Guitar Passions (CD review)

Sharon Isbin, guitar, and friends. Sony Classical 88697 84219 2.

American guitarist Sharon Isbin has obviously been playing classical guitar a lot longer than I thought. Maybe she just looks younger than she is. In any case, Ms. Isbin was a student of such distinguished mentors as Alirio Díaz, Oscar Ghiglia, Aldo Minella, Andrés Segovia, and Rosalyn Tureck; she received her Master of Music degree from the Yale School of Music; she has been a successful recording artist since the 1980's; she has appeared with a multitude of orchestras around the world; she has received numerous awards; and she founded the Guitar Department at the Juilliard School. Phew! No wonder she makes good albums.

In the case of 2011's Guitar Passions with Sharon Isbin & Friends, the "friends" are Steve Vai, guitar; Stanley Jordon, guitar; Nancy Wilson, guitar and vocals; Steve Morse, guitar; Romero Lumambo, guitar; Paul Winter, soprano saxophone; Gaudencio Thiago de Mello, organic percussion; and Rosa Passos, vocals. The friends accompany Ms. Isbin in varied numbers on select pieces.

Some of the disc's twelve tracks will be familiar to any fan of the guitar--works by Rodrigo, Albeniz, etc.--while others may be less well known, with several of them getting world-première recordings. On all but three of the selections Ms. Isbin's friends join her in duets, trios, and more, making all of the music seem a little different. It's light, enjoyable fare.

Ms. Isbin begins with a "joyous dance" called "Porro" by Gentil Montana. In this version for two guitars, Isbin plays both parts. Oddly, the music fades off at the end as though done electronically. Then, American jazz-fusion guitarist Stanley Jordan joins Isbin for a première recording of Quique Sinesi's "Sonidos de aquel dia," a lively, up-tempo number. Next, American guitarist and composer Steve Morse of the Dixie Dregs and Brazilian jazz guitar player Romero Lubambo accompany Isbin in the Adagio to Joaquin Rodrigo's Concierto de Aranjuez, done very gently, elegantly, and persuasively.

After those pieces, Ms. Isbin takes it alone through Isaac Albeniz's "Asturias," very colorful, very emotional, very tuneful. Between the Rodrigo and Albeniz works, we get some of the high points of all twentieth-century guitar music.

And so it goes, with a world-première recording of "Dreamboat Annie," the vocals by Heart's Nancy Wilson, and then a moving solo from Isbin by Ariel Ramirez called "Alfonsina y el mar." Moving on, we find more première recordings: Antonio Carlos Jobim's "Chovendo non rosiera" from Isbin and Lubambo; and Alfredo Vianna's "Carinhoso" from Isbin and most of the friends mentioned above.

The album draws near the end with the rain-forest evocations of Gaudencio Thiago de Mello's "O Presidente," which de Mello dedicated to Ms. Isbin on this première recording with de Mello on organic percussion. And things conclude with two movements from Agustin Barrios Mangore's "La Catedral," done by Isbin alone.

If I have any concern about the disc, it's minor; namely, that there is less than an hour of music involved. The program is over before you know it, making you wish for more.

Recorded by Sony in 2010 and 2011 at Kaufman Studios, New York City, and Threshold Sound, Santa Monica, California, the sonics are very close-up in the manner of a typical pop album. This produces a rich, warm, lush, and vibrant response, one that puts the listener pretty much at the feet of the performers. Had I been one of the audio engineers, I would have opted for a bit more space to simulate a more-realistic concert-like setting, but that was not what the engineers were after. They apparently wanted a big, clearly etched, strongly defined sound, and they got it. I doubt that it will disappoint anyone.

JJP

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa