Mase

I purchased this recording as a reference recording for my trumpet studio. As I started to listen to it, I realized that it contains some of the absolute greatest classical trumpet recordings there are. Rafael Mendez is mind-blowing, Bud Herseth's rendition of the Haydn Concerto is stunningly flawless and Abblasen is a great way to open this 2-CD set. It contains a sample of almost all the great symphonic trumpeters of the last 50 years. A "must have" doesn't even begin to justify how great this set is ... and at Amazon's price, don't even hesitate. Just click BUY and enjoy. This is one purchase that any trumpet lover will never regret.

This is a superb compilation of classical trumpet compositions, and features many of the world's best performers.The liner notes are well written and informative.

I appreciate this CD, it is high quality and a great variety and I enjoy it very much.
Vernon M. Dean

The CBS News show "Sunday Morning" is using "Abblassen" as their theme music.

"Masters of The Trumpet" is a simple and accurate title for this 2- disc collection. The recordings cover trumpet/cornet literature ranging from Gabrieli to Stravinsky.
Especially enjoyable moments are Don Smithers playing Reiche's "Abblasen" & Armando Ghitalla's work on Stravinsky's "Marche Royale" (L'Histoire du Soldat).
Rafael Mendez sounds as though he has more fun playing than should be legal...exciting!..and Adolph Herseth is a pleasure to hear whether he's playing in "delicate mode" or shattering asteroids with his power.
Get this recording.

dj

I remember this album when I was 5th grade. I played this album out. This album offered us listeners a chance to fully experience his life and growth. This album is also infectious, often humorous, intricately-woven continuation of Bad Boy's way of moving a crowd(in 1997). He forged his own musical path and created his signature sound. This album has been certified 4x Platinum. Remember, this was 1997.

Diddy used to love himself some Mase. When Mase first joined the Bad Boy label, Diddy made it his business to give him a heap amount of exposure so that the public would receive him positively, and we did. The public loved Mase because his style of rapping was different (he rapped in a slow monotone) and the ladies loved him because he was stubby but very handsome, particularly because of his dimples. Then, he "transcended." He went from being Mase to Reverend Mason Betha, the Bible toting author who I knew was a hypocrite all along. So, how did he prove me right? Well, first he professed to be a changed man; he said that the days of cursing, rapping and living the fast life were a thing of the past and he was a man of God. Ha! How long did that last? Well, put it this way, the last I heard from him, he was rapping, using profanity, and calling Brandy an unmentionable name. But, I must give credit where it is due and "Harlem World" is a very solid album. I enjoyed most of the tracks here. I was not only entertained by Mase, but his label mates Diddy, Lil Kim, Total and 112 all drop by and help make this album the classic that it is.

Many of the songs on "Harlem World" were released to radio like "Lookin' at Me", "Feels So Good", "What You Want", and "24 Hours to Live." Sometimes, Mase's slow rapping can serve as an irritant or become boring, but, he's a fantastic lyricist and he should be recognized for that. This album features some memorable one-liners and great versus. For some reason, Mase and Diddy try their hand at singing on the album's final track, "Jealous Guys." Neither of the men can sing; 112 puts them to shame as they do a great job on the chorus. Sections of the song sound like something New Edition would do, but maybe that was the intention for this ballad. "Take What's Yours" is a decent offering. Mase does a nice job and DMX lends his talents and also does a nice job. "The Player Way" features Mase in rare form because he gives a very energetic performance alongside 8Ball and MJG. This is easily on of the best songs on this album because of the good beat and above average lyrics. "Feels So Good" is another memorable moment on this album, after all, Mase is alongside his main man Diddy. They do a really nice job with this track.

Music lovers, you would be doing your music collection a disservice if you did not add this album to your pile. This is not only rap, this is music, too. I hope Mase truly finds where his heart lies so that he can concentrate on whichever craft he chooses to attempt to perfect. 4 stars.

