Argerich (directed by Claudio Abbado) and this, my newest acquisition, with Michelangeli (directed by Ettore Gracis) from EMI's fantastic series "Great Recordings of the Century"!

In many ways I feel a certain similarity between Argerich's and Michelangeli's versions. Both exhibit tremendous power and great passion, although I feel Martha Argerich's has a little more feeling and perhaps a bit more excitement overall! Her playing also feels more relaxed than Michelangeli's. The second movement (adagio assai) is played beautifully by both of them, and it is perhaps in the first and third movements where I have a slight preference for Argerich's playing. Both Claudio Abbado and Ettore Gracis direction is fine in either version, however I prefer the overall orchestral sound in my older (Rage-Dutoit) version, it's more lushious than the other's!

I also like Rachmaninov's 4th concerto a lot, and have two other versions as well: Earl Wild's (under Horenstein) and Kocsis (under de Waart). If Wild's version is great and Kocsis' is just fine, Michelangeli's is simply stunning!!! The first movement is awesome!

One thing that dissapointed me a bit in this "Great Recordings of the Century" version is the recording's sound. There's more tape noise than I was expecting, judging by the excellent remastering shown in most of the other CDs that I own from this fabulous series!

So, if you don't mind a bit of tape noise and if you're ready to listen to a great version of Ravel's and an absolutely stunning Rach 4, go for it, this is truly one of the "Great Recordings of the Century"!

The first CD includes the entire recital given in, recorded in Teatro Colon, Buenos Aires, 21-07-49. And despite of the fact the poor sound quality, the recital well deserves praised comments.

The set of Chopin's Mazurkas is really outstanding. Performed in Brescia, 23-06-67, presnts us to Michelñangeli totally owner of the magi spell of these pages: He gives them color, humor and warm freshness, with his well accustomed interpretative solvency. Beethoven's Third Sonata Op. 2 no. 3 is one of the most beloved works of this composer, and certainly was one the proffered of Michelangeli. Admirably phrased, the only flaw to my mind is related with tempo in the second movement; a mite fast and lightly inexpressive, but the astonishing pianism of Benedetti make us to forget this misconception. Then Chopin (almost inaudible) includes The Mazurka Op. 47 Op. 68 No. 2 and Mazurka No. 25 op. 33 No. 4: The second one was by far, richest in those delicate filigrees.

The Andante Spianato et Grand Polonaise Op. 22 is beautifully ornamented and exquisitely phrased, with admirable details of his well accustomed pianism.

CD 2 presents us a clash of two well different musical visions. Hermann Scherchen conducting Mozart in 1956 the most beloved Mozart's Piano Concerto by Michelangeli at least taking into account, he recorded it. Grace, stylistic refinement, imaginative audaciousness, permeated by this Dionysian scent of visible operatic nature, specially in the first and last movement. It sounds natural, fresh and flows with an impressive atmosphere of vitality, that I have only found it Geza Anda playing with in his well reminded set with Salzburg Camerata. The final cadenza owns a sweeping elegance and pristine lyric enthusiasm. Certainly this version really shocked me and I really hope you too.

CD 3 contains Emperor's Concert, finely played by Michjelangeli and directed by Mario Rossi. Recorded in Vatican City 28-04-60.

CD 4 is part of a recital made in Helsinki. He opened that recital with Domenico Scarlatti with the follong Sonatas K. 11, 159, K. 322, K. 9, and K. 27. They were performed with that pristine musicality and delicate transparency so typical of Michelangeli. Then came Robert Schumann `s Faschingsschawnk Op. 26. Sublimely and flawless performed. The second half had to be a real shock for the audience because of th sidereal approach given to Debussy's images I and II. The Italian master literally hypnotized the whole audience and even us the listeners with his bewitching performance, carefully phrased and minutely fingered: Provided of we might say eloquent minuteness.

CD 5 and CD 6 are part of a recital recorded in Vatican City 29-04-77. The CD 5 was the first part of that recital and presents Debussy's Preludes Book I were played with that aristocratic nuance and refined verve. The CD 6 is certainly one of the highest peaks of this formidable set. As you know , Brahms Ballades Op. 10 is by far, one of his most emblematic works, and were composed when Brahms was thirty years old, in 1854, and it's one of the most beloved pieces of the literature for piano. It might be said that Benedetti made his own this piece. No other pianist (including Katchen, Kempff Or Gilels) has been able to remark with such kaleidoscopic vision the countless visual landscapes, hovered by that introspective mood. Then, the master returns to other one of his definitive interpretations, an unique landmark : Chopin's Second
Sonata Op. 35. It's played with not only a romantic effluvium, but besides Michelangeli adds that that necessary mysterious atmosphere , in which we may aware the beating otherness, the vanishing consistency and that spelling touch that surpass all what it has been recorded previous or lately. He made of this piece, a personal patrimony.

CD 7 presents us the second book of his Preludes. If the first book constitutes an admirable example of exterior vision, this second one on the contrary would seem to focus around the unseen nature of the things, sensations, hovered by a sort of nocturnal visions, vaguely illuminated here and there by a very pale light. As a matter of fact Debussy makes an introspective journey and perhaps a backward glance respect his life. But if th3se pages are not so sensual and literally expressive respect the first book, gain a new nocturnal approach, completely unconcerned with the subject matter. To evoke but not describe. In this sense the first one might be regarded as Impressionist while the second one should be cited as Symbolist. It's useless to say how this master, since the first note makes us to engage into an universe totally different, where the Images had just been a marvelous preamble, a joyous lobby for the complete delight of these masterworks. The album ends with the Eglogue (Suisse) from Franz Liszt `s Années of Pélegrinague, carefully phrased and exquisitely performed. The recital took place in Stuttgart, 27.10.82

CD 8 is priceless. Recorded in Bregenz, 15.01.88 (How I `d wish to have been there) shows us in first place, the well known transcription Bach-Busoni Chaconne. No other pianist like him (not even the same Busoni got such level of radiant fulfillment. After having listened I decided to seek the celebrated of the forties; but the surprise was majuscule. This version of 1988 is miles away in what concerns maturity, supreme incandescence, radiant vitality and unfathomable mystery. And I would not hesitate we are in presence of one of the milestone recordings of the XX Century. The performance of Brahms Variations on a theme by Paganini are superbly played with sardonic gestures, evil sarcasm, full rounded pianism and well rounded melodic inspiration. His approach about Chopin's waltz No. 3 is loaded of autumnal visions. And the Fisrt Scherzo is vitally ignited of that visceral passion that would reappear in his Polonaises.

CD 9 is another exception document. Schubert's Piano Sonata D. 537 has really been one of the most expressive pages of this genial composer. This venerable artist recreates the work with his admirable musically, enraptured imagination and sublime phrasing, as just a few have been able to make it( (Kempff is the exception). Recorded in Lugano 07.04.81.But when we come to "Gaspard de la nuit" to my view the most pyramidal composition of Ravel), we may realize why he enjoyed of that mythic flame. Since the first bar, those spelling thrills literally dive us in that dreamy atmosphere, loaded of spectral visions and elusive landscapes. With the only exception of Samson Francois, you will never hear another level of performance for a long, long time I guess. Recorded in Vatican City, 13.06.87.

CD 10 gave us rewarding revelations. First at all, one of the dramatic and finely phrased and better played performances of Liszt Piano concerto No. 1 in years: Michelangeli erased the accustomed patina of decedent romanticism providing it of resplendent vigor and vigorous lyricism. Recorded in Tokyo and accompanied by Jindrich Rohan and the Yomiuri Symphony Orchestra in 04-04-65.

I must agree with the prior review - there are SO many classical piano compilations that have the same overplayed Romantic-era pieces on them - and usually not terrific performances of them at that. Decca put together the opposite of your average "piano for relaxation" collection here. I'll just make a quick list of why this is better than the rest - an atypical review for me, but necessary to point out why this album stands far above what's generally a lousy genre of compilation CDs.

-The first CD is generally Romantic-period and prior music and progresses in roughly chronological order. The second is composed of primarily 20th century pieces - sure, the order is not totally faithful on either CD, but it is refreshing to see a collection arranged so that one can literally listen to the trends in piano composition grow and fade.

-Decca chose top-notch pianists, many of whom are widely regarded as the supreme interpreters of Composer X. For this reason, you have a very simple piece like Grieg's Notturno played with an emotional urgency and crystal clarity you're unlikely to hear from a lesser pianist than Emil Gilels, or a very complex, often banged-out piece like Prokofiev's Toccata navigated fearlessly by the Argentine goddess of piano, Martha Argerich.

