Prokofiev: Peter and the Wolf and Jazz! (CD review)

Also, Peter and the Wolf...Continued. David Tennant, narrator; The Amazing Keystone Big Band. Le Chant du Monde 274 2378.

The idea of fusing classical and jazz (or pop) has been around for a long time. For instance, jazz player Jacques Loussier and his group have been doing it quite successfully for over half a century. Whether die-hard classical or jazz fans find the fusion entirely satisfying is another question, but as a once-in-a-while novelty, such fusions sometimes work.

Anyway, what we have here is Peter and the Wolf (1936) by Russian composer Sergei Prokofiev (1891-1953) adapted for big band, in this case The Amazing Keystone Big Band. Prokofiev's intention was to introduce children to the sounds of a symphony orchestra by telling a children's story with various instruments of the orchestra representing the various animals and humans in the tale. In the present case, the idea is to introduce children to the sounds of a big, eighteen-piece popular band, with jazz instruments taking the place of symphonic ones. And, of course, to help sell any new recording of the Prokofiev classic, you must have a famous actor narrator the proceedings, in this case David Tennant (Doctor Who, Broadchurch, Gracepoint).

Everything comes off as expected, with the big band instruments doing an acceptable job imitating their counterparts in the symphonic orchestra. It's all quite jazzy, and it should please most kids. For adults, I'm not sure it's good jazz or good classical, but it goes down easy.

Tennant makes a cheerful, enthusiastic narrator, and the band plays competently. Although I didn't find any of this material particularly inspiring, there is nothing particularly boring about it, either. As I say, the producers pretty much meant it for children, so I'm sure it will amuse them.

David Tennant
Coupled with the Prokofiev is a series of items that is a sort of continuation of the story with instruments playing various animals, selections that I actually enjoyed more than the main item. There are the "Bird's Tweet," the "Soulful Cat," the "Elegy for a Duck," the "Hunter's Blues," "Beware of the Wolf," "Grandpa's Shuffle," and "Peter's March." Even though they don't match Prokofiev's inspiration, they display perhaps a tad more spark from the orchestra, which may have been playing it too reverentially in the main attraction.

The disc comes packaged in a sturdy Digipak container, with a well-explained and well-illustrated (by Martin Jarrie) booklet.

Executive producer Christian Girardin and engineer-director-editor Alban Moraud recorded the big-band music at the Studio of Theatre Durance, Chateau-Arnoux, France in February 2013 and the narration at Soho Voices, London in January 2015. The sound appears relatively distanced for this type of essentially pop music. The big band has a lot of air and space around it, the venue fairly alive with a healthy resonance. Then, too, the sound is slightly warm and soft, further reinforcing the notion that we are listening a little farther off than usual. The voice seems natural enough, although it, too, seems somewhat soft, even though the engineers recorded it separately and closer up. Still, it's all easy to listen to, just not quite audiophile material.


To listen to a brief excerpt from this album, click here:

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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 of The $ensible Sound magazine 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