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| Paganini: After a Dream | 
 enlarge | Artist: Regina Carter
Label: Verve
Category: Music
List Price: $18.98
Buy Used: $3.88
You Save: $15.10 (80%)
New (41) Used (22) from $3.88
Avg. Customer Rating:  26 reviews
Sales Rank: 52599
Format: Enhanced
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 065554
UPC: 044006555423
EAN: 0044006555423
ASIN: B00008V612
Release Date: April 22, 2003
Availability: Usually ships in 1-2 business days
Condition: CD is AOK; only fault are 3 stickers on booklet saying ex-library; must have never been taken out !!
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| Tracks:
| • | Pavane Pour Une Infante Defunte | | • | Black Orpheus (Manha De Carnaval) | | • | Pavane | | • | Oblivion | | • | Reverie | | • | Healing In Foreign Lands | | • | Apres Un Reve | | • | Alexandra (Excerpt From) | | • | Cinema Paradiso |
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| Editorial Reviews:
Amazon.com
The title of this project is aptly-named. Regina Carter, a Detroit-born, classically-trained jazz violinist, traveled to Genoa, Italy in December, 2001, and performed on Paganini's legendary Guarneri violin nicknamed "the Canon." After winning the hearts of the skeptical Italians, with armed gunmen surveying her every move, Carter played flawlessly, and became the first jazz musician and African-American to the play the instrument. The next year, Carter returned to Genoa, recorded on Paginini's violin and performed a pleasing program of crossover-friendly light classics, South American compositions, a movie tune, and original works. Produced and arranged by Jorge Calandrelli and Ettore Strata, and backed by a combo led by pianist Werner "Vana" Gierig, the selections, while not exactly groundbreaking, successfully show off Carter's impeccable and soulful playing, and the violin's rich and reverent tones. An 18-piece orchestra supports Carter on Ravel's "Pavane pour une infante defunte," Piazzolla's "Oblivion," and Ennio Morrricone's Cinema Paradiso theme. Borislav Strulev's cello co-stars on Luiz Bonfa's "Black Orpheus (Manha de Carnaval)" and Faure's "Apres un reve." For Debussy's "Reverie," Carter delivers some straight-ahead swing. In sum: She came, she saw, she conquered and, she swung. --Eugene Holley, Jr.
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| Customer Reviews: Read 21 more reviews...
 Remarkable instrument provenance; sublime performance. May 3, 2003
95 out of 98 found this review helpful
I can honestly state that I've been waiting many months for this release, having read about the future possibility of its existence when the original performances took place well over a year ago, with recording sessions a year later. And I'm one happy camper now that it's safely here.
Regina Carter is surely one of the finest jazz violinists playing today. (On the distaff side, it's simply no contest. While there's no shortage of distaff Celtic, bluegrass or country fiddlers, Ms. Carter has the jazz sphere all to herself.) But the provenance of this release makes it more than a little special.
The (somewhat) short version of the provenance: Ms. Carter plays Paganini's own personal violin, a 1743 Guarneri del Gesu known as "Il Cannone" ("The Cannon"), the first jazz (and, for that matter, African American) artist to have done so. It is an instrument with gorgeous, lustrous tone, and, given its pedigree, an instrument that is closely guarded by its Genoese museum curators. The idea of Ms. Carter's performing on this rarest of rare instruments came about by way of "a friend of a friend" who thought the matchmaking to be appropriate. The actual amount of logistical legwork and preparation required to pull it off, and the uncertainty of the success of the venture at every stage, are nicely described by her in the booklet notes. Good for her! What a coup!
Most of the works Ms. Carter has chosen are classics: either from the world of classical music, in suitable arrangements for her inimitable style, or are Latin American classics that fit her style quite naturally. The former are all French (well-known works of Ravel, Debussy and Faure); the arrangements (all nicely tasteful) to some might suggest - or even shout - "crossover" (and all that the genre implies), but Ms. Carter plays them with such panache and soul, taking full advantage of the remarkable instrument provided her, that I can't imagine even the most hardened jazz-head not liking them.
The two Latin American classics are among my (and, I'm sure, others) favorites: the main theme from "Black Orpheus," by Luiz Bonfa, and Astor Piazzolla's insinuiatingly langorous tango, "Oblivion" (one of my all-time favorite Piazzolla pieces). Another obviously Latin piece is by the great film score composer Ennio Morricone, from his music for "Cinema Paradiso." The album is rounded out with two works written for the occasion: "Healing in Foreign Lands" by Werner "Vana" Gierig, the pianist in Ms. Carter's combo, and an excerpt from her own "Alexandra," a work commissioned by the John F. Kennedy Center for the Performing Arts.