-They showed some guts in their choice of pieces. Sure, no Schoenberg appears here, but this is not your typical conservative don't-rock-the-boat piano collection. Bartok's aggressive, relentless Allegro Barbaro pairs wonderfully with the Ravel and Prokofiev toccatas on either side of it on disc 2; a quick tour of Rachmaninoff's Preludes follows an incredible rendition of Balakirev's harrowingly difficult Islamey. One of the most beautiful piano works ever composed - and ignored by 99% of piano music compilers - makes an appearance in the middle of disc 2: Granados's Goyescas (Quejas, o la maja y el ruiseñor), an infinitely subtle and sublime - and modern twist on the late Romantic/Impressionistic piano tradition - handled impeccably by the composer's compatriot and student Alicia de Larrocha.

I haven't said quite enough about CD 1 - sure, their choices of Chopin, Schubert, and Liszt works are good as well. But I'm showing where my heart lies in solo classical piano - impressionists and early 20th century composers, I feel, are as good as it gets. Für Elise makes its token appearance, but even it seems well contextualized on the first CD between the immortal Adagio of the Moonlight Sonata and Chopin's delightfully simple Nocturne in E Flat, which immediately recalls Roman Polanski's "The Pianist" for those who have seen it.

In short, CD 1 and 2 share the unique qualities of a careful yet daring selection of piano pieces played by indisputable masters of the instrument. If CD1 is good as gold, then CD2 is platinum. Simply amazing. Thanks Decca!

This album has it all, believe it or not. There are loads of cheesy #1 blah blah albums that are horridly popular. Sure, there are many well-known pieces on this, such as Alla Turca, the Adagio Sostenuto of the Moonlight, Fur Elise and the Minute Waltz. But almost everything else is relatively unheard of outside of the closely knit piano community.

That said, these CD's opened my eyes to some of the greatest piano works of all time, those including: Schubert Impromptu in A-flat, Rondo Capriccioso, Liszt's Liebestraum, Liszt's second Hungarian Rhapsody, Islamey, all three Rachmaninoff preludes, Granados' Goyescas, and Prokofiev's Toccata in C. I have begun learning a good many of these pieces as a result.

This set will not dissapoint. Do yourself a favor and buy it.

Clocking in at more than two-and-a-half hours of music by Debussy, this is one of the best collections of his music that money can buy. It includes definitive performances of his most popular symphonic, chamber, and solo piano works. Michelangeli, for instance, is known for, above all, his interpretations of Debussy. Gramophone magazine says of these recordings "Michelangeli subjects each note to the last refinements of shading and places it with hairsbreadth precision." Throughout their mature careers, Rostropovich and Britten were frequent collaborators in the repertory for cello and piano, including this very work. (Britten dedicated his solo cello suites to Rostropovich.) The Melos' recording of Debussy's String Quartet is among the best available, and better than most. Nearly forty years after it's initial release, von Karajan's 1965 recording of La Mer with the Berlin Phil has stood the test of time, repeatedly deleted and then added back to the DG catalogue. Though only in his mid-20s when he made this Debussy Afternoon of a Faun with the BSO, M.T.T. delivers a ravashing and colorful account. And so on. An excellent addition to the collection of either a classical music beginner or one with more refined aural tastes.

This collection offers a very representative mixture of Debussy's works from orchestral, solo piano and chamber genres. However, I would offer two caveats. First, as to the La Mer, the Karajan performance is distinguished by the sensuous sheen he imparts to the music, but for a tarter, more idiomatically French approach, I would suggest listening to the Munch-Boston or Casadesus recordings as well. Secondly, as to the Michelangeli performance of the Book One Preludes, although impeccably played, this is a noticably deliberate and cold sounding rendition. For more warmth, flow and color, look elsewhere. Nevertheless, this set is an excellent introduction to Debussy.

This is a wonderful Debussy compilation. The recordings total nearly 3 hours and give an excellent representation of Debussy's works. This is a great CD for people who do not have Debussy in their CD collection. Included in the CD are Debussy's "La Mer," "Préludes," and the masterpiece "Prélude á l'Aprés-midi d'un Faune." The CDs are perfect for putting on while taking a nap, reading, etc...

This is clearly a 5-star performance. One of the best and most striking I have ever heard. Clearly deserving of all of its accolades and rave reviews. The ONLY drawback is this CD is very skimpy at about 45 minutes. I would typically expect an hour or more of music on a CD.

I'm still very happy with this purchase, but if I found another recording as good as this one (which would take some doing) that included a few more pieces, I might opt for that one. Kocsis, Gieseking (if the mono doesn't bother you) or Roge, for example?

Michelangi's rendition of Debussy's Images I & II, as well as Children's Corner, is nothing short of extraordinary.

These are delicate, impressionistic pieces which in lesser hands can sound whimsical or even effete. With Michelangeli you not only feel as though you are hearing the music for the first time, but you realise what a radical and influential genius Debussy actually was.

This is a truly classic recording of a legendary performer and not one to be missed.

One of Michelangeli's supreme recordings! The Images books sublimely wrought, a pianist of excruciating gifts with his mystifying inner world fully alive, and beautifully intimate sonics that are a model of restraint. What more can you ask for? Find me another recorded version of the Images to rival this one. Michelangeli gives us Debussy in gestures so natural as to be invisible. His Children's Corner is pure magic, profound, completely free; he proposes Debussy's as an art of revolutionary depth. Michelangeli's unerring conception is transparent and scintillating, richer than it appears, and ripe with truth. This is absolutely magisterial musical art in the throes of genius and high purpose. Discover the art of the gods. Overwhelming recommendation for a perfect recording.

Arturo Benedetti Michelangeli was a sumptuous pianist . His playing was precise , and his cantabile , unique . The sound he got surrounded the atmosphere and he made floating the notes . All these virtues are fundamental when you intend to win in Debussy .
The Children's corner is the peak of this album . Michelangeli combined the impresionist mood with the childhood fantasy creating this naif atmosphere so difficult to obtain .
Please acquire this CD and you 'll convince yourself about the greatness of this legendary artist .

...which is quite a mouthful considering that it was released in 1971, long after the "Golden Era" of virtuoso pianism had ended. But with the so-called "mad genius of the keyboard" known as A.B. Michelangeli (1920 - 1995) at the helm, it became a huge winner both for Debussy and Deutsche Grammophon, as well as for the world of recorded music at large. As a matter of fact, this was one of the most swiftly and unanimously praised albums to come out of "The Little Yellow Flower" label's catalog. Indeed, Michelangeli's Debussy garnered such instant recognition that even the earliest pressings left the factory having their jackets already affixed with numerous gold stickers trumpeting the disc's critical prize-winnings. Among these were the Edison Prize (United States), the Prix du Disq (France) and the Deutscher Schall Platten Preis (Germany).

Despite Michelangeli's justifiably deserved reputation for delivering the goods in performances of Ravel and Rachmaninov's piano concertos, his Scarlatti and Brahms, and occasional flashes of brilliance with the standard lineup of titanic composers, this Debussy solo piano album is possibly the most repeatedly enjoyable offering from his rather small recorded legacy. Michelangeli comes as close to "owning" these pieces as have any of the legends more celebrated or strongly linked to the interpretation of the French repertoire, foremost being Gieseking, Casadesus and Moravec. Yes, it's almost regrettable to say it, but this album is likely to move into the front-runner position in your collection, even if you've gotten used to some old tried-and-true favorites. It is a fairly indisputable fact that nobody has ever played nor ever again will play Debussy like Walter Gieseking did in the 1930s; but distant, scratchy monaural sound does not constitute a benchmark for most modern ears. This album does.

Which brings us to the sound. The stereo taping was a well-engineered room-filler with just the right touch of reverberation. No single channel is overbearing in tone or timbre, and harshness, even in the more volatile passages of the second Images book, is a non-existent detriment. Mind you, this album never exactly had the presence of an RCA shaded dog, but the quality is more than adequate. As for the transfer, this was an early vinyl-to-CD jump dating all the way back to 1987. (It is also the only Michelangeli on DG which remains in print, attesting to its popularity lo, these many years.) Consequently, you will find that it neither deviates from the original analog tapes, nor does it quite come up to the vinyl pressing's standard. In other words, it's like 99% of the compact disc re-issues out there; not great but pretty darned acceptable. Luckily, it's hard to foul up solo piano recordings, as there isn't much to lose in the transfer. Not to mention that DG's vinyl pressings of the 1970s were pretty flimsy affairs, and hardly audiophile candidates. A decent CD player is going to bring this classic through A-okay.

At any rate, you'll be too entranced to notice anything else but keyboard artistry at an exceeding standard. Add this one to the top of the pile, and never regret it; here is one of Claude Debussy's shining hours. There can be no mystery as to how the album remains a slice of perfection to this day when you consider the reclusive, inscrutable pianist's own words from the original LP liner notes: "Asked when it was that the tonal world of Debussy's had disclosed itself to Benedetti Michelangeli, he answered without the slightest hesitation: `It has always been my world; this music has always been my music from the very start.' "

This is a wonderful CD. The songs are beautifully done. I listen to this a lot-- for relaxation, for having breakfast, any old time. I wasn't sure how it would be because I thought the cover of the CD looked kind of "cheesy"....but it in no way reflects how the songs sound. I love this!!!!

