Natalia

Excellent playing guided by a Russian master, beautifully recorded by Polygram engineers. The little-played 1st Symphony was a surprise to me - after hearing it a few times, I don't feel it deserves the deep obscurity that history has relegated it to. The famous 2nd Symphony gets a lush, deeply emotional reading from Ashkenazy and the Amsterdamers, and the Symphonic Dances are as perfectly played as you will ever hear them. The bargain basement price of this set is a little disturbing - is no one interested in paying real money for outstanding recordings of great music anymore?

These set the modern standard for the Rachmaninov symphonies. Ashkenazy shows a remarkable affinity for the music. The little known 1st is given a performance that justifies its revival in the repertory. The uncut 2nd is breathtakingly beautiful. Ashkenazy allows it all its "heavenly length" - the complex textures of the first movement, the stunningly energetic scherzo, the beautifully languorous adagio, the delightful cascading "bells" of the last movement. My favorite, however, is the underrated 3rd, for which Ashkenazy displays uncannily "right" tempi throughout. Many conductors luxuriate in the lovely, diving violin solo in the second movement, and no exception here, but how many capture the logic of the final minutes of the symphony? Ashkenazy and the Concertgebouw get it just right - the late, nostalgic revery, and then, quietly at first, the build up to an exhilerating, final frenzy. With other conductors this can seem confused or forced, but here the denouement is perfectly paced and has an inevitable logic that is wonderfully satisfying. Every time I listen to this, I feel a glow of pleasure at having bought these recordings.

The filler pieces here are also delightful. Ashkenazy captures the proper, slow-paced moodiness of the Isle of the Dead. The Bells is effective, and the great Symphonic Dances have a beautiful and exotic Slavic flavor. The three disc version is thus an excellent bargain.

The advantages of this set are obvious. The best reason to get this set is the bringing together of superb --all of them-- performances. You simply aren't going to get this level of quality in any other set. Over three well-filled discs we get the 3 Symphonies, the cantata The Bells, the Symphonic Dances, and the tone poem Isle of the Dead.

So what of the quality of the music? Must you ask? This is Rachmaninov! Symphony No.1 obviously has some problems, but with each new listen it grows on you. Symphony No.2 is luscious and beautiful, and Symphony No.3 is strong and powerful. In many ways, Symphony No.3 is the real gem among the symphonies.
The Bells is so interesting and wonderful that you'll be hooked on it for a long time. It's four movements of the tone of bells, each representing a stage in life. Poe's idea was just the right subject for Rachmaninov, and it's no wonder that Rach loved this work--along with the Vespers--above all others. Makes you wonder why he didn't try his hand again at choral music.
Isle of the Dead is a slowly moving, patient tone poem that stuns you with it's big crashes of brass in the middle of it. Don't be put off by the word "slow" in thise case, because this is stunning music.
Last but not least, the Symphonic Dances. They were Rachmaninov's last major work, and it's a lot of people's favorite Rachmaninov work. For good reason; they're just darned thrilling, moving, and a pure joy to listen to.

Ashkenazy is on a high level above most other Rachmaninov conductors, along with Andre Previn. He brings real zest to this music, keeps things flowing. His conducting style is that of shaping the music, rather than stamping it with personal interpretations. While some composers require such an interpreter, Rachmaninov's music is already very individualistic, and works best when conducted straight-laced. In that regard, there's nothing to complain about here!

Buy and enjoy. This would also be a great Christmas gift!

Different people have different tastes. Without wishing to malign those who don't care as much (or at all) for this set, I'll dare say that this set is an absolute classic. [Why go only for the 2-disc set of just the symphonies instead of getting also Ostróv Mjórtvïkh (The Isle of the Dead), the Symphonic Dances and Kolokóla (The Bells) that come automatically as part of this 3-disc set?]