Mikeisha's Top 5

1. "24 Hours to Live"
2. "Feels So Good"
3. "Take What's Yours"
4. "Looking at Me"
5. "Cheat on You"

I see people are still suffering from nostalgia. Mase was dope prior to this album when he rapped with the late Big L. When he got signed he got extremely lazy and it shows on this album. Take What's Yours feat DMX, Will They Die 4 You feat Lil Kim and Puff Daddy, 24 Hours To Live feat Black Rob and The Lox and The Player Way feat Eightball & MJG are the best songs on the album. Lookin At Me was overrated but still passable and that is about all the positives I can think of with this album. The rest of this album fits into two categories: Boring and awful. Tracks like Do You Wanna Get $?, Love U So feat Billy Lawrence and What You Want feat Total go into the former category. Tracks like Feels So Good, I Need To Be feat Monifah and Jealous Guy feat 112(where MASE TRIES TO SING!!) go into the latter category. Even when Mase tries the thug role he falls flat as evidenced in Wanna Hurt Mase and N****z Wanna Act feat Busta Rhymes. Another thing that brings that album down is the stupid skits including the Mad Rapper skit which should have been didposed of a long time ago. In closing Harlem World should only be recommeded to the diehard Bad Boy fans. Anybody else would do well to stay away unless you have a taste for pop rap. If this is what Harlem World is like then I dont want to go there. Standouts: TAKE WHAT'S YOURS, WILL THEY DIE 4 YOU, 24 HOURS TO LIVE and THE PLAYER WAY.

Grade A album...First Rap Superstar to bring pop culture into the hip hop...in his prime, mase was a grade A MC...

This is one of the 1st rap albums that I bought, and I still toss it into the CD player every once in a while when I want a laugh or two. Honestly, I don't think that there was a lot of talent used in the creation of this album.

Well i was looking over the reviews for this album..and i see some are from like 99 the year it was release and they rated this negatively..man i bet 9 years later these people are like wow i must been crazy to rate this album so low..

I was one of those people i didnt like the album back then really, but now i cant stop listening to it,the rap game is so bad right now with this dumb down south music,im force to listen to mostly old school rap....and the way this album was put together was great,i love it alot lyrically has well cuz and that's whats missing in today's rap, mase was on point with his lyrics esp..in the song "Stay Out Of My" one Way" one of my fav's on the album... but i just thought i leave a comment to update people on this cuz times have change you put this cd in and you remember what rap was about..... (lyrics)..(making since in a song), and telling a (story) which mase does in "Another Story To Tell"..so get this cd i think you will like it.

Mase disappointed a lot of people when he abrumptly retired in the spring of 99. This particular joint is a lot more dramatic than the fun filled Harlem World. Anyways, nuff said. Give it up to Harlem's greatest MC, Mason Betha.

Top Joints:
Stay Out My Way
Get Ready
Do it Again
Same N*ggas
Blood is Thicker

and this is his seminal cd, though alot of people like "Harlem World" more than this one, I feel he was at his peak here. He drops gem after gem, tight lyrics over tight beats. Too bad he's with g-unot today, he needs to hook back up with Diddy and the Bad Boy machine and put out some more classics!

I agree with the guy below, Ma$e is very influential in today's hip hop... He is the 2nd best rapper alive only behind Eminem..
Here is the list of the greatest rappers alive in my opinion:

1) Eminem
2) Mase
3) 50 Cent
4) Dr. Dre
5) Cam'ron
6) Trick Daddy
7) San Quinn

You got to respect Mase... This album was a classic and Harlem World was one of the greates albums of all time... The only reason Welcome Back was a flop was because there was no promotion what so ever... Diddy did a horrible job.. We all know Mase can see because Harlem World has sold colse to 10 Million copies to date... Now that he is leaving Bad Boy Records, and is offically signed to G Unit, he will get the attention he deserves... Mase is an inspiration to us all and he sends a great messege. 50 Cent is probably the best promoter alive(Thats probably why Jay Z got him to co-executive produce Freeway's sophmore release Free At Last... Jay Z failed to promote his first one at all and it barley went gold so now he callin 50 for help.). As of now, Mase is signed to Bad Boy as well as G Unit, but G Unit's parent company, Interscope, will not sign Mase until he is released from his Bad Boy contract... The working title to his new project is now being called Offically Back... He has also released a mixtape under the classic G Unit Radio series. It is titled.. G Unit Radio pt. 16: Crucified 4 The Hood: 10 Years Of Hate. It was an instant classic... Everybody needs to quit hating and show Mase the proper respect he deserves...

M-A-$-E best rapper ever!!! You gotta admire the man for taking a stand and leaving Millions of dollars behind in order to follow GOD. If you don't like Ma$e atleast show the Man some RESPECT!!! This dude started the Bling Era and popularized the R&B/Rap style!!! All the rappers today need to pay homage to MA$E. M-A-$-E best rapper ever!!!

This Cd was a good comeback for the pastor Mase, he stayed respectful and rap about life,reality,money,cars,and relationships and of course God. I cant judge nobody so i wont but i can critque and say i didnt like the fact that it seem like he crompromise for the world but maybe he didnt maybe thats how he felt lead, but the cd was good start to finish its for kids,women and men who just dont want to hear about killing and pimping, Hope Mase got back in order and drop another one of these, but better and with more of God in it,

I like mase and I think this album is better then the ones he did before I hope he keeps improving!

Most of you people have no idea what you are talking about. Mase has some pretty sick lyrics, many people have good songs but not very good lyrics. Some very few artists with good lyrics and songs are Mase, Eminem, Ludacris, Nitty, and Kanye West. For example, in Mase's last song on his cd "Do You Remember", the first verse of his is genius and he does it without any profanity which is very refreshing! I know he might not be at the level of some of these rappers but I think he has alot more talent than a 50 Cent or T.I. If you want a cd with alot of decent beats, sick lyrics, and refreshingly clean style.. then this is the cd for you!! you wont be disappointed!

After being absent for 5 years, I didnt expect this CD to be anything special especially after hearing "Welcome Back" on TV. Most of the songs have tight beats, but Mase's lyrics are lacking in some spots. But I do agree, I thought he was a saved man now. But now he's with G Unit, I guess not

mase came back cause he wanted the money he ain't no freaking preacher for real now he's talking about gang banging and degrading females like anyone really takes this idiot seriously yeah 50 cent pumped this fool's head to where he can be murda mase this cd and every other piece of trash won't sell.

This is hands down one of the best trumpet recital CD's out there. Mr. Mase's playing is outstanding. He has a beautiful sound and amazing articulation. What really makes this CD outstanding his Mr. Mase's overriding musicianship. I especially liked the opening piece "The Avatar" the first mvt. Features Mr. Mase on piccolo trumpet, and the second and third continue on with flugel horn and trumpet, respectively. The piece is very interesting with lots of contrast and melody. I especially like the first two mvts.
The Kent Kennan sonata recorded here is in my mine the definitive recording of this work (at the very least the definitive revised version).
This is a must buy for any trumpet student. For any person interested in modern brass music this is a definite recommendation.

This recording marks the 40th Anniversary of the American Brass Quintet. What better way to celebrate than to release a disc of a typical concert program - have a second CD of brass quintets (Dahl, Sanders, Carter, Whittenburg) in the works for release later this year - perform their latest commissions of Melinda Wagner, David Sampson, Henri Lazarof, and Anthony Plog - and celebrate 30 years of residence at the Aspen Music School and Festival. The playing is immaculate. The repertoire is diverse as ever. This recording represents 40 years of the best in brass chamber music.

Eric Ewazen has yet again written some wonderful new works for Brass instruments. The Fantasia for Seven Trumpets is played by Raymond Mase and his cohorts. It is full of excitement and is a clinic on precision. The Sonata for Trumpet is perhaps Ewazen's best work. The eloquent second movement is both simple and heart warming. It is premiered here by Chris Gekker who has also premiered several other of Ewazen's works for Trumpet. A Western Fanfare is Ewazen's fourth work for Brass Quintet. Although the frequent listener of these pieces my find this one a continuation of old ideas, it yields some good things. And, if nothing else, the listener is left floored by the American Brass Quintet's masterful playing. For the Brass chamber music fan, this is a must buy.

