Je Crois Entendre Encore - Grover Washington, Jr., Bizet, Georges
Pourquoi Me Reveiller? - Grover Washington, Jr., Massenet, Jules
Flower Duet - Grover Washington, Jr., Delibes, Leo
Amor Ti Vieta - Grover Washington, Jr., Giordano, Umberto
O Mio Babbino Caro
Donna Non Vidi Mai
Ch'ella Mi Creda
My Man's Gone Now - Grover Washington, Jr., Gershwin, George
O Soave Fanciulla
E Lucevan le Stelle
Au Fond du Temple Saint - Grover Washington, Jr., Bizet, Georges
Vissi d'Arte
Before God summoned saxophonist Grover Washington Jr. to Heaven in December 1999, the saxophonist recorded Aria, a magnificent recording that combines the rich operatic tradition of solo vocal performances with instrumenta... more »l accompaniment and the improvisational vitality and phrasing of jazz. Known as the progenitor of today's contemporary and smooth genres, Washington reveals the full flower of his underrated musicianship on this beautiful and bittersweet CD. He's joined by conductor Robert Freedman--who worked on Wynton Marsalis's Hot House Flowers and The Midnight Blues, and here leads the marvelous Orchestra St. Lukes--and by bassist Ron Carter and the sensitive pianist Billy Childs. They beautifully buoy Washington's impassioned interpretations of the greatest aria "hits," from George Gershwin's Porgy and Bess to Bizet's Les Pecheurs de Perles (The Pearl Fishes), and his trademarked velvet vibrato is heard throughout the saxophone family. His timeless tenor sax sings sweetly on Massenet's "Porquoi Me Reveiller (Why Do You Wake Me?)" and Puccini's "Donna Non Vidi Mai (Never Seen a Woman Like That)." "O Soave Fanciulla (Oh Sweet Lady)," another Puccini gem, is graced by Washington's full-bodied alto tones. His angelic soprano soars on the after-hours version of Giordano's "Amor Ti Vieta (Love Forbids)," which contrasts his broad and rarely heard baritone lines on the Indian impressions of Delibes's "Flower Duet." The famous aria from Puccini's Tosca, "Vissi D' Arte (I Lived for Art)," showcases Washington at his lyrical best, and its title serves as a fitting epitaph for this incredible and sorely missed musician. --Eugene Holley Jr.« less
Before God summoned saxophonist Grover Washington Jr. to Heaven in December 1999, the saxophonist recorded Aria, a magnificent recording that combines the rich operatic tradition of solo vocal performances with instrumental accompaniment and the improvisational vitality and phrasing of jazz. Known as the progenitor of today's contemporary and smooth genres, Washington reveals the full flower of his underrated musicianship on this beautiful and bittersweet CD. He's joined by conductor Robert Freedman--who worked on Wynton Marsalis's Hot House Flowers and The Midnight Blues, and here leads the marvelous Orchestra St. Lukes--and by bassist Ron Carter and the sensitive pianist Billy Childs. They beautifully buoy Washington's impassioned interpretations of the greatest aria "hits," from George Gershwin's Porgy and Bess to Bizet's Les Pecheurs de Perles (The Pearl Fishes), and his trademarked velvet vibrato is heard throughout the saxophone family. His timeless tenor sax sings sweetly on Massenet's "Porquoi Me Reveiller (Why Do You Wake Me?)" and Puccini's "Donna Non Vidi Mai (Never Seen a Woman Like That)." "O Soave Fanciulla (Oh Sweet Lady)," another Puccini gem, is graced by Washington's full-bodied alto tones. His angelic soprano soars on the after-hours version of Giordano's "Amor Ti Vieta (Love Forbids)," which contrasts his broad and rarely heard baritone lines on the Indian impressions of Delibes's "Flower Duet." The famous aria from Puccini's Tosca, "Vissi D' Arte (I Lived for Art)," showcases Washington at his lyrical best, and its title serves as a fitting epitaph for this incredible and sorely missed musician. --Eugene Holley Jr.
Tzshanna Shelembe | Spring Valley,New York | 01/27/2004
(5 out of 5 stars)
"This album inspires the depths of all holy, serene, and sensual emotion to surface. Futhermore, I am a witness to its calming effect on my home and neighborhood. Nothing negative can exist amid these sounds. For romance, try Aria and candle light. Discover new heights and depths in your partner."