All of the works have Ms. Carter backed by her combo of piano, bass and percussion, with a nice addition of cello on the Bonfa track and one of the two Faure tracks. Some works are discreetly backed by strings, particularly nicely in the Piazzolla and Morricone tracks.
But Ms. Carter is front and center throughout the album. And this classically-trained jazz artist is simply terrific everywhere, blending her classical skills and her hard-swinging jazz abilities, on what must be one of the finest fiddles in the world, to what can only be described as wonderful and gorgeous effect. Every single track on this album is a winner; not a dog amongst them; not even close!
An added bonus: My first listen to this (with several already behind me now as I write) was in my desk-located Discman. I saw that there is a separate band on the outer edge of the CD. Figuring it for a CD-ROM band, I stuck it in my computer CD slot. Sure enough, the disc includes a travelogue of Genoa. Of course, had I taken the trouble to actually READ the jewel box, I would have seen the "Enhanced CD" logo. So there you have it: A nice no-charge extra.
My early prediction: This album will be in every jazz lover's and fiddle fanatic's library in short order. Better get yours now.
Bob Zeidler
Maybe Album of the Year May 12, 2003
66 out of 68 found this review helpful
It might only be May, but Ms. Carter's new release, "Paganini: After a Dream" should be at or near the top of all the critics' lists come December. While this reviewer has greatly enjoyed all of her other releases, this recording is by far one of the best made by any artist in the past thirty years. Ms. Carter (one of the best musicians in any genre playing in the world right now) and her ensemble evoke such profound emotion on all of the tracks, but two particularly stand out: Ravel's "Pavane pour une infante defunte" and Morricone's "Cinema Paradiso" theme. These works defy musical category; they are simply statements of pure artistic brilliance on the part of Ms. Carter and her colleagues, and listening to them will leave a lump in your throat. An absolutely extraordinary emotional statement.
Destined to be a classic! August 2, 2003
14 out of 17 found this review helpful
I read a blurb in a recent national magazine and got the chills with what they described. Showed my mother the article we shook our heads in unison. No doubt it would be a part of both of our musical collections. I got it first. Sat alone in my living room with my eyes closed and basked in the beauty of an absolutely gorgeous musical outing. She took my breath away and brought tears to my eyes. The liner notes tell of how this project came to be and inspired me to add Genoa Italy to the list of places I would love to someday visit. It's a shame that more people don't appreciate the treasure she is to the musical world. If you think this is something you would not enjoy...expand your horizons because you are very sadly mistaken. I'm expecting her to do very well during next year's awards ceremonies. Superb from beginning to end.
 What's All the Fuss October 15, 2003
12 out of 21 found this review helpful
Don't get me wrong, Ms. Carter can play a mean fiddle. The trouble is that with all of the hoopla surrounding her performance/recording on this Paganini owned Guarnerius one should expect to hear a truly warm and beautiful sound. Well some swear they do. I don't fully expect the power and lustre of say Joshua Bell, Anne-Sophie Mutter or Hilary Hahn, (all who perform on world renown first rate instruments) but to these ears her performances sound no better than on a decent homegrown fiddle. Also, despite the obvious jazz stylings (she is known as a jazz violinist afterall), her take on the French literature leaves plenty to be desired (there is a distinct lack of subtlety in her phrasing and Lord have mercy, playing these compositions in a free manner technically is one thing but how about at least playing in tune more often. (Listen to anything of Grappelli, always note dead accurate). The ensemble supports well and the Calandrelli charts are fine even though they sound like carbon copies of so much else that he has done for Yo Yo Ma and others (some call it recognizable style, I say maybe stuck in a rut). All in all, decent light weight stuff. Come on folks, let's get real here. Please note, this review was accidentally filed under Ms. Carter's CD "Motor City" at Amazon.
A DREAM ( UN SUEA`O) June 27, 2003
8 out of 10 found this review helpful
ES LA PRIMERA VEZ QUE ESCUCHO A REGINA CARTER Y CREO DEFINITIVAMENTE QUE NO SERA LA ULTIMA.LA TECNICA ES IMPECABLE Y LAS ADAPTACIONES SENCILLAMENTE FASCINANTES.SOBREMANERA ME ENCANTA SU INTERPRETACION DE LA OBRA DE SU AUTORIA ALEXANDRA.A VECES CLASICO , A VECES JAZZ,POR DONDE QUIERA QUE SE LE MIRE ES UN TRABAJO IMPRESCINDIBLE EN CUALQUIER COLECCION DE ESTE TIPO DE MUSICA
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