Artist: Joe Pass
    Album: Better Days
    Year: 1970-1971
    Release: 1995
    Label: Hot Wire
    Format, bitrate: MP3, 320 kbps
    Time: 49:52
    Size: 110 MB

   Fortunately, I listened to this album before I read the AMG review. I was absolutely astonished by it and by their raiting as well. It was a great pleasure to listen to this album - combination of various styles along with proficient performance of plenty of talanted musicians and permanent Oscar Peterson's companents among them, Joe Pass and Ray Brown.
   You'd better listen to it and make a conclusion about truthfulness of some AMG's raitings.
   К счастью, я послушал этот альбом до того, как прочёл ревью AMG. Я был просто поражён как им, так и их рейтингом. Послушать этот альбом было для меня огромным удовольствием - сочетание различных стилей, а также мастерское исполнение большого числа талантливых музыкантов, и в их числе постоянных компонентов самого Оскара Питерсона - Joe Pass и Ray Brown.
   Советую послушать, чтобы получить представление о правдивости некоторых рейтингов AMG.

    Artist: Benny Goodman, Harry James, Count Basie, Gene Krupa,
                   Lionel Hampton, Cootie Williams, Bobby Hackett, and others
    Album: Live At Carnegie Hall: 1938 Complete
    Year: 1938
    Release: 1999
    Label: Columbia/Legacy
    Format, bitrate: MP3, 320 kbps
    Time: 122:12
    Size: 150 + 136 MB
   

   Benny Goodman's January 16, 1938, Carnegie Hall concert is considered the single most important jazz or popular music concert in history: jazz's "coming out" party to the world of "respectable" music, held right in that throne room of musical respectability, Carnegie Hall. The 1950-vintage three-album set from the concert only solidified its reputation, and an earlier CD release derived from the LP master was a choice entry in the Goodman catalog for more than ten years. For the 1999 release, producer Phil Schaap re-sourced the concert from original 78 rpm transcription discs; he has also rescued "Sometimes I'm Happy," the show's original second number, and "If Dreams Come True," its original first encore, along with the unedited version of "Honeysuckle Rose" (with Harry Carney in a two-chorus baritone sax solo and Buck Clayton's three-chorus trumpet solo), all previously lost. The detail is startling, with soloists who are more up close than ever and even details from the audience reactions. Gene Krupa's drums have an extraordinary richness of tone, and the whole rhythm section finally gets its due as well, even Freddie Green's rhythm guitar solo during "Honeysuckle Rose," which is gloriously enhanced. There will be casual listeners, however, who won't like this release because Schaap has chosen to leave a lot of surface noise, in the interest of preserving the original concert ambience. Some compromise should have been possible, however, where the worst source damage is concerned, and some casual listeners may prefer the original CD release, despite the enhancements featured here.
   Bruce Eder, AMG

    Artist: Joe Pass
    Album: Songs for Ellen
    Year: 1992
    Release: 1994
    Label: Pablo
    Format, bitrate: MP3, 320 kbps
    Time: 45:26
    Size: 105 MB
    All Music Guide Rating:

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   "...cancer finally took the life out of Pass, music lost one of its titans — a humble, self-effacing one, but a titan nonetheless. With a characteristic wry grin beneath a bushy mustache, Pass had a way of shrugging off the praises lavished on him. In particular, he had to suffer his legendary status conferred upon him since he began, in earnest, his official career as a jazz guitarist in the early Seventies, finally setting aside studio work and other musical detours.
   In particular, Pass wore the crown as the premier practitioner of solo jazz guitar for some 20 years, after Norman Granz pushed him onstage — alone. That nervous-making moment was the beginning of an invigorating tradition that leads us to Songs for Ellen. Here, we have access to the fruition of a guitarist at the top end of his form, where craft and inspiration converge.
   "I just like to play," a typically unassuming Pass said, not long before his death. "I'm not heavily involved in the mechanics of the instrument or who's doing what. It's too bad, because maybe that makes me not a devoted musician, but I'm devoted when I'm playing. A hundred percent."..."
   The first Pass's solo album on acoustic guitar, produced by three sessions recorded in August of 1992, which eventually led to another solo acoustic album - Unforgettable. All these recordings were made by the cancer-afflicted guitarist, who knew that time was of the essence, that's why the atmosphere was made extremely domestic and quite, thus making the Great musician relax and express his soul with help of his gentle instrument...
   "...Рак всё-таки забрал жизнь у Пасса, и музыка потеряла одного из титанов - простого, скромного, но всё-таки титана. С характерным кривым оскалом, скрывающимся за густыми усами, Пасс умел отбрасывать всяческие дарованные ему похвалы. В частности, ему приходилось терпеть присвоенный ему легендарный статус с того момента, как он всерьёз начал свою официальную карьеру в качестве джазового гитариста в ранние семидесятые, наконец прекращая свою студийную работу и другие музыкальные объезды.
   В частности, Пасс носил корону основного исполнителя сольной джазовой гитары в течение 20 лет после того, как Норман Гранц вытолкнул его на сцену - одного. Этот треплющий нервы момент оказался началом воодушевляющей традиции, которая в конечном итоге приводит нас к Songs for Ellen. Именно здесь мы имеем возможность насладиться игрой гитариста, находящегося на концевом пике своей формы, где искусность и вдохновение встречаются.
   "Я просто люблю играть", - говорил с присущей ему скромностью Пасс незадолго до своей смерти. "Я не вовлечён основательно в механику инструмента или в то, кто что делает. Это очень плохо, потому что, может быть, это и делает меня непреданным музыкантом, но я предан, когда играю. На все сто процентов."..."
   Первый исполненный на акустической гитаре сольный альбом Пасса. Источником для его создания явились записи, сделанные во время трёх сессий, записанных в августе 1992 года, которые в конечном итоге послужили источником для появления другого сольного "акустического" альбома - Unforgettable. Все записи были созданы страдающим от рака гитаристом, который знал, что время играло для него существенную роль. Именно поэтому атмосфера во время сессий была создана максимально домашней и спокойной, таким образом дающей возможность Великому музыканту полностью расслабиться и выразить свою душу посредством своего послушного музыкального инструмента...

   Artist: Dizzy Gillespie, Roy Eldridge, Clark Terry, Oscar Peterson,
               Niels-Henning Orsted-Pedersen, Louis Bellson
   Album: The Trumpet Kings at Montreux
   Year: 1975
   Release: 1990
   Label: Original Jazz Classics
   Format, bitrate: MP3, 320 kbps
   Time: 1:07:00
   Size: 148 MB

   There can hardly be a jazz fan anywhere in the world who would need to be told that when the melodrama of a night's jamming moves into its denouement and Roy Eldridge, Dizzy Gillespie and Clark Terry make their appearance downstage, then the proceedings have begun to take on a certain gladiatorial aspect. The relationship between three such men is a positive maze of influence and cross-influence, of personal relationship, of historical allusion, of mutual respect, regard, affection — and egotistical rivalry. And at Montreux on July 16, in the broiling 1975 summer heat, by the time they confronted each other, all three trumpeters had had copious opportunity to warm up, to taste triumph, to take the measure of the crowd, the acoustics, the rhythm section, the atmosphere of the occasion. When this fourth and final set of the night began, it was a signal that the decks, figuratively speaking, had been cleared for action, as much as to say that now that the fripperies of saxophones had been dispensed with, the three champions could get down to a tough match with no distractions.
   This is not to say that Roy, Diz and Clark are anything remotely approaching sworn enemies or bitter rivals. They are not like champion tennis players who sprawl between games back-to-back at the umpire's chair like Tweedledum and Tweedledee, exchanging no word, no glance, no cognisance of the other's existence. On the contrary, Roy, Diz and Clark are much more like three profound specialists of an arcane science, Freud, Jung and Adler perhaps, who having studied each other's findings very closely, rejecting part and accepting part, then go their own sweet ways, having each acquired for the other two that fundamental respect which all professionals must feel for true professionalism. . . .

    Artist: Count Basie
    Album: Count Basie & His Great Vocalists
    Year: 1939-1945
    Release: 1995
    Label: Legacy/Columbia
    Format, bitrate: MP3, 320 kbps
    Time: 48:11
    Size: 82 MB


   A compilation of compositions recorded during the World War II period, which include Basie's orchestra and outstanding vocalists sets, who have always been considered as one of the main Basie's band parts. They are two the greatest vocalists of the era Jimmy Rushing and Helen Humes among others, such as Earl Warren, Ann Moore and Lynne Sherman, all of which were "founded" mostly in Basie's orchestra...
   Компиляция композиций, записанных в период Второй Мировой Войны, включающих совместные записи оркестра Basie и выдающихся вокалистов, которые всегда считались одной из важнейших составляющих оркестра Basie. Среди них встречаются два величайших вокалиста той эпохи Jimmy Rushing и Helen Humes, а также Earl Warren, Ann Moore и Lynne Sherman, все из которых были "основаны" в основном в биг-бенде Каунта...