It was the Ashkenazy recording of Ostróv Mjórtvïkh that introduced me to what has since become my favourite symphonic poem ever (roll over Richard Strauss - this one together with Schönberg's "Pelléas et Mélisande" take the cake!) as well as the Symphonic Dances - and also Kolokóla as well as the 1st & 3rd Symphonies. [Prévin did as much for the 2nd Symphony in my case and his recording is a more than worthy competitor - his and this one are as good as tied for top spot in my honest opinion - get them BOTH if possible!!!!] At all times, these interpretations proved Sjergjéy Vassíljevich Rakhmáñinov as one of the greatest composers of the 1850-1950 period, even if he wasn't the most prolific (my biggest regret is that death stopped him from benefitting us organists with an Organ Concerto meant for Charles Courboin). [He was the type that could only concentrate on one thing at a time - be it composition, piano concertising, or conducting, at all of which he was outstanding; however, when he went into exile after the Russian Revolutions, he found himself mainly working as one of the greatest pianists of all time in order to secure his future and feed his family.] Obviously his mentor Pjótr Iljích Chaykóvskiy was a powerful influence on him; however, Rakhmáñinov never loses his individuality at any point!

Certainly his symphonic output is uniformly high: his 1st Symphony, while not always the most cohesive at times, still deserved a heck of a lot better fate than it received at the hands of Glazunóv - it's extremely inspired and there's no question that it deserves a high place in the repertoire. The 3rd Symphony - and the Symphonic Dances - not only proved that Rakhmáñinov had lost none of his mastery or inspiration in exile; they're both absolute masterpieces in their own right! [As to the 2nd, it would be my 2nd-favourite symphony, period, right behind Chaykóvskiy's 6th (Pathétique). The 3rd movement, if a question of falling in love for some, is for me a point of grieving for a lost love (which is very much still in my life after many years - I still cry bitterly on hearing this and the 1st movement!) and letting gradually go, though with greatest pain...] Finally, Kolokóla: another great masterpiece (the 2nd movement is especially moving and wonderful!).

Most definitely, Ashkenazy does full justice to all of these works. Of course, one can disagree with this or that aspect or instant in this or that work (e.g., I could have wished a slower accelerando in the 2nd movement of the Symphonic Dances from the waltz tempo - that way one misses the otherwise obvious allusion to Chaykóvskiy's "Flowers' Waltz" from Shchjeljkúnchik {Nutcracker}); however, the overall merits of these recordings truly deserve the fullest 5 stars possible - I'd myself go for 6! Go get it in all events!!!!

This is an outstanding set, with the exception of the Symphonic Dances, where Ashkenazy conveys some of the passion in this work but doesn't attain nearly the same level of emotional intensity as Kondrashin's or Temirkanov's versions.

The rest of this 3-CD set, consisting of the three symphonies and the Isle of the Dead, is outstanding. In the symphonies, the balance and the dynamic interplay between the strings, horns, and winds are brought out beautifully and the sound quality is crystal clear. The Isle of the Dead is very movingly performed, from the opening passage, where Ashkenazy establishes a somber ominous mood, to the sweeping majesty of the most powerful moments.

For The Symphonic Dances, however, a fantastically passionate performance of this work is the 1963 recording by the Moscow State Symphony Orchestra, with Kiril Kondrashin as conductor (RCA; Catalog # 32046; ASIN: B000003ETI). With Kondrashin, the power and passion of The Symphonic Dances sweeps the listener away and takes him to an inspirational level. The performance is so burning hot that it throws off sparks. However, this CD may be out-of-print.

Another passionate interpretation of The Symphonic Dances is the 1992 recording by Yuri Temirkanov and the St. Petersburg Philharmonic Orchestra (RCA; Catalog Number 62710; ASIN: B000003FRT). The Temirkanov CD also has a beautiful and moving performance of the Rhapsody on a Theme of Paganini, with the pianist Dmitri Alexeev.

The CD booklet for this box set with Ashkenazy conducting has a well-written, detailed, and informative essay on all of the compositions. The full text of The Bells, based on a reinterpretation of Edgar Allan Poe's verses by the Russian symbolist poet Konstantin Balmont (1867 - 1943), is also included in Russian, English, French, and German.

Highly recommended, with the additional recommendation of supplementing this set with Kondrashin's or Temirkanov's recording of The Symphonic Dances.