I purchased all of the cd's by this artist. This is very light easy listening. My favorite time to hear it is early on Sunday mornings while I read the paper and sip my coffee. It's delightful, and has
very rich stereo. Not cheesy in the slights.

You should buy this album only if you are a die-hard Diana Krall fan like me. If you are new to Diana or still exploring, stay away from this CD.

This is the worst Diana Krall album, and I have heard them all. I am struggling to find a single song to rate above 3 stars. I am afraid no part of this album will get much rotation on my iPod.

As other reviews have pointed out, the actual songs (lyrics) are so ridiculous that I actually enjoyed the instrumental passages more than the vocals! The whole album is kind of lifeless and dull and I blame the poor arrangements for that. Diana sings without emotion (you try singing those lyrics!) and the band is likewise run of the mill (a college band can swing better!) so the overall experience is nothing to write home about. Detroit Blues struck me as particularly ludicrous because the lyrics contrasted so much with the actual tone of voice and lifeless band, but they included two versions of this "masterpiece"...

If you are new to Diana Krall's work, start with her outstanding Live in Paris album. Then look up the individual albums where the songs on that live "best-of" album came from. You'll be much happier than with this piece of plastic.

I own most of Diana Krall's albums. This is my least favorite. Maybe it's the style, but it seems to much of the same -cut after cut. I find myself skiping to the cut or two that does appeal. Vince needs Diana more than she needs him.

I was sceptical when I first heard about this "Lost Recording". Since I own all of Diana Krall's CDs, I felt I should give this historic recording a chance. "Heartdrops" is now my favorite in my Krall collection, this recording is heartfelt and swings in all the right places. Give this one a chance and you won't be disappointed! It is a great recording for the car and for those special times at home, frankly it is great anytime.

If you've ever had the experience of someone trying to interest you in Christianity by asking you to listen to some music without first telling you it's "Christian Rock," you'll understand my disappointment with this well made, well played CD. If ever there was "Christian Jazz," this is it. If you are of the religious persuasion, enjoy! Now, where's my copy of "Steppin' Out..." :)

I love Diana Krall's singing. I have all her CD's and I can listen to "Live in Paris" repeatedly. She's in good voice on this recording, too. The problem is that the material she sings is poor. The tunes sound so much alike, it's monotonous. It appears Benedetti had delusions of grandeur as to the quality of his songwriting talent since two of the songs are presented with alternate takes recorded for radio airplay. I wonder if any radio stations ever actually played them.

I purchased this and Morning Has Broken, for background music at dinner parties, late night listening and for a wedding party. They were perfect for both situations. This has a good mix of music and an overall great sound. I've been very impressed and happy with the lovely music of Mr. Benedetti and Mr. Pupping.

I wrote a review about the "here comes the sun" song on the song's mp3 page, but never realized there was a whole album. We listened to many different versions of "here comes the sun" by other artists and this one was just much more pleasing to listen to. The others were more piercing and high pitched. Like I said in my other review, I'd had the hardest time picking a bridal entrance song, plus my now husband wanted it to be a surprise. The title song from this album combined with all the emotions of the day made many people cry when I entered. It's soft, summery upbeat tone made it the best choice. I like this because it wasn't elevator-music, didn't sound cheesy like other wedding music, but was very suitable and kind for a beautiful outdoor setting. It was so fitting and perfect for an outdoor hawaiian wedding ceremony. This song fit in nicely with the other selections. We were also told by people of all different faiths, ages, and preferences that this was one of the most beautiful ceremonies they'd been to. I think music had a lot to do with it.

I have to say, I love this album so much, I bought all three of theirs. I first heard this as the background music in a restaurant about 10 years ago and liked it so much that I asked them to go pull it out of the CD player and tell me what it was. I kept the scrap of paper for years, always meaning to look it up in music stores, before I thought to look it up on Amazon. I am so glad I finally found and bought it. These are all truly great songs done with beautiful and respectful renditions. If the songlist appeals to you, and if like me, you'd be anxious about whether covers of them would be well done, you will NOT be disappointed. I'd recommed this to anyone for yourself or for a gift.

i think this is one of the best cds i have ever heard!Albert Wagner