   The Basie band was home to several top-notch vocalists over the years, and this collection spotlights some of the best. Kicking off with Jimmy Rushing fronting the band on "I Can't Believe That You're in Love With Me," the set also features stellar outings from Helen Humes ("Don't Worry 'Bout Me," and "If I Could Be With You"), Lynne Sherman ("My Old Flame"), Earl Warren ("Moon Nocturne"), and Ann Moore ("Jivin' Joe Jackson"). A different side of the Basie band not often anthologized, this features stellar playing from greats like Lester Young, Buck Clayton, Al Killian, Dicky Wells, Freddy Green, Walter Page, Jo Jones, and of course, the Count himself.
      Cub Koda, AMG

   Artist: Chet Baker
   Album: Live at Pueblo, Colorado 1966
   Year: 1966
   Release: 1992
   Label: Baker
   Format, bitrate: MP3, 320 kbps
   Time: 1:01:32
   Size: 134 MB

   This previously unreleased recording has very sentimental memories for me. This was the sixties. There was very little work for jazz musicians at the time, which made it very hard financially. With two small boys, and another child due in three months, the opportunity for Chet to work in Pueblo was a small godsend.
   The job didn't pay much, but it was worth an opportunity for Chet to play. What made it even nicer for Chet was that he would be playing with Phil.
   Phil was best man at our wedding and even lived with us for a few months in New York. Phil isthe kind of musician who is constantly writing and creating. He would think nothing of throwing open our bedroom door at three or four o'clock in the morning and waking Chet up to listen to him play something he had just written. At times, Phil would wake us up two or three times a night. On one occasion, after several visits from Phil, Chet told him he would "kick his ... ass" if he knocked on our door again. Don't get me wrong, Chet loved Phil, but he also liked to sleep. There was no stopping Phil, though, he cooled it for a couple of nights, but was soon back with sax, pencil and paper in hand.
   I'm so grateful that Joe Urso made the tape available to me and thankful for his encouragement. Thanks Joe.
   Thanks also to Henry Blaukopf, Jim Coleman, Chip Stern, and Art and Lisa Frank for assisting in the production of this recording.
   This CD has the music and memories that make me smile, and Chet come alive again.
      Carol Baker, 1992

   Artist: Jack Costanzo
   Album: Back From Havana
   Year: 2000
   Release: 2001
   Label: Cubop
   Format, bitrate: MP3, 320 kbps
   Time: 1:07:33
   Size: 149,6 MB
   AMG Rating:


   I have to say I really, really, like this album. Actually it's a smoking, cooking, boiling, and whatever-terminology-is-new album.
   Many thanks to Michael and Jody McFadin for giving me the opportunity to record with CuBop Records. Special thanks to Bobby Matos, who produced and contributed a ton of stuff to this CD. I think Marilu is on her way! Good Luck Lady! You're sensational.
   Our appreciation to Ron Compton of Fanfare Studios for giving us a great mix.

   Jack Costanzo is one of the most important pioneers in popularizing Afro-Cuban jazz, playing bongos with Stan Kenton in 1947 on many influential recordings and being a member of the highly visible Nat King Cole Trio from 1949-53. . . .

   Artist: Andre Previn, Yo-Yo Ma
   Album: From Ordinary Things
   Year: 1995
   Release: 1997
   Label: Sony Classical
   Format, bitrate: MP3, 320 kbps
   Time: 60:25
   Size: 139,4 MB


   It has always been impossible for me to write program notes for my own music. I think I am perfectly capable of analysing other composers' work, but when it comes to my own I seize up and fall into puerile and lamentable phrases. All I can remember is when and where, but the why renders me wordless. What's even less excusable is that most of the time I don't fully understand the program notes written by other, more musicologically agile, minds. Years ago, the composer Mel Powell and I were amusing ourselves with the following game: we would read aloud the program notes printed in old concert programs (he had an extensive collection) and would take turns in attempting to identify the work in question. After a few fairly hilarious failures, I had had enough. "One more," begged my colleague, "just this one more, you'll know this one." I acquiesced and began to listen.
   When it got to a phrase something like "upon the fragmented return of the subordinate theme, in stretto form...," my mind blanked out, the same way that it does when a waiter insists on reciting a menu. I interrupted, a bit testily.
   "I have absolutely no idea." "Too bad, it's your own Piano Concerto."
   So much for confessions. . . .

   Artist: Toots Thielemans
   Album: The Live Takes, Vol. 1
   Year: 1994 - 1998
   Release: 2000
   Label: Narada Jazz
   Format, bitrate: MP3, 320 kbps
   Time: 1:08:33
   Size: 159,5 MB

   Not that there has ever been much competition, but the legendary Toots Thielemans is arguably the world's greatest jazz harmonica player at the turn of the century. This recording, a compilation of live recordings of various jazz standards (from the very familiar "I Love You Porgy"/"Summertime" to the more obscure "Three Views of a Secret") was available overseas for years before receiving its U.S. release in 2000. Longtime fans will certainly love it all, but there are too many dragging stretches where the mood is too subdued to generate much excitement. After a very gentle lullaby take on "Stardust," Thielemans and his ensemble take things up a notch with some energetic interaction and soloing in the final minutes of the seven-and-a-half minute "I Do It for Your Love" and throughout the more swinging "Three Views of a Secret." Even on the quiet pieces ("All the Way" is just way too languid), Thielemans does his usually wonderful job of lingering on certain emotions and improvising sharply. If you're looking for pleasant mood music with rare bursts of adventure, this will fill the bill.

   Artist: Toots Thielemans
   Album: The Brasil Project
   Year: 1992
   Label: Private, Inc
   Format, bitrate: MP3, 320 kbps
   Time: 52:32
   Size: 129,6 MB

   This popular set matches the brilliant harmonica player Toots Thielemans with such top Brazilian performers as Ivan Lins, Djavan, Oscar Castro-Neves, Dori Caymmi, Ricardo Silveira, João Bosco, Gilberto Gil, Milton Nascimento, Caetano Veloso, Luiz Bonfá, Edu Lobo and Eliane Elias, in addition to bassist Brian Bromberg, keyboardist Michael Lang, trumpeter Mark Isham and Dave Grusin. Thielemans is often in a supportive role behind the many soothing Brazilian singers and performers. The atmospheric date surprisingly does not have any Antonio Carlos Jobim songs, instead emphasizing lesser-known tunes (other than Toots' greatest hit "Bluesette"). Easily recommended to fans of Brazilian pop and jazz, this CD was soon followed by a second (and equally rewarding) set featuring many of the same performers.
   ~ Scott Yanow, AMG

   Artist: Michel Legrand
   Album: The Windmills Of Your Mind (The Very Best Of Michel Legrand)
   Year: 1969
   Release: 1999
   Label: Master Sound
   Format, bitrate: MP3, 320 kbps
   Time: 34:38
   Size: 78 MB

   Legendary French pianist and composer Michel Legrand created a wonderful variety of music ranging from global pop hits to symphonic suites. This "Greatest Hits" album contains his best known songs including the unforgettable title track, themes from "Summer of '42" and "The Go Between" ("I Still See You") plus tributes to his home town "Paris Was Made For Lovers" and "A Place In Paris". Star guests vocalists Dusty Springfield and Matt Monro boost the considerable appel of this collection.
   Booklet notes.

   Artist: Toots Thielemans
   Album: Apple Dimple
   Year: 1979
   Release: 1990
   Label: Denon, Jazz Heritage
   Format, bitrate: MP3, 320 kbps
   Time: 38:59
   Size: 90,4 MB

The greatest whistler and harmonica player of all times is back! Please, welcome his rare Japanese LP in a marvellous mix of styles, which include Latin American jazz, Fusion, Be-bop, and certainly Mainstream.

   A rare Japanese fusion set from the legendary Toots Thielemans -- one that features his guitar and harmonica set up nicely with some Japanese players! Masahiko Satoh is the guiding force behind the set -- as his work on keyboards figures prominently on the record, and his arrangements really guide the groove -- hitting that perfectly soulful vibe you'd find in the best Japanese fusion sessions of this nature, without any of the slick or overdone tones you'd get from mainstream records in the US. Satoh plays acoustic piano, Korg, and oberheim -- and Toots also does some of his trademark whistling, too -- which is always a treat. Titles include "Midnight Cowboy", "Looking For Mr Goodbar"," Honesty", "Take The A Train", and "Sunday In New York". (HQ -- Hi Quality CD pressing!)
   © 1996-2009, Dusty Groove America, Inc.

     Artists: Yo-Yo Ma & The Silk Road Ensemble
     Album: Silk Road Journeys: When The Strangers Meet
     Year: 2001
     Label: Sony Classical
     Format, bitrate: MP3, 320 kbps
     Time: 78:54
     Size: 171 MB

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     The eastern traditional melodies supereminent collection you are going to listen will take both your body and your soul to the mysterious places every one is talking and wondering about, will help your body in achieving complete relaxation, and will touch the most wiredrawn parts of your soul.

     Silk Road Journeys: When Strangers Meet is the result of a three-year endeavor involving a team of dedicated individuals. It all started with field-work, as ethnomusicologists collected material from composers and musicians in China and Central Asia. With results in hand, in July 1999, a Silk Road Project listening panel reviewed the fieldwork, and 16 composers were commissioned. A year later they and over 40 musicians from around the world gathered at the Tanglewood Music Center in Lenox, Massachusetts - to play through the new commissions and listen to each other's music; to eat pizza and fly kites together; to begin to build friendships and mutual trust as we embarked on a collective musical adventure. . . .

   Artist: Duke Ellington
   Album: THE CENTENNIAL EDITION JBC-Volume 3 (The Complete Midforties Recordings)
   Year: 1927 - 1973                        Volume Years: 1944 - 1946
   Release: 1999
   Label: RCA Victor (BMG)
   Format, bitrate: MP3, 320 kbps
   Time: 27:12:05                            Volume Time: 4:42:57
   Size: ~ 4 GB                                Volume Size: 644.1 MB
   All Music Guide Rating:

   When Duke Ellington entered RCA Victor's New York studios on December 1, 1944, for his band's first commercial recording session since the summer of 1942, his first concern was to quickly prepare for release the best possible version of a song he had recently written with lyricist Don George, I'm Beginning to See the Light. Convinced of its hit potential, the energetic George had already brought the song to Harry James, and the trumpeter had liked it so much that he had recorded it for Columbia a week earlier. That label had also just come to terms with the American Federation of Musicians. The third major label of that era, Decca, had settled in the fall of 1943. A two-year recording ban had ended. Now Ellington had to hurry to avoid being beaten to the punch with his own material.
   Когда Duke Ellington вошёл в нью-йоркские студии компании RCA Victor 1го декабря 1944го года по поводу первой коммерческой записи своего оркестра после лета 1942го, его первостепенной задачей было быстро приготовить к выпуску наилучшую из возможных версию песни, которую он незадолго до этого написал вместе с поэтом-песенником Don George - "I'm Beginning to See the Light". Убеждённый в её потенциале George до этого уже принёс её трубачу Harry James, которому она так понравилась, что тот записал её для Columbia на следующей же неделе. Двух годичный запрет на записи был снят. Теперь Ellington-у необходимо было поторопиться не оказаться опережённым его же собственным материалом.
   Booklet notes

   Artist: The Manhattan Transfer
   Album: The Very Best Of The Manhattan Transfer
   Year: 1975, 1978 - 1985, 1987
   Release: 1994
   Label: Rhino
   Format, bitrate: MP3, 320 kbps
   Time: 61:06
   Size: 140 MB
   


   This eclectic collection of songs encompasses jazz, bebop, swing, doo wop, rock & roll, and gospel; all are trimmed in an attractive pop texture. These 16 compositions are taken from the vocal quartet's albums, which span 12 years (1975-1987). Each selection is inviting, as all four song stylists display their individual vocal skills and admirable harmonies. Laurel Masse appears on recordings up until 1979, when Cheryl Bentyne replaced her. Other members include Tim Hauser, Janis Siegel, and Alan Paul.