After getting my hands on Joshua Rifkin's Mass in B Minor I spent one evening comparing it with the Andrew Parrott recording I purchased earlier. I must say I do agree with what I've read about it, and to some extent Parrott's recording is "better". The conducting certainly seems more confident, more spirited at times and the balance of the solo instruments sound better. (then probably thats to the credit of the sound engineer)

However there are some bits of Rifkin's recording I prefer over Parrott's. For one thing I prefer the vocal performers of Rifkin's. Julianne Baird's singing is so lovely and sublime, her Laudamus Te totally beats Emily Van Evera's rendition. The latter seems to be consciously trying to do the vocal ornaments whereas the former just sings the music.

The Bach Ensemble seems to be recorded drier, free from the slight reverb I'm picking up from The Taverner Players, and free from the bland blend of violins that to me is reminiscent of the classical period. Apparently The Bach Ensemble had one less violinist per violin section than the Taverner Players had. I prefer the drier sound the Bach Ensemble achieved as it sounds darker and less "syruppy". However there seems to be a serious balance problem in the overall performance/recording/conducting. (in fact the whole CD seems to be very soft) I felt that some instrumental parts that were nicely emphasized in the Andrew Parrott's recording were underemphasized in Rifkin's recording. Its surely not Rifkin's best recording. (check out Actus Tragicus for a great Rifkin CD!)

It also seems that Rifkin did not use ripenists for this recording - Parrott did. I actually prefer it without the ripenists but its a personal aesthetic perference. On the whole this must have been a groundbreaking recording when it was released but I'm not as crazy about it as I thought I would be, especially after listening to Rifkin's other recordings.

This is the first ever Bach recording to be made using the One Voice Per Part theory. Joshua Rifkin's recording was dubbed by the music circle, "The B-Minor Madrigal," due his calling of the most minimal forces.

Rifkin's theory is very convincing, and the arguments supporting this manner of performing Bach's choral works can be found in Andrew Parrot's new book, "The Essential Bach Choir."

While this is a very good, breakthrough recording, I could imagine a much better interpretation of the work. The tempos especially seemed unbalanced, and this seems to ruin such beloved movements such as the "Sanctus." There is another One-Voice-Per-Part recording of Bach's Mass in B-Minor that may suit the tastes of more people: the Andrew Parrot recording with Emma Kirkby and Tolzer Knabenchor soloist Panito Iconomou. Don't get me wrong however, this Rifkin recording is a very good one.

However, I would much rather spend money on the Parrott recording. And Harmonia Mundi is also recording the B-Minor Mass with Konrad Junghanel and his Cantus Colln. Like all other Bach recordings by Cantus Colln, their B-Minor Mass will be performed one voice per part (they have toured with their rendition of the B-Minor Mass and it seems that their recorded release will be a sublime one. You should wait for their's.)

this is really an incredible CD - the singing is amazing - I think the one-voice-per-part is great for this music - specifically because it allows you to hear much more of the details of the music. Bach's B-minor mass has to be considered the pinnacle of his choral music.

La versión de Rifkin a la misa en Re menor es sin duda muy buena, pero hay partes en que pierde grandiosidad y se compara pobremente con algunas otras versiones. A pesar de ello, por su precio bien vale la pena probarla, aunque sea solo para comparacion con otras versiones (si es el primer disco que va a comprar de la misa, le recomiendo mejor la versión de Karl Richter o la de Rilling).

This version of Appalachian Spring is fresh. The small ensemble means the textures are transparent, revealing Copland's wonderfully complex and rich inner voicing. I particularly love the contribution of the piano. The musicians shape the phrases in clear, and to my ears unique (compared to other versions), ways. The fast parts have energy, the slow parts have a richness from constant variety of articulation. The tender music which opens and closes this suite is played as a ritual of prayer, evoking a relationship of love like child to mother (an aspect of much of Copland's music in my perspective). I love this version.

