Ragtime Music

If your concept of "klezmer music" is some bunch of frenzied moderns playing clarinet as fast as possible, this is sure to disappoint.

However, if you are interested in hearing where the music came from, back in the days when it was illegal in most parts of Eastern Europe for Jews to play "loud instruments" like the clarinet, and instead performed on the tzimbl (or cymbalom) and fidl and perhaps a flute, there is little to compare to this wonderous reissue.

Joseph Moskowitz is the acknowledged greatest of the tzimbl players to have been recorded. (There may well have been better - but they weren't recorded!)

Indispensible for the true aficionado or serious student, and absolutly worthless for the crowd who thinks Hava Nagila is a hora.

Since i am into ragtime i was curious about orchestral movements.
I play alot of piano rags but you also would believe it was composed for orchestra

gunther schuller and his ragtime ensemble are in my eyes the bestest in this sector. They play the rags like they use to be.
i can recommend this CD to everyone who likes ragtime.

I love ragtime, but I don't love this CD. If you like the sound of a very loud snare drum dominating many of the tracks, then you'll like it. Before you buy it, try to borrow it from your local library to make sure it's for you. I wish I had. Let the buyer beware!

once again gunther schuller brings us the beautiful sound of orchestrated ragtime. but instead of focusing on Scott Joplin, he mixes in modern day rags. Mattapan Rag, composed by the tubist, shows how ragtime can be effective outside of the typical ABACD format established in early rags. a great suprise is the Smokehouse Blues. while not a "rag" it does use the ompah base and syncopated treble and therefore is very welcome. it also shows how southern ragtime is much dofferent from midwestern.

I first heard the New England Ragtime Ensemble on PBS many years ago, and the wonderful sounds from these talented musicians has stuck in my head ever since. The 17 tracks on this album are generally quite up-tempo, though the "slower" songs certainly wouldn't qualify as ballad (and hence would not be ragtime).

I was surprised to find any ragtime collection that does not include Joplin's "The Entertainer", but they have clearly not been wanting for good material to fill a CD -- every one is a winner. My favorites are Rob Carriker's "Matapan Rag" and a delightful (non-piano!) arrangement of "Dizzy Fingers".

Any fan of ragtime will love this album. I did.

Today's rock and country radio can really beat down one's desire to tune in. With the consolidation of programming, fewer choices for those with a defined sense of musical taste exist. Mainstream versions of those genres have wandered aimlessly toward something that most fans simply cannot identify with today.

Enter Tommy Womack and Will Kimbrough, Nashville survivors and industry undergrounders with grit. Together their songwriting and performance credits could fill this page, but it suffices to say that it would be hard to find two more capable unknowns in the business.

This live album is their debut release and shows off the duo's ability to write music that not only entertains but inspires a little juke-joint butt-shaking. With country-twang and a few Rolling Stone's licks, this disc covers all the bases that mainstream music has ignored.

Daddy raised the roof on February 18th and 19th in Frankfort Kentucky, invading a Women's Club building that dated back 100 years or better to record this album LIVE. Tommy Womack and Will Kimbrough brought their songwriting to the table while teaming up with Dave Jaques (bass guitar, Johh Deaderick (keys) and Paul Griffith (drums). What a team they were. Will Kimbrough announced that Daddy was a Jam Band for people who like ragtime and they proceeded to rock the house with tune after tune of raw unadulterated rock and roll with a hint of delta blues, 70's rock and Kimbrough/Womack talent. Every track on the album reveals a fresh approach by two songsters that have became comfortable with the fact that being Daddies has made them better. Seasoning them to perfection like a fine Christmas feast. The songs speak for themselves, the sounds will heal the wounds that have been dealt by mediocre rock radio that has permeated the Clear Channel world dominate soundwaves. Daddy is Rock and Roll Therapy needed in the worst way! Daddy is the best kept secret that Nashville is not gonna be able to keep in the bag!