   Artist: Maynard Ferguson & Big Bop Nouveau
   Album: One More Trip To Birdland
   Year: 1996
   Release: 2003
   Label: Concord Jazz
   Format, bitrate: MP3, 320 kbps
   Time: 52:45
   Size: 117 MB
   All Music Guide Rating:

   Even at the age of 67, Maynard Ferguson shows on this CD that he could still belt out the high notes. His "Big Bop Noveau" band consists of four trumpets, trombonist Tom Garling (who takes a rockish guitar solo on "Birdland"), Matt Wallace and Chris Farr on saxophones, and a rhythm section. With the exception of "Birdland," the music is strictly bebop, with plenty of screaming trumpet and heated playing; Wallace's alto outbursts often take honors. Highlights include "Manteca," "Cajun Cookin'," "Milestones" and a hyper "It Don't Mean a Thing."
   Scott Yanow, AMG

    Artist: Bobby McFerrin
    Album: The Best Of Bobby McFerrin, The Blue Note Years
    Year: 1985-1990
    Release: 1996
    Label: Blue Note
    Format, bitrate: MP3, 320 kbps
    Time: 55:02
    Size: 127 MB
   

Thank you Jazz Blues Club for a wonderful year of great time and incredible music!

   The highlights of vocal acrobat Bobby McFerrin's eclectic career are featured on this collection, which includes samples of his work with the St. Paul Chamber Orchestra, Chick Corea, the Yellowjackets, Manhattan Transfer, and Jon Hendricks. Among the selections are "Spain," "Blue Bossa," and the cloying hit "Don't Worry, Be Happy."
   Jason Ankeny, AMG

    Artist: The Mills Brothers
    Album: The Best Of The Decca Years
    Year: 1941-1955
    Release: 1990
    Label: MCA Records
    Format, bitrate: MP3, 320 kbps
    Time: 38:44
    Size: 68 MB
    All Music Guide Rating:



   Every so often, a musical act appears that influences hundreds, or even thousands of youngsters to take up music - usually, because what's being done looks like fun, and looks relatively easy to imitate. That's what happened when Elvis Presley sang "Heartbreak Hotel," when the Kingston Trio inspired thousands of young men to learn a couple of guitar chords and don striped shirts, and when The Beatles-and later, punks like the Sex Pistols-first became popular. Decades earlier, the same thing was happening in the world of popular music. Bing Crosby's deceptively easy style demonstrated that one needn't be a Caruso to sell a song, as did Frank Sinatra a few years later.
   One of the most influential groups of the '30s - and beyond - were four young men from Ohio, whose innovative harmonies and rejection of traditional musical accompaniment helped set a precedent for young singing groups for years to come. It's not too much of an exaggeration to state that street-corner accappella singing owes very much indeed to the Mills Brothers.

   Artist: Itzhak Perlman & Andre Previn
   Album: The Easy Winners And Other Rag-Time Music of Scott Joplin
   Year: 1975
   Release: 1986
   Label: EMI Records
   Format, bitrate: MP3, 320 kbps
   Time: 42:23
   Size: 98 MB

   Originally played mostly in saloons and bordellos, ragtime became immortalized through Scott Joplin's dedication and talent.
   Listening to Joplin's own works in their original piano form and in orchestral transcriptions, I became captivated by the composer's charm and uniquely pungent rhythms.
   Intriguing too was the pervasive classical influence evidenced in both form and harmonic content.
   Joplin's lyrical, often sad qualities suggested the idea of arranging his music for violin and piano. The violin, which naturally displays music's most soulful qualities, surely would be an apt voice for realizing this composer's very individual spirit.
   For these recordings, I chose works which represent Joplin in a variety of moods, joyful, sad or meditative. The exuberant qualities of "The Rag Time Dance", for example, contrast with the more introspective, solemn character of "Solace" or "Bethena" achieved through his innovative use of harmonic progressions and modulations combined with rhythmic pulse and melodic lines.
   At the recording sessions, Andre Previn and I adhered to the original harmonic material and form of each selection. We did take liberties, however, with embellishments as we went along, always in Joplin's basic style.
   Playing in such a manner is always exciting and adventurous. Recording in this way is especially fascinating. In doing the same rag two or three times, we discovered during playbacks that the successive performances revealed quite different moods and embellishments.
   For me, it was especially gratifying to play with stylistic freedom. Such practice was common during the eras of Bach and Mozart, but the classical violinist of today is usually bound by the musical score, which is absolute.
   I sincerely hope that listening to this recording will engender for you the joy and pleasure which A ndre Previn and I experienced in playing Scott Joplin.
   ITZHAK PERLMAN