You probably don't know the name, but you may recognize the voice, as she supplies vocals for most of the best tracks on Federico Aubele's "Panamericana," including the haunting "Maria Jose." Don't expect the same kind of guitar work here; her own music is a little more trip hop, ambient, perhaps even ultralounge, but with a distinct Latin flavor. Clavier could sing almost anything, though, and make it sound good. Her voice is a soothing aural pillow, only it won't put you to sleep! You will want to wrap yourself up in sound of her mellifluous voice time and again.

Now, if only I understood the lyrics!

Angelic beautiful voice of Natalia Clavier. Good music. I would prefer more Spanish / Argentinean guitar (Federico Aubele where were you?). Very uneven recording quality. Bass kills her vocal. Lack of soundstage.
Rating on scale 1-5:
-Natalia Clavier vocal (fantastic) - 5 stars
-Instrumantation (Ok)- 4 stars
-Recording (bad)- 2 stars
Ps. Similar type of music and vocal but perfectly recorded- "Lhasa de sela".

Talk about mean-spirited! Whoever thought of putting the great Alice Gerstl Duschak in with this laughable crowd. She who had the distinction of being Jessye Norman's teacher and who produced a series of, to my ears,
transcendentally great interpretations of the lieder repertoire on the Educo label. Her Schumann songs are particularly sublime. Those who can appreciate the grandmotherly warble to her voice which positively informs
her incredibly musical readings of great lieder, no doubt find her inclusion here a great malfeasance. Her Auftraege of Schumann is the greatest I've ever heard. To put her in this circus crowd of singers is just plain nasty. I have about 10 Educo lps produced by her and as a sheerly musical matter I put them higher than many vocal productions. By the way, have you ever heard any of Lotte Lehmann's Brahms songs? Her voice is quite uber die Grenzen there, and poor Alice Gerstl Duschak is in fact often more on pitch that Lehmann, as she gets stuck in with Florence Foster Jenkins? The human capacity for misjudgment is indeed vast! But the surreal world of opera and singing seems to breed that even more. I was invited by a charming person to see Othello
with the Kirov Opera at the Kennedy Center the other day. We had a lovely evening but I had to leave at the first intermission because it is truly wretched music. The world of opera can put up with endless hours of tiresome music, from the horrid vitriol of Verdi to the eternal bombast of Wagner. But poor Alice Gerstl Duschak is discriminated against because her voice is wavy. That she is singing the most sublime little gems in a truly artistic and unique way apparently doesn't make a dent in the funhouse world of Singing. Let those who have ears to hear, hear.

"Homophone" was originally the name of a record label inaugurated in 1905, its first release being a disc by the Wagnerian tenor Ernest van Dyck. At this time Van Dyck was far past his prime, and Gregor Benko continues this tradition (that of "singers in decline") with his new incarnation of the Homophone name.

"The Muse Surmounted", Homophone's first offering, is an uproariously funny excursion into what I would label "mal canto". Each singer in this collection set her own substandard for vocal art, and each one is presented in transfers that allow the holes in one's technique to shine through. Brightly.

The disc opens with an "overture" of sorts, a "Carmen" potpourri by the original Homophone Orchestra. If you like your Bizet with slap-tongued baritone saxophones and your Toreadors to boast to a fox-trot beat, this one's for you.

Next in line is a certain Rosalina Mello, in a "fado portugues" that is rendered in a tone reminiscent of a cat in heat. She also approaches several high A's in this piece with a long-discarded vocal technique known as "portamentissimo". Better put Garfield outside before giving Mme. Mello a listen.

Next we encounter Alice Gerstl Duschak, a long-time teacher at Baltimore's Peabody Conservatory. Benko's (excellent, I might add) program notes state that she was a teacher of Jessye Norman, and I might add that Gerstl Duschak's voice, as represented here, had no sideways.

The name Betty-Jo Schramm was hilarious enough for me - before hearing the track, I could picture her in pigtail and poodle skirt. According to Benko, she was a pioneer in the early-music movement, singing the music a half-tone lower than we normally hear it today. However, she failed to cue the orchestra in on her innovation.

Tryphosa Bates-Batcheller, another favorite of the producer, cut her precious few discs at the same Melotone studio where her more famous predecessor, Florence Foster Jenkins, sought to perpetuate her art. And what an art it is. She is represented with a Meyer-Helmund song and an American folk song. Edith Helena at 81 sang better than this.