Simply Amazing
Swing King | 01/29/2003
(5 out of 5 stars)
"This is an amazing work. It is a unique blend of classical music and jazz, rich in the musical traditions of two worlds. Mr. Washington's phrasing is elegant and often poignant while he moves effortlessly through complex passages. It is a CD that will be listened to again and again."
When Jazz met Opera
Swing King | Cincinnati, OH USA | 01/14/2007
(5 out of 5 stars)
""Aria" is the last album Grover was to make, unexpectedly dying at the young age of 56 in 1999. The Italian term "aria" is most commonly associated with the opera, and what listeners get here are classical compositions with the saxophone doing the storytelling instead of an opera singer. Such explorations are not uncommon in music today, though the devotion of an entire album to this concept is somewhat unusual. For Grover, the classically trained musician that he was, this kind of jazz fusion album was right up his alley.
Bob Freedman, of the Orchestra of St. Luke's, arranged and composed all of the selections on this album for Washington, Jr., bringing to the project an expert knowledge of the operatic and classical form. Pianist Billy Childs and bassist Ron Carter accompany Grover as ambassadors from the jazz world on this release. The musicality of the members of the orchestra was particularly professional and emotionally evocative on these dates. The sound quality and clarity is unimpeachable on here, and the album overall is a delight to own.
"
Jazzy opera (or should that be operatic jazz?)
Olukayode Balogun | Leeds, England | 06/21/2007
(5 out of 5 stars)
"I owe a huge debt of gratitude to Grover Washington, Jr. My enduring love affair with jazz might never have gotten off the ground had it not been for his dulcet tones. How excited my peers and I used to get back in the day, over songs like "Mister Magic" (from his unmissable album of the same name), "Feels So Good" (ditto) and "Loran's Dance" (from the brilliant "Reed Seed"), not to mention the plethora of other artistes' works he appeared on; people like Bob James and Eric Gale. We adored him for the way he fused jazz with funk, rhythm & blues and soul with such apparent ease and he's still the only saxophonist I'm personally aware of, who could play the baritone, tenor, alto and soprano sax with equal flair and virtuosity.
His later work fell a bit short of what we expected of the great man, (we were not huge fans of either 1989's Time Out of Mind, 1990's Strawberry Moon or 1992's Next Exit, though admittedly they did have their moments) but he totally redeemed himself with 1994's All My Tomorrows, an album we considered his first 'proper jazz' album in years. Nevertheless, our overall respect for him, MY overall respect for him was never diminished and I still get just as excited about those earlier works now as I did over 25 years ago when I first heard them.
This collection of arias was his last recording before he sadly passed away at the end of 1999, aged just 56. GWJ decided to make a whole album of classical music as a dedication to what was apparently his first love. Who knew?
Well, you could fit what I know about opera, arias and classical music in general on the back of a postage stamp. As it was, I had only come across two of the twelve songs on this CD ever before; the first, "Flower Duet", from Delibes' "Lakmé" because it was used in a long-running TV ad for 'the world's favourite airline' and the other, "My Man's Gone Now", from Gershwin's "Porgy & Bess" because I love that particular opera and know all the songs back to front, courtesy of Ella Fitzgerald and Louis Armstrong's version of the soundtrack. Still, I found myself enraptured by this recording right from the start. I now know of course, that an 'aria' is a song that is sung during an opera performance and that what GWJ has done here is effectively replace the human voice with his saxophone. His sax is in effect, 'singing' opera.
It works. Partly because these are all incredibly good songs; songs that were written a long time ago and will no doubt still be popular and relevant long into the future. Partly because of the brilliant, sparkling piano accompaniment provided by Billy Childs and the solid bass lines provided by the legendary Ron Carter. Partly because of the wonderful trumpet sound Terrence Blanchard brings to the proceedings, albeit, sadly, only on one tune, "My Man's Gone Now". It also works for me, to a large extent, thanks to the beautiful accompaniment of the Orchestra of St Luke's conducted by Robert Freedman.
But my love for this CD is mainly due to GWJ's trademark sound, full of heart and soul as always. The lines between classical music and jazz are deliciously blurred here and it makes for great listening. You don't have to be a fan of either jazz or opera to enjoy this but it will definitely help. If you love both, you'll be in heaven.
GWJ's music will live with me forever but this great swan song ensures he ended his stellar career on a definite high. May he rest in peace."