The CD opens in grand style with a brilliant performance of ‘Granada’, the melody and accompaniment being mainly acoustic, with some answering treble passages using electronic organ flute voices for extra effect. This is followed by ‘O Sole Mio’, played entirely acoustically, which begins plaintively and in simple melodic fashion, then builds to an impressive finish with treble and bass sides weaving a complex pattern. The next track, also an Italian piece, ‘Ciribiribin’ begins as a lively waltz, featuring a clever interplay between treble and bass, involving some very tricky fingering, then moves into an allegro climax that left me breathless, and I was only listening! ‘Caravan’, written by Duke Ellington, begins quietly, builds steadily in tempo and volume, then ends as it began. Here Pearl creates a fusion of acoustic and electronic organ treble voices set against a constant ‘camels in the desert’ rhythm, and all done to great effect. The next track is a selection from ‘Carmen’, a tour-de-force performance of the unforgettable melodies from Bizet’s famous opera. Pearl’s unmatched ability to create an orchestral sound, with full use of acoustic and electronic treble and bass voices in constant interplay, is demonstrated here. The CD is worth buying for this track alone! ‘Autumn Leaves’, a much-recorded popular song and jazz standard from the 1940s, gets a makeover from Pearl, and is turned into a virtuoso level concert item, featuring some sophisticated treble and bass passages plus dynamics that few other accordionists could match. This is followed by a bright and lively rendition of ‘Fossettes’, a waltz in Continental style composed by Adrian Dante, played acoustically apart from a double bass sound on first beat of each bar. Track 8 is ‘Begin the Beguine’, known to be Adrian Dante’s favourite melody, and performed by Pearl in her highly individual style. Pearl plays this Cole Porter evergreen with her characteristic clever interplay between both hands. Next up is ‘Hejre Kati’, a traditional Hungarian gipsy folk dance tune played as a concert piece, and in a presto tempo. Pearl’s two handed playing makes for irresistible listening. Track 10 is the ‘Lambeth Polka’, composed by Adrian Dante and Henry Minay, with yet more mesmerising two handed interplay. Constant switching between acoustic and electronic treble voices gives the impression of listening to an accordion duet, yet no double tracking was used on this (or any other track) recording. After the lively playing on the previous two tracks, ‘Sleepy Blues’ is a welcome change of tempo. Composed by Pearl, and often requested at her concerts, ‘Sleepy Blues’ is relaxing mood music – smooth and soothing. The CD finishes with ‘Tico Tico’, a real warhorse of a tune played and recorded by accordionists around the world. Most versions of ‘Tico Tico’ are influenced by Ethel Smith’s famous recording on Hammond organ back in the 1940s, but not this one. Pearl’s version begins at a moderato tempo, building into a frenzy of two handed keyboard wizardry that will amaze you. The tempo eases off, then climaxes in another frenzy for a great finish to a great album. Special credit goes to Tim 'Spag' Speight, the studio engineer, for perfect sound quality – another plus for this outstanding recording. There are virtuoso accordionists and there are accordion entertainers. The former have very high standards of playing technique whilst the latter have a good playing standard with an ability to entertain. Pearl Fawcett-Adriano is one of the few to be both a virtuoso and an entertainer in equal measures, evidenced by her fantastic new CD, ‘PEARL - The Jewel of the Accordion’. One of the most notable features of this album is that all the tracks are played entirely solo, and with no overdubbing/multi-tracking – just as one would hear in a concert performance. The CD opens in grand style with a brilliant performance of ‘Granada’, the melody and accompaniment being mainly acoustic, with some answering treble passages using electronic organ flute voices for extra effect. This is followed by ‘O Sole Mio’, played entirely acoustically, which begins plaintively and in simple melodic fashion, then builds to an impressive finish with treble and bass sides weaving a complex pattern. The next track, also an Italian piece, ‘Ciribiribin’ begins as a lively waltz, featuring a clever interplay between treble and bass, involving some very tricky fingering, then moves into an allegro climax that left me breathless, and I was only listening! ‘Caravan’, written by Duke Ellington, begins quietly, builds steadily in tempo and volume, then ends as it began. Here Pearl creates a fusion of acoustic and electronic organ treble voices set against a constant ‘camels in the desert’ rhythm, and all done to great effect. The next track is a selection from ‘Carmen’, a tour-de-force performance of the unforgettable melodies from Bizet’s famous opera. Pearl’s unmatched ability to create an orchestral sound, with full use of acoustic and electronic treble and bass voices in constant interplay, is demonstrated here. The CD is worth buying for this track alone! ‘Autumn Leaves’, a much-recorded popular song and jazz standard from the 1940s, gets a makeover from Pearl, and is turned into a virtuoso level concert item, featuring some sophisticated treble and bass passages plus dynamics that few other accordionists could match. This is followed by a bright and lively rendition of ‘Fossettes’, a waltz in Continental style composed by Adrian Dante, played acoustically apart from a double bass sound on first beat of each bar. Track 8 is ‘Begin the Beguine’, known to be Adrian Dante’s favourite melody, and performed by Pearl in her highly individual style. Pearl plays this Cole Porter evergreen with her characteristic clever interplay between both hands. Next up is ‘Hejre Kati’, a traditional Hungarian gipsy folk dance tune played as a concert piece, and in a presto tempo. Pearl’s two handed playing makes for irresistible listening. Track 10 is the ‘Lambeth Polka’, composed by Adrian Dante and Henry Minay, with yet more mesmerising two handed interplay. Constant switching between acoustic and electronic treble voices gives the impression of listening to an accordion duet, yet no double tracking was used on this (or any other track) recording. After the lively playing on the previous two tracks, ‘Sleepy Blues’ is a welcome change of tempo. Composed by Pearl, and often requested at her concerts, ‘Sleepy Blues’ is relaxing mood music – smooth and soothing. The CD finishes with ‘Tico Tico’, a real warhorse of a tune played and recorded by accordionists around the world. Most versions of ‘Tico Tico’ are influenced by Ethel Smith’s famous recording on Hammond organ back in the 1940s, but not this one. Pearl’s version begins at a moderato tempo, building into a frenzy of two handed keyboard wizardry that will amaze you. The tempo eases off, then climaxes in another frenzy for a great finish to a great album. Special credit goes to Tim 'Spag' Speight, the studio engineer, for perfect sound quality – another plus for this outstanding recording. Reviewed by Rob Howard... November 2011. |
