Ragtime Music

....In some of her other albums, Nadja takes things a bit too slowly for my taste, but these small "encore" pieces are right up her alley. This record is 71' 12" of pure entertainment. Not that they're easy to perform....

I'll mention a few highlights of the great music Nadja and Sandra Rivers made together....for me, the high point is Georg Kroll's "Banjo and Fiddle"...six of the fourteen tracks are Fritz Kreisler pieces to which Nadja does full justice...the title cut is superbly done, as is the other Gershwin piece, and the one Scott Joplin offering [I wish there had been more].

This is a wonderful album; if you heard Nadja's Brahams Concerto, are ready to forgive her, and give her another chance, this record is for you...you won't be sorry.

Salerno-Sonnenberg's passionate, elegant, heartbreaking interpretations of these wonderful selections is perfectly paired with Sandra Rivers at the piano. I shall never forget their performance of "Claire de lune," the Kreisler pieces, or the exquisite Rachmaninov "Vocalise." In her hands, the violin becomes voice and reeds and brass -- transcending itself and taking the audience right along.

Making great music lies in the ability to express things words can't, to touch the soul, capture the moment and move the heart.

It takes a great artist to perform great music!

Nadja Salerno-Sonnenberg is such an artist and this release is one of her many gifts to the music loving world!

Check out Track #5 - Liebesieid - for a small sampling of the tremendous emotional pull of Nadja's playing. I have several CDs of Itzhak Perman, and Anne-Sophie Mutter, but no violinist matches Nadja's gift of making each piece her own - you know that she truely feels the music - it flows through her - and it isn't just a dry technical playing of the piece.

Yes, she does: her sound is horribly thin, and she can't play the highest notes strong enough, so that they wither away and disappear into silence. Even the darkest, lowest notes come out weakly, so one can't argue that she has trouble just with the upper registers: her whole playing is terribly bad. She does have
a good vibrato, but I fear that if her sound were not thin, the vibrato would make even the darkest melody sound pathetic.

Hahn is all right (not excellent, nor good, just right for
some provincial recital hall) as long as she keeps to the lower pitch range (perhaps she should be playing the bass fiddle!), Shaham does everything only passably, and Chang has some passion and feeling but no strength to express it, but Salerno-Sonnenberg is bad across the board. There maybe a passably competent technique in her playing (that is, she can get the melody across), but she plays out of tune - the sound is disgusting!

I know how crazy this piece of writing must sound among so many raves, but there's no other way to explain the horribly weak, thin sound of the violin in this recording. Perlman, who suffered all his life from weak health, even in such difficult pieces as Beethoven's Kreutzer sonata was able to produce a full-bodied sound - and this, when he was well past his sixties.

But then again, Salerno-Sonnenberg is not alone in showing such a lack of... no, this is not about inborn talent. I doubt some child can pick up a violin and play in tune without first listening to a competent elder's playing. After the most basic education in music performance, it is just a question of getting a good recording of a piece, and practicing till one gets a relatively equal sound.

I harbored great hopes for Salerno-Sonnenberg when I read about her troubled life, the attacks she had to face from critics, her attempted suicide. I was letting myself be deceived by that old Romantic cliché, that pain makes for good art. But this is not about discovering or rediscovering unknown masterpieces, but about interpreting establish ones, and a Paganini doesn't have the "extended techniques" present in many postmodern pieces where noise passes for music, so in this case a standard called in-tune playing exists, and she doesn't perform up to it. But this judgement depends on my senses. If you don't believe me, you can find out whether I am right, or whether I am just another flea-like critic from the incestuous music business, by comparing Salerno-Sonnenberg's playing to that of any famous solo violinist whose career started in the 60's or 50's - when gesticulating wasn't equated with playing.

This guy plays piano with a lot of pizzazz. I especially like his thoughtful "Ragtime Nightingale" and his fresh yet conservative take on "Maple Leaf Rag." He adds few new twists to keep the ubiquitous "Maple Leaf" fresh - a godsend to those of us who have heard this rag billions of times. Thankfully, these twists are not too extreme - Watkins is neither a stodgy ragtime conservative nor an eccentric iconoclast. A tasteful ragtime interpreter in my opinion.

My favorite track is "Eatin' Chocolates," an obscure Iowa rag from 1903, written for a local candy company. Kudos to Mr. Watkins for discovering this rare gem.

My only complaint is that the CD cover is misleading. It shows a bunch of men sitting in a parlor, looking like they are falling asleep. What are they listenbing to? Maybe Satie, maybe Debussy, maybe Kenny G. They are certainly not listening to Brent Watkins, because if they were, they'd be tapping their feet or swaying.

For the "Heroes of Parlor Town," pianist Brent Watkins has put together a mouthwatering selection of well-known and obscure ragtime and early jazz piano solos. In sixteen selections, the disc covers twenty-five years of ragtime, from Scott Joplin's "The Maple Leaf Rag" (1899) to Jelly Roll Morton's "Mamanita" (1924). The pieces are roughly arranged in chronological order, allowing the listener to hear how ragtime developed into jazz. Unfortunately, there are no liner notes with the disc outside of a brief couple paragraphs on the tray card which explain that the "heroes of Parlor Town" were the "men of color who defined musical culture for white America."

The disc is very well recored on a great-sounding grand piano. No sore ears from out-of-tune honky-tonk uprights here! In general, Watkins's performances are excellent: he tackles the uptempo pieces with vigor and pep, and the gentler pieces are a little more relaxed. Watkins rips through Clarence Wiley's fiery "Carbarlick Acid" (1903) particularly well; it just leaps out of my stereo with fantastic energy (and some audible foot stomps from Watkins) -- it is my favorite track on the disc, one I find myself playing over and over. Scattered throughout the disc are a few rhythms which feel a bit unstable, and a few "messy" notes (and anyone who knows how difficult some of these pieces are can easily forgive those). On the whole the pieces are played with great skill and Watkins's passion for the music shines through.

Fans of ragtime and early jazz will enjoy this disc. I notice that it's listed as "Volume 1." Let's hope that Volume 2 isn't far off! Recommended.

One listen to this trio of piano pyrotechnics, originally recorded in 1984 and left dormant until now, and you'll understand why no less an authority than W.C. Handy once called Maddox "the white boy with the colored fingers".

Maddox, whose career dates back to 1950 and includes nine gold records, a star on Hollywood Boulevard, and world wide sales approaching twenty-million, is both a lifelong musicologist (owning over 30,000 78 rpm records) and player extraordinaire. As an arranger Maddox has no peers. His interpretations of songs by Handy, Wills, Tenney, and other twentieth century American composers displays both a reverence for tradition and a commitment to elaboration bereft of blind adherence.

As a player he is equally unmatched, possessing an effortless ability to sustain rhythm and exercise flamboyancy born not of indulgence but rather of sheer joy. Maddox's gifted touch is both coercive and supple, a lesson in Americana that exhilarates and educates. In an era when Ragtime is sadly regulated to movie soundtracks and charity balls, Maddox, now well into his seventies, remains a lone voice in the wilderness.

The music is indispensable, the liner notes fascinating, and the playing is unparalleled: Needless to say all three discs are highly recommended.

By David Reffkin, Director, The American Ragtime Ensemble; Producer/Host, “The Ragtime Machine” (KUSF, San Francisco)

CD Review: Back Home in Tennessee, Johnny Maddox (Crazy Otto Music, CO-004)

The Johnny Maddox retrospective continues with what might be described as a good general retrospective of music associated with his home state of Tennessee and the musical memories embodied there. The beautifully packaged liner notes offer informative biographical and anecdotal comments, augmented with striking images of the sheet music covers, archival photographs, including the portrait of Johnny’s great aunt Zula. Every element contributes to the overall concept of the CD. For example, Zula is recognized as having played with an all girls’ orchestra at the St Louis World’s Fair of 1904, and in fact she taught Johnny piano lessons. Not a bad start to being closely tied to the sources of the music he loves.

It should be noted for the uninitiated that, contrary to what one might expect of the typical ‘saloon’ player, Maddox is an artist. He does not simply apply a bag of tricks to melodies, and he doesn’t play every tune with the same tempo and dynamics. The performances are indeed musical. In this CD, one can compare any two pieces to demonstrate this point. Ernest R Ball’s “Let the Rest of the World Go By” (1919), a sentimental waltz if ever there was one, is played with the thoughtful, hesitating/pulsing nuances that are critical to conveying the message of the song. Contrast this to “Broken Doll” (1916) of James Tate, just a few years earlier and reflected as such in the more bouncier ragtime of the day, but keeping the sentimental, story-telling qualities. In both he uses the device of key changes to vary the repeats of the melody, but the contribution of that effect remains distinctive to each song. This is the work of a true craftsman!

The last track on this recording particularly drew my attention, a tango called “Manzanilla” (1891), by Alfred Robyn. I have performed this for years with my American Ragtime Ensemble, and never thought I would hear the piano version. Not only is the piece here, it is lengthened with a bit of original material (justifiable, since the composition is rather short).

The naturally flowing programming, the sound quality and the carefully researched notes and graphics all make the recordings in this series a satisfying musical (and dare I say, educational) experience. But most of all, one listens with a growing appreciation of the work of one of America’s legendary pianists.

CD Review: Cowboys and Indians, Johnny Maddox (Crazy Otto Music, CO-005)

The concept for this recording comes from the regular summer engagement of Johnny Maddox at Durango, Colorado’s Slater Hotel. The local cowboys and Indians in fact do stop in to hear music reminiscent of the ‘old west’. Some of the classics of the genre are on the program, too. Just have a listen to Johnny’s renditions of the classic “San Antonio Rose” the ever-popular “Ragtime Cowboy Joe.” A welcome relief from the sometimes over dramatized “Yellow Rose of Texas”, Johnny gives it the Civil War march feel it originally portrayed. There’s also a bit of “Dixie” in it to set the scene. As always, Johnny Maddox treats each piece as a musical whole, not just as part of a night’s set-list of tunes to be checked off.

Of the many traditions in American music that Johnny often draws from is Tin Pan Alley. Here, though, in addition to that great catalog, there is included one of the songs that was the inspiration for the Alley. “Navajo” (Harry Williams, Egbert Van Alstyne, 1903) is an early example of the Indian song, later played up in the many take-offs in the style. It is presented here as “Navajo Medley.” Also, be sure to listen for the many musical quips that make brief appearances in the music, for example a tiny “Oh, You Beautiful Doll” quote at the end of “Sioux City Sue.”

One might think a whole program of ‘cowboys and Indians’ theme may wear thin or only point out the novelty approach to songwriting at the turn of the century. But actually, one grows to appreciate the subtleties of difference between the composers, enhanced by the careful arranging of each piece in Maddox’s performances. A reading of the liner notes, a glance at the beautifully reproduced covers and a contemplation of the music all together create a vivid picture of the pieces and an understanding that the ‘old west’ culture and the east coast songwriters were meeting in the middle somewhere. Sure, some of the clichés of the genre have pervaded the musical scene of the last century, but it is enlightening, in the most musically satisfying way, to listen to these re-creations of their early formations.

CD Review: Where the Southern Crosses the Yellow Dog, Johnny Maddox (Crazy Otto Music, CO-006)

This is another concept album form Crazy Otto Music, featuring the blues and blues-derived music of the early 20th-century. Nine of the 20 tracks are in fact by WC Handy, a legend that heard Maddox himself in 1952. Just about all of the most famous handy pieces are on the play list. And there is the understanding that the ‘ragtime era’, as it is so-called, also encompassed the early blues tradition. It is hard to distinguish some of the rags from the blues of the time. It would be more accurate to describe a piece as a ‘bluesy rag’ or as a ‘raggy blues’. Johnny gives those borderline pieces as much ragtime flavor as they can handle, and none of the tunes is mired down in the slow ‘down and out’ feel often given by lesser-informed players.