My favorite - at least for now - is Natalia de Andrade, a rather interesting character, who imposes upon the role of Manon a rather distinctive tritone tremolo reminiscent of the dearly departed Mrs. Elva Miller. It takes a life of its own, creating a somewhat minimalist rhythmic shift and will cause you to reach for the tequila. Perhaps she already had.

Olive Middleton, beloved diva assoluta of the La Puma Opera Workshop, is represented with her beloved "Miserere" from "Trovatore" her alleged high C ringing rather clearly through the speakers.

A lovely surprise was the discovery of Norma-Jean Erdmann-Chadbourne, who is in fact the "Jenny Williams" of the Victor "Faust Travesty". If you thought her final trio from Faust (sung as a duet) with her partner "Thomas Burns" (actually Ellis Chadbourne, listed here as Thomas Garcia - he had to change his name a lot) was simply the living end of opera finales, just you wait until you hear their Tomb Scene from Aida.

A certain Sylvia Sawyer, who evidently actually filled in a few mezzo-soprano roles on some early-fifties opera LPs, offers an Aida excerpt (Amneris) that, although shows no gross lapses of pitch, taste, or intonation, is a precious textbook example of bland mediocrity combined with indifferent attention to the peculiars of Italian pronunciation. One wonders if the Capitol label thought to check the Yellow Pages under "mezzo-sopranos" when casting for this Aida album.

From the lamented Remington label comes the "Tosca from Hell", an infamous performance by Vassilka Petrova.

Madame Mari Lyn (although the program notes claim that she was a woman, and a widow to boot, I swear I think this person was a drag queen!) gives her special vocal rendition of "Una voce poco fa". [Later research on the part of this writer revealed that she was, in fact, a she. Mea culpa.]

The most disturbing performance on the disc is a 1980 performance by socialite and trophy-wife Sari Bunchuk Wontner, who gave staged performances of "Traviata" in her home - with full casts and orchestra. (One hell of a Tupperware party, don't you think?) Of course, art imitates life, and she was Violetta. Secretly taped from a live performance (presumably by a "former friend"), this first-act scene defies description. She is often several beats ahead of or behind the orchestra, she may be as much as a third off of the key in either direction, and the whole affair sounds as if she had a flask of Cuervo hidden behind each prop. A year after this performance, she fell overboard from her yacht. Perhaps she was rehearsing for a future Tosca.

Surely the best-known name included is that of Florence Foster Jenkins, arguably the most famous of the daffier divas. The track, a Cosme McMoon decomposition entitled "Valse Caressante", is not included in the Victor reissue of dear Flofojen's legendary Melotone discs; in fact it is not included in the Jenkins discography in the magazine "The Record Collector". This rather long affair seems to find the diva, the pianist, and the flautist all on a bad day, with the result being a performance that is cheaper than a home perm and twice as curly on your hair.

The last track is a recording of Jenkins' accompanist, Cosme McMoon, reminiscing about his musical life with our dear Flofojen. Benko also clears the air, after careful research, about the "Cosme McMoon was actually Edwin McArthur" rumor. Buy the CD to find the answer.

This is also a first-class prodution, with attention to quality in presentation. The program notes alone are worth the price of the CD. Benko has carefully researched these singers, often waiting years for leads to information. In fact, a picture of Natalia de Andrade arrived after the disc went to press, and it is posted on the Homophone website. Our poor Manon looks for all the world like trailer trash showing up for a Jerry Springer taping.

Another picture of interest to many will be the penultimate photo - a picture of Cosme McMoon, radiant in a 70s combover, flanked by ARNOLD SCHWARZENEGGER at the 1974 Mr. Universe Contest, during the time he had given up his music career and was managing a male bordello.

This will be The Party Album of the New Millenium. Buy it.

I confess that I was intersted in this more for the theme which was used in the old movie "The Black Cat" with Bela Lugosi & Boris Karloff. This recording is a great introduction to Robert Schumann chamber music. Performance is perfect in my opinion.

This Schumann album, with special thanks to Martha Argerich, quite possibly contains the best live performances of this music captured for posterity and the marvelled enjoyment of many. As far as the Piano Quintet alone is concerned, with the energy and controlled passion of its live performance, there is no equal in print.