Although it does use the original instrumentation (flute, clarinet, bassoon, piano, and strings), this is not the original Appalachian Spring -- it is the chamber version of the *suite* (as indicated in the title). The suite cuts about 10 minutes of good material from the original, resulting in a 'lite' edition that is not necessarily an improvement. If the 'simple gifts' section, particularly its 'climax', strikes you as a bit overblown, you will prefer the full work, which puts this section in a different context. (There are chamber and orchestral versions of both the suite and the full ballet. Most recorded performances are the orchestral suite. If you are interested in the full chamber version I recommend the Copland-conducted performance on Sony, for the full orchestral version Tilson-Thomas on RCA.)
The selection of pieces here gives a pretty good cross section of Copland's work, with the Latin American sketches representing his lighter side and parts of the Short Symphony hinting at the sound of his more 'difficult' works, with the other two falling somewhere between. The Symphony famously has some tricky rhythms in parts, but is not an off-puttingly complex piece by any means. It would be inaccurate to describe it as 'twelve-tonish' -- for what it's worth, the melodies and harmonies (including the dissonances) are largely diatonic. It is similar to neoclassical Stravinsky, but less emotionally oblique. Copland considered it to be one of his best works. The score used here is an arrangement for chamber orchestra by Dennis Russell Davies, which doesn't sound very different from the original. There is also the Sextet, Copland's own chamber arrangement of the piece. (If you are interested in the original orchestral version I recommend Tilson-Thomas on RCA.)
As for the performances, the OCO is a very 'professional' sounding group, which implies negatives as well as positives. As far as technical execution, they are very capable -- where I find them sometimes lacking is in the expressivity department, due to glib phrasing and (usually rushed) glossing over of the more complicated rhythms. I think they are generally more successful in lighter fare, such as the Latin American sketches (the best performance here), where the musicians don't have to internalize the music so much. I don't know if this has something to do with the fact that the group has no full-time director, but I suspect it might. This shortage of involvement doesn't completely cripple Copland's music, which is already warmly communicative, but the group's Stravinsky, for example, is quite dry and, critically, lacking in rhythmic precision.
Overall, if you are interested in hearing these pieces in a chamber setting or are a fan of the OCO, this is worth getting, but it's not an essential Copland recording (otherwise it would probably still be in print).

Before it was a full-blown orchestral production, Appalachian Spring was written for a small ballet orchestra, 13-piece or so. This recording preserves that original arrangement (with a few additional strings), resulting in a very clean, sharp sound. It's the first version of the piece I ever heard, and I find it preferable to the later orchestral version. This recording is hard to find these days, but worth it just for this great version of Appalachian Spring.

The "Short Symphony" I don't care for much; it's a bit too twelve-tonish, seeming to sound dissonant just for the sake of sounding dissonant. "Quiet City" and the Latin American sketches, though, are a good complement to the main piece.

I play the trumpet, and own many trumpet CD's, and this one by far is the most astonishing, and amazing. I highly, highly recommend it.

I am an avid amateur trumpet player and own around 100 trumpet albums. There are not many recordings of some of these works available except on this CD and the performances are, for me, the definitive performances of these magnificent baroque master pieces. This CD is the best trumpet ensemble album I've ever heard and I've been listening to these things for 30 years. Even though the album is a reissue of an earlier vinyl LP the sparkling sounds of the strings and trumpets is undiminished. The performances are all first rate. Not only do the performers play all the pieces in their original keys (the Altenburg in D!)but the baroque ornamentation on the Vivaldi is like nothing I've heard before! It is wonderful. Of interest to the trumpet player will be the fact that the type of trumpet used to play each piece is listed. For instance they do the Vivaldi on Schilke G piccolo trumpets. Get it before it goes out of print.

Emmett Anglin
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