Another reason that Johnny Maddox is one of the most successful artists of his time is his total immersion in the music, as a prodigious collector and researcher who has at hand sheet music, vintage recordings, piano rolls and more. He’s also the descendent and piano student of a musician from the St Louis World’s Fair era (see CO-004) and as noted by a 1913 photograph in this CD, son of a trombonist with the Commercial Club Band, Gallatin Tennessee.

Johnny’s long been recognized as an artist and pioneer, but a particularly early note of recognition is displayed on the back of the CD booklet for this recording. None other than pioneering ragtime researcher Rudi Blesh wrote in a letter to Johnny in 1951: “(The records) have quite an infectious spirit and a kind of easy going lilt that ragtime should have.” The assessment after more than 50 years remains the same.

Back Home in Tennessee, Johnny Maddox
The Johnny Maddox retrospective continues with what might be described as a good general retrospective of music associated with his home state of Tennessee and the musical memories embodied there. The beautifully packaged liner notes offer informative biographical and anecdotal comments, augmented with striking images of the sheet music covers, archival photographs, including the portrait of Johnny's great aunt Zula. Every element contributes to the overall concept of the CD. For example, Zula is recognized as having played with an all girls' orchestra at the St Louis World's Fair of 1904, and in fact she taught Johnny piano lessons. Not a bad start to being closely tied to the sources of the music he loves.

It should be noted for the uninitiated that, contrary to what one might expect of the typical `saloon' player, Maddox is an artist. He does not simply apply a bag of tricks to melodies, and he doesn't play every tune with the same tempo and dynamics. The performances are indeed musical. In this CD, one can compare any two pieces to demonstrate this point. Ernest R Ball's "Let the Rest of the World Go By" (1919), a sentimental waltz if ever there was one, is played with the thoughtful, hesitating/pulsing nuances that are critical to conveying the message of the song. Contrast this to "Broken Doll" (1916) of James Tate, just a few years earlier and reflected as such in the more bouncier ragtime of the day, but keeping the sentimental, story-telling qualities. In both he uses the device of key changes to vary the repeats of the melody, but the contribution of that effect remains distinctive to each song. This is the work of a true craftsman!

The last track on this recording particularly drew my attention, a tango called "Manzanilla" (1891), by Alfred Robyn. I have performed this for years with my American Ragtime Ensemble, and never thought I would hear the piano version. Not only is the piece here, it is lengthened with a bit of original material (justifiable, since the composition is rather short).

The naturally flowing programming, the sound quality and the carefully researched notes and graphics all make the recordings in this series a satisfying musical (and dare I say, educational) experience. But most of all, one listens with a growing appreciation of the work of one of America's legendary pianists.

Cowboys and Indians, Johnny Maddox
The concept for this recording comes from the regular summer engagement of Johnny Maddox at Durango, Colorado's Slater Hotel. The local cowboys and Indians in fact do stop in to hear music reminiscent of the `old west'. Some of the classics of the genre are on the program, too. Just have a listen to Johnny's renditions of the classic "San Antonio Rose" the ever-popular "Ragtime Cowboy Joe." A welcome relief from the sometimes over dramatized "Yellow Rose of Texas", Johnny gives it the Civil War march feel it originally portrayed. There's also a bit of "Dixie" in it to set the scene. As always, Johnny Maddox treats each piece as a musical whole, not just as part of a night's set-list of tunes to be checked off.