Fine, fine performances of a Schumann standard and a wonderful Schumann rarity. I won't say that the Quintet plays itself, but there are enough fail-safe elements--winning melodies, high drama in the slow movement, and that famous double fugue in the finale--that if you're a group of musicians with a high level of proficiency, you can produce a decent interpretation of this music. In fact, I haven't heard a bad performance on disc. But this one by Chang and Company is certainly among the best I've heard. The playing is predictably superb, but then the interpretation captures all those famous felicities just about to perfection. And in the fast movements there is the special abandon that often takes over in live performance, here creating thrilling results rather than merely frenetic ones.

But the main reason to get this disc is for the Schumann Andante Variations. I have never heard or even heard mention of a performance in either of my two cities, Atlanta and Philadelphia, in the 30 or so years I've been interested in such matters. The main problem, I guess, is bringing together two fine pianists and cellists PLUS two horn players capable of bringing off Schumann's ripely romantic gestures. There's not a lot for the string and brass players to do all the time, but when called on, they have to produce, especially the horn players. This is lovely music, maybe even more at the core of what Schumann is all about than the Quintet, with its formal structure and classic mien. This performance is certainly about the best I've heard on disc.

The only letdown, a small one, is that the live recording is a bit dry and clinical. This is more evident in the Quintet for some reason than in the Andante and Variations. And it doesn't seriously detract from the many musical joys on display.

As Martha Argerich approached her peak years, she shifted her focus from her legendary, firery solo recitals to the more 'relaxed' group experience of chamber music. And judging from this CD (and her Brahms /Mendelssohn live recording also on EMI), she seems to emensely enjoy it. This CD is recorded live at the Concertgebouw, Holland, in 1994 with several musical friends including Misha Maisky and - along with its companion pieces on another disc - remains a landmark recording. The Amazon reviewer summarized things quite well above. The music here is alive and vibrant, ranging from full-out playing from the Argentinian in the Quintet's final two movements to her graceful support role in the other, haughtingly lovely chamber pieces.

The Schumann Quintet is a splendid example of Martha's versatile pianism where she maintains throughout a lively propulsion forward that one would expect from Ms. Argerich. Penguin Guide says Argerich's performance of the quintet is "the most dynamic and interesting on disc" - which is not hard to believe listening to this spirited and most enjoyable live performance. The Quintet is Schumann's finest chamber composition and, along with the quintets of Dvorak and Brahms, achieves masterpiece status in the repertoire. I cannot say I was thrilled with the sound ambiance here which is clear and full but lacks the richness and depth of tonality of modern recordings. But, thankfull, there is virtually no audience noise in this live recording, except some well-deserved applause at the end.

The other Schumann chamber works featuring horn, cello and viola are wonderfully rich in tone, relaxed in tempo and curiously eclectic at times as Schumann can be. The two cello solists bring sensuous, musically-rich playing against Argerich's smooth and expressive piano foundation. For VIOLA fans, the alluring and somewhat rare viola and piano sonata (Op. 113) features soaring lines from Ms. Imai's beautifully sounding viola. The duo-piano piece is also marvelous. Throughout these performances one gets the sense that Martha and friends are completely at one with the music, wonderfully in synch with each other and truly enjoying the moment - all of which leads to a memorable performance. Here is a really different Martha Argerich as compared to the dynamic soloist in her legendary recitals - but one no less able to bring the sense of drama and anticipation to the music she is known for. Also, her live performance of Brahms' "Quintet" (for piano duo, Op. 34b) and Mendelssohn's piano trio #1 also on EMI is equally satisfying and highly recommended. Both live recordings give you a sense of being right in the front row of the action and witnessing great music by great musicians.

This is my favorite choral chant CD's. Although the orchestration in the background is not exactly kosher, I think it brings it into the 21st century with a enhanced richness and proper flair. Sit back, cut off the lights, light a candle, and Dream through a cold winter's night.

Language aside, I was very interested in the blends of music and chorus. There seems to be a quality that I have never heard or have ignored in my own language that comes out while I listen to this music. The music stirs, it has a way of bringing out messages that seem heart felt. I enjoy this album and recommend it highly.