Of the many traditions in American music that Johnny often draws from is Tin Pan Alley. Here, though, in addition to that great catalog, there is included one of the songs that was the inspiration for the Alley. "Navajo" (Harry Williams, Egbert Van Alstyne, 1903) is an early example of the Indian song, later played up in the many take-offs in the style. It is presented here as "Navajo Medley." Also, be sure to listen for the many musical quips that make brief appearances in the music, for example a tiny "Oh, You Beautiful Doll" quote at the end of "Sioux City Sue."

One might think a whole program of `cowboys and Indians' theme may wear thin or only point out the novelty approach to songwriting at the turn of the century. But actually, one grows to appreciate the subtleties of difference between the composers, enhanced by the careful arranging of each piece in Maddox's performances. A reading of the liner notes, a glance at the beautifully reproduced covers and a contemplation of the music all together create a vivid picture of the pieces and an understanding that the `old west' culture and the east coast songwriters were meeting in the middle somewhere. Sure, some of the clichés of the genre have pervaded the musical scene of the last century, but it is enlightening, in the most musically satisfying way, to listen to these re-creations of their early formations.

Where the Southern Crosses the Yellow Dog, Johnny Maddox
This is another concept album form Crazy Otto Music, featuring the blues and blues-derived music of the early 20th-century. Nine of the 20 tracks are in fact by WC Handy, a legend that heard Maddox himself in 1952. Just about all of the most famous handy pieces are on the play list. And there is the understanding that the `ragtime era', as it is so-called, also encompassed the early blues tradition. It is hard to distinguish some of the rags from the blues of the time. It would be more accurate to describe a piece as a `bluesy rag' or as a `raggy blues'. Johnny gives those borderline pieces as much ragtime flavor as they can handle, and none of the tunes is mired down in the slow `down and out' feel often given by lesser-informed players.

Another reason that Johnny Maddox is one of the most successful artists of his time is his total immersion in the music, as a prodigious collector and researcher who has at hand sheet music, vintage recordings, piano rolls and more. He's also the descendent and piano student of a musician from the St Louis World's Fair era (see CO-004) and as noted by a 1913 photograph in this CD, son of a trombonist with the Commercial Club Band, Gallatin Tennessee.

Johnny's long been recognized as an artist and pioneer, but a particularly early note of recognition is displayed on the back of the CD booklet for this recording. None other than pioneering ragtime researcher Rudi Blesh wrote in a letter to Johnny in 1951: "(The records) have quite an infectious spirit and a kind of easy going lilt that ragtime should have." The assessment after more than 50 years remains the same.

By David Reffkin, Director, The American Ragtime Ensemble; Producer/Host, "The Ragtime Machine" (KUSF, San Francisco)

This is not simply some Beatles tunes played classically -- it is a perfectly baroque treatment of the songs. From the very witty titles ("Epstein Variations" and "L'Amour s'en cachant") to the satire ("I'll Cry Instead" as Réjouissance (literally "rejoicing," or the lively movement of a suite), to the operatic treatment of "Help," it's an amazing accomplishment.

Don't purchase this if you're just looking for Beatles melodies played with classical instruments. But if you're ready to see how Bach, Vivaldi, Corelli and would've done as the Fab Four, this really is a great piece.

It's simply great! You can get this CD for the best opportunity right now! Don't let it go! Singular Beatles music, recorded more 20 years ago!

I bought the LP in 1965. Still have it, but no phono. I bought the CD and can enjoy it once again.

This was a favorite album from the 60's, lost with all my LP collection as I up-graded to cd's. So it was such a pleasure to find it reissued - and it has retained it's delight. Having introduced my granddaughter to the Beatles, it was great fun to play this cd and have her recognize the underlying tunes.

first released in the mid 60s, joshua rifkin's baroque beatles book has long been unavailable and is one that belongs in any serious beatles fans' library. the classical arrangements of early beatles hits never failed to impress those classical music snobs that frequented the record store i worked in when it came out. our favorite trick was to entice them to listen to it on headphones without knowing who it was. it never failed. it's timeless. my favorite track is ""Last Night I Said," Cantata for the Third Sunday after Shea Stadium, MBE 58,000: 1.Chorus: "Last night I said" Please Please Me". nuff'said.

this was Leons first album my partner purchased many years ago and now his eldest son has it. Great to be able to purchase cd as it brings back memories for him.

Those of us of a certain age remember seeing this strange white-suited man on SATURDAY NIGHT LIVE back in the late 70s/early 80s strumming along while singing in his own inimitable style classic rags. Redbone's BRANCH TO BRANCH is filled with great cuts, not all of them traditional folk/ragtime tunes. Hearing Redbone wail on "When You Wish Upon a Star" will banish thoughts of Jiminy Cricket from your mind, and "Seduced" ("I wanna be seduced/I want a woman to talk to me suggestively") deserves more attention than it's had over the years. Great voice, great instrumentals, great album.

Leon Redbone is a true martian in the world of music.I even don't know about his age,although I listen to him for some 20 years.Every record by Leon is a gem,almost his early recordings in which he plays a lot of guitar; and when Leon plays guitar, he's truly amazing, somewhere between Blind Blake and Joseph Spence.There are great tunes in this record,a beautiful lullaby ("prairie lullaby"),tributes to Jelly Roll Morton ("Te-na-na" and the marvelous "why",to tunes recorded by Jelly Roll in his 1940 session,thelast he ever made),a tribute to Blind Blake too ("step it up and go"); let's say that Leon may be the guy that was the closer ever to Blind Blake;he can play outstanding things like Blind Blake did.Redbone's smoky voice is amazing in every tune.There is also a marvelous "extra blues",and a salute to the great Ukulele Ike,"when you wish upon a star".Backing Leon, you can listen to Dr John,Grady Tate,Bob Cranshaw and Ed Polcer.A great trip back to the pre-war years.

Leon is fabulous! Great musicians too. Jack Maheu makes it for me.

Check out the Salt City Six and Dukes of Dixieland if you don't believe me!

This, comming from a tuba player!

However, the recording engineer has no clue whatsoever! A VERY poor recording for contemporary standards. I would bet that even the master tape couldn't be cleaned up. Very shoddy work here! I could do beter with a dixie cup and a string to a scully lathe burning hot direct to platten.

If you are an audiophile, run away! If you have an unconditional love for jazz, go for it!

This could/should have been recorded better!

Greg Kalkhoff (gkalkhof@execpc.com)

Leon is always a treat ... play some of his music when you want to have a happy lazy day.
For the person who wanted the lyrics to prairie lullaby, I found these on the internet and believe they are correct:
Shadows slowly creeping, down the prairie trail. Everything is sleeping, all but the nightingale.
Soon the moon will be climbing across the blue, blue sky, night winds slow and haunting.
This prairie lullaby.
Tumble to bed, my child, my little old sleepy head, the stars are in the sky.
Now that your prayers are said, my little old sleepy head to this prairie lullaby.
Saddle up your ponies, to sail with you, lead you down a trail of dreams.
Stumble to bed, my child, my little old sleepy head, to this prairie lullaby.
Saddle up your ponies to sail with you, lead you down a trail of dreams.
Now that your prayers are said, you can get to bed, to this prairie lullaby.

Let's clear up something here that Amazon and LaserLight have not--this disc DOES NOT contain the complete works of Scott Joplin. This is just one disc from a set of five that LaserLight put out containing the complete published piano music of Scott Joplin played by Richard Zimmerman. Unfortunately, LaserLight has not numbered the five discs in the set, so each one purports to contain the "complete" works. Very poor organization. (Besides Joplin wrote more than piano music... no Joplin set should be considered "complete" without a full recording of his opera "Treemonisha.")

The playing on this disc is fairly good-I've seen Richard Zimmerman perform in person and he's certainly capable of playing ragtime well-but by no means are the recordings here the best interpretation of Joplin's music. Sometimes I feel Zimmerman plays too fast, at other times it sounds jerky, and at other times wrong notes are painfully obvious. Additionally, the sound quality varies from track to track, with some being marred by heavy tape hiss or distortion. These were originally recorded for budget LP's label back in the 1970s (I've seen them on Olympic and Murray Hill labels) and LaserLight has not done much to improve the sound quality. The music's there, and for casual listening on a boombox or car stereo, one might not notice the technical flaws, but on a good stereo system, they significantly detract from the overall listening experience.

If you're in the market for Joplin's music, you'd do yourself a favor to ignore this disc (even if the price is inviting) and invest in a better set like Joshua Rifkin's Joplin CD or William Albright's Joplin 2-CD set. Pianist Scott Kirby is currently releasing a complete Joplin set in four volumes, and I'd highly recommened looking into getting those before buying this disc.

A CD purporting to be Joplin's complete works would certainly have more than 14 tracks. Instead try "The Complete Piano Music Of Scott Joplin," ASIN B000003QWN; four disks containing 52 tracks! I think this would be far more likely to be his "complete works" though I think even this one must be leaving out some of the compositions of this prolific ragtime composer. I know for a fact 14 songs wouldn't be his complete... anything! If you just want an introduction to his music, this CD may be all the Joplin you need, but be sure to rub out the word "complete" when your CD arrives. :)

A CD purporting to be Joplin's complete works would certainly have more than 14 tracks. Instead try "The Complete Piano Music Of Scott Joplin," AISN B000003QWN; four disks containing 52 tracks! I think this would be far more likely to be his "complete works" though I think even this one must be leaving out some of the compositions of this prolific ragtime composer. I know for a fact 14 songs wouldn't be his complete... anything! If you just want an introduction to his music, this CD may be all the Joplin you need, but be sure to rub out the word "complete" when your CD arrives. :)

Don't listen to all those elitists who gave Zimmerman a negative review- his playing is so unique and full of emotion. Contrary to what others have said, Zimmerman's tempo is much slower and better than many other artists' tempos. Though he doesn't play everything true to the sheet music, I feel that he wonderfully captures the spirit of ragtime. If you listen to some of Joplin's own recordings (via player piano), you will find that he himself added some jazzy improvisations. Although Zimmerman makes some mistakes, it somehow seems to add authenticity to his interpretation. The bad sound quality also adds this unique feeling of authenticity. Everything--his style, the piano, the sound quality--works together to create a truly wonderful recording. If you want a comprehensive, beautifully played, rendition of Joplin's works, then I highly recommend this box set!

I enjoy the chronologically arrangement of tracks. It's interesting to see the evolution of Joplin's style.

I've always been a fan of ragtime, but not particularly an expert. This artist is either playing a completely faithful rendition of the music, or he stutters sometimes. This does not detract from the music at all, it's probably just the artist's playing style.

The set is jam-packed with pieces I've never heard before, so it was quite an experience. The last disc in particular features an opera-style suite!

Adds welcome diversity to my Classic Rock collection. Understand that this isn't the last word on Joplin - it's more like a really good first. It's not a complete work-up, with quartet accompaniment, like Marvin Hamlisch's "The Sting" soundtrack. It's just Zimmerman on piano, and sometimes he doesn't play so great. I mean, if you compare "The Entertainer" between the two - you'll think you fell off a cliff.

However, it is a complete Joplin - 66 songs, including every major Rag and other stuff, such as waltzes, marches, and pieces of "Treemonisha", his failed opera. What I wanted was a player piano, with a complete set of paper scrolls, you know what I'm talking about? Even if I could find one, I can't afford it. Maybe this is the next best thing?

So I definitely recommend it for the Joplin novice - it's something to strongly encourage. But is this the last Joplin you'll ever buy? I doubt it - it's merely adequate, not great. Joplin for 40 cents a pop, you won't find a better value.

Well done, with the only drawback that Joshua Rifkind is not at the piano. Sometimes the pace is too frenetic.

This is a wonderful collection of Scott Joplin's music. Delightful to own, to play over and over and over.