No matter the reason for focusing thoughts on higher matters at this time of year - the mysteries of Spring awakening, Passover, Easter, and the other festivals that celebrate the concept of renaissance - few recordings capture the essence of these mysteries as well as this recording of Russian Easter music.

Nikolai Korniev conducts the St Petersburg Chamber Choir in the ambience of the large cathedral in St Petersburg in a soaringly powerful recital of hymns and music written by various composers for the celebration of Easter. The choral sound is that special magic found in Russian choral singing, a sound that embraces the softest of pianissimos in contrast to the largest triple fortes grounded by that inimitable lushly rich Russian bass technique of singing.

No matter the listener's response to the Eastertide, this recording is simply some of the most beautiful and awe-inspiring choral music collected on one CD. It stirs the soul and awakens the spirit. Highly recommended - for anytime of the year, too! Grady Harp, April 06

Listening to classical radio has once more paid unexpected dividends; yet again I discover a treasure that would have escaped my notice and I would never have otherwise heard.

This disc is a collection of Easter music performed by the St. Petersburg Chamber Choir under the direction of Nikolai Korniev. It is beautifully recorded in the Cathedral of St. Peter and St. Paul in St. Petersburg, Russia; the wonderful acoustics of this magnificent structure adds to the spiritual effect that this music requires.

The entire CD is beautiful, but it is the very first piece on the disc (the one that I heard on radio) that caught my undivided attention, that being, " Alleluia, Behold the Bridegroom". This haunting melody played as quiet chant, repeated over and over, rises to a soft crescendo before it reaches its conclusion. It is hard to believe that this piece has gone virtually unnoticed; that it has not become a staple of sacred music through out the Christian world at Easter time. Even more astonishing is that the author of this incredible work has become lost with time; the creator, who in this case has flirted with a small measure of immortality, is simply recognized as "anonymous".

All in all, a CD that any lover of choral music (sacred or otherwise) would absolutely cherish and desire for their collection; but it is " Alleluia, Behold the Bridegroom" that will move your soul.
Highly recommended.

From our great neighbour in the East comes this wonderful music that has served as a first aid kit for me when times have been rough and I have been driving along the Finnish countryside, just driving for many hours on roads deep into silent forests. You simply cannot maintain a hopeless and desperate feeling when listening to this music. It simply puts you back on track. And it reminds me of the fact that when really miserable you are not alone. Forget new age - this is old age music that takes your inner bad breath away and replaces it with gratitude and hope.

When a musician is able to tie together both an interesting instrumental sound to a somewhat out of the ordinary vocal sound there is an inherent risk that the musician runs in terms of whether or not it will be accepted by music listeners. Some musicians might try to err on the side of caution rather than mixing two different aspects of their music into one sound. While some people might be turned on by a different musical twist, those same people might not quite fall for the vocal performance and vice versa.

But every now and again a musician is able to find that happy medium between the two and produce an end product that represents both individuality and talent. And it is when this happy medium is reached that the musician can truly be considered a step above the rest.

Natalia Zukerman has crafted an album that highlights her unique deep and almost somber vocals with instrumental sounds that are consistently impressive. Perhaps it is Zukerman's amazing prowess on the guitar that immediately takes the listener by the arm and welcomes them into the music of Zukerman. But that alone would not be worthy of praise alone, rather, it is the guitar sounds matched nicely to the vocals and lyrics of Zukerman that makes Brand New Frame the success that it is.

The music of Zukerman ranges quite a bit on this new release by her. There are times when the music is almost reminiscent of a blues lounge while at other times the music is much more pure Americana sounding. The variation exhibited by Zukerman on the album certainly proves to the listener that this is not a cookie cutter musician and instead what is before us is a musician that takes seriously her obligation to provide the listener with something fresh and individual.

The title track of the album Brand New Frame kicks of the album with an uptempo beat that throws the listener right into the mix of what it means to listen to Natalia Zukerman. There is a strong presence of the instrumentation on this album but the darker vocals of Zukerman are what really is the emphasis of this track. There is a very smooth cohesion to this track which is important for the first track of the album because it proves that although the sound might be a little funky it does indeed work.

On the track Bill the vocals of Zukerman take on a raspy yet almost saucy characteristic that is a further branching out of sounds that Zukerman is willing to experiment with. The instrumentation becomes mainly a background sound on this track while the vocals certainly are what is intended to shine on this track. There is a very much older feel to this track sort of a musical feeling that brings us back to a cigarette smoke filled scene in a black and white film.

With Good Boy, Zukerman infuses a much more upbeat and higher pitched vocal performance to the album that has not truly been heard on much of the rest of the album. There is a faster pace to the instrumental sounds that speeds up not just the pace of the track but also accentuates the higher vocal performance quite nicely.

Track listing:

1. Brand New Frame
2. Favorite Shirt
3. Song for Ramblin' Jack
4. Bill
5. Only Trees
6. The Last Few Miles
7. Early Bird
8. Widow's Walk
9. Good Boy
10. Better Me

Recorded in Milwaukee, Brand New Frame is a dynamic studio released album by Natalia Zukerman. Having become recognized more and more for her musical talent not just by music fans but also by music award groups there is clearly something to the music of Zukerman that excites and impresses listeners all at the same time.

The sound is extremely unique in that her instrumentation is amazingly well polished and paired nicely with vocals that while being a bit out of the ordinary interesting work quite well for Zukerman. Though others might not simply be able to pull this off, Zukerman does it and does so quite nicely. Brand New Frame is an impressive album from start to finish and certainly proves to demonstrate that Natalia Zukerman is clearly well deserving of the praise she has and will continue to receive for her unique musical talents.

Brand New Frame was produced by Willy Porter and is on the Weasel Records label.

For more information about Natalia Zukerman, check out her website at www.nataliazukerman.com.

Muy buen disco, que mas puedo decir?,,, mi favorita "en direccion contraria'' en este disco ella juega con diferentes tonos y colores de voz,,,, no conozco su primer disco,, pero , va que vuela para ser una de las grandes del pop-rock

The group is excellent. And the disc i bought it for a friend of mine and she love it. Thanks.

I saw Natalia y la Fourquetina in concert in San Luis Potosi this summer. I was very impressed with their sound. Natalia's voice, her sound, and her band are the real thing. I was especially excited to hear a couple of songs that she was playing in public for the first time. We liked these so much that my wife and I checked websites everyday waiting for this album to be released.

When we finally got the album and listened to it for the first time, I was slightly let down--but mostly because I was in a really big mood to listen to some bossa nova and only two or three songs were recognizably of that genre (or at least influenced by it).

The truth is, that once I sat down to listen to this album from beginning to end, I coudln't help but play it over and over again--non bossa nova songs and all.

Without a doubt, my favorites are "Casa" and "Cuando todo Cambia." Her version of "O Pato" is not my favorite (It's kinda cutesy, I like a sax version by Coleman Hawkins), but it's playful, fun, and an honest interpretation by a playful and fun band. But the album doesn't end there. There are many influences apparent here, from slightly punk to slightly pop to slightly jazzy. The key to this album is that you can't play it becuase you're in the mood for something specific. You play it because you're in the mood to sit back and experience a variation of genres, moods and sounds and simply see where it will all lead.

No comparisons to other artists should be made here. Natalia Lafourcade has very much become her own artist despite her strong musical influences. Let's hope more artists like her keep popping up in a suddenly rich and talented mexican pop music scene.

This is the kind of rock album that most of us thought could have only been made in the LP era. Substantive, mind-expanding, and frighteningly catchy. Bass, guitar and keyboards are all played with gusto and without time-wasting solos. The band, La Forquetina, comes up with the kind of classic-rock, superficially meaningless lyrics that can be interpreted in many different ways and convey general emotions. And those lyrics are wedded to outstanding melodies, thanks to the genius of singer Natalia LaFourcade. Oh - and she's only 20. Paul and John were just getting to "she loves you, yeah, yeah yeah!" by then.

Natalia is blessed with a slightly quirky voice that will never be confused with anyone else's. Gone are the Julieta Venegas comparisons that surfaced with her 2002 debut single "Busca un Problema," and LaFourcade's apparent aping ("za-pa-a-to-os") of Venegas' tendency to stretch out words like Silly Putty. The fact is, LaFourcade can get away with some mannered vocals (such as on the title track and second single "Casa") because she's 20 and beautiful. Venegas is 34 and, well, it just wouldn't be as cute if she sang like that. Not fair, but true.

Most intriguing is "Saul," which Natalia sings from the point of view of a transvestite who was born male (hence Saul). She even lisps at one point: "solo quiero nieve de fressasss..." Is the song a sympathetic portrait or a frat-boy joke? Feel free to sit around all night discussing this with your friends. I said this was a new classic-rock album, right?

I must say, this album is not nearly as good as the first one. But let me first explain that "Natalia LaFourcade" was a brilliant album, of a world-class calibre.

I don't know if Natalia truly was a singer-song writer; the complexity and maturity of the songs and the craft of the compilations led me to question how an 18 year old girl could originate such wonderful music. I have never seen her in concert: perhaps her performance may yet verify the veracity of this claim. Nonetheless, the resulting "Natalia Lafourcade" was a great flow of melody and song. It was, in effect a great delicacy of a promising young artist.

To return to the current disc, let me praise the courage of all the artists and producers. Despite falling short of the first production, "Casa" includes the bossa nova roots (O Pato, a previous production) as well new experiments like "Tic Tac". The words of the songs, again, denote a maturity lacking in contemporary Mexican artists, young and old alike. This continues a trend in the improvement of the quality of Mexican music, of what once was a romantic-ballad wasteland during the 70's and the 80's.

Natalia has been compared to Bebe, the flamenco fusion artist. This comparison must be based in talent alone, as the music genres are quite different. Julieta Venegas, a closer comparison, succeeds much like Natalia in maintaining a distinct musical character. Bebel Gilberto also comes to mind, for the exact same reason.

No matter what genre you prefer, however, I dare say that you would be pleased to hear the soft melody of Natalia's voice. Don't be fooled by her young looks: both her albums denote a complexity often lacking in young pop stars. But don't take my word for it. Buy it, and make your own judgment. I doubt you will be disappointed. Greetings from Vancouver, BC.

The album contains an outstanding selection of cello concertos in 3 CDs at a reasonable price. For cello lovers, this is a must.

She has it all, the music, the voice and on stage and behind a mic your heart just goes there. The album 'Casa' is good too. She's got that certain something called Charisma and it shows.

This was Natalia's first album and I really like this album. Her lyrics are so simple, she sings about the simplest things in the world such as eating a mango, but she makes you think is she really singing about a mango?? Her songs bring a smile to your face. When she sings and performs you can feel it in your veins and your heart that she loves to perform and this comes right across the whole album.

Natalia Lafourcade blends perfectly the sound of three of the greatest female singers/songwriters out there today: fellow Mexican Julieta Venegas, Portugues Nelly Furtado and Colombian Shakira. If this sounds like a bit too much of a mix, think again. Natalia accomplishes it, by throwing in an extra element of mellow lounge feel a-la-Amigos Invisibles into the blend, accomplishing a groovy album that is bound to go up in the ranks of your iTunes' "Play Count".

Favorite tracks: I love the album as a whole, but if you ask me, I'd stick with "El Destino", "Elefantes", "Georgina" (one of the most interesting tracks in the album), "Mañana Olvidare" (with its clever low-fi production aproach) and "Mango (Remix)". This is one contagious album that will make you dance and think, while you keep on playing it once and again.

This girl can really write music!!!.. Her lyrics are awesome. You'll hear her sing about the simple things in life like enjoying an ice cream, walking barefooted in the sand, amongst other things. Im very happy to say she's one of the best new artist Mexico has put out. UPDATE: you guys can also check out her new album CASA!! it rocks my world.

Natalia Lafourcade, es una jovencita con talento, y con una perspectiva distinta de la música POP, es muy sencillo predecir que su corte en "2000" fue el corte que la catapulto al éxito, pero su disco refeleja una realidad distinta, con un tono más jazz y 70's que un pop parecido al ofrecido por Avril Lavigne, a la cual inevitablemente se le compara, por obvias razones. Este disco es bueno y con letras inteligentes, pero no esperen 10 versiones distintas de EN EL 2000, debe ser escuchado con una mente más abierta y una comprensión musical amplia.