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| Creation | 
 enlarge | Creators: Claude Debussy, Gabriel Faure, Jacques Ibert, Darius Milhaud, Maurice Ravel, Erik Satie, Orpheus Chamber Orchestra, Branford Marsalis
Label: Sony
Category: Music
List Price: $13.98
Buy New: $3.11
You Save: $10.87 (78%)
Buy New/Used from $3.11
Avg. Customer Rating:  (9 reviews)
Sales Rank: 111696
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 89251
UPC: 696998925120
EAN: 0696998925120
ASIN: B00005A8I4
Release Date: March 6, 2001
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Gymnopedie No.3 | | • | Children's Corner Ste: The Little Shepherd | | • | Pavane Pour Une Infante Defunte | | • | La Creation Du Monde, Op.81 | | • | Requiem, Op.48: Pie Jesu | | • | Sorocaba (Saudades Do Brasil No.1), Op.67 | | • | Scaramouche Ste, Op.165c: I. Vif | | • | Scaramouche Ste, Op.165c: II. Modere | | • | Scaramouche Ste, Op.165c: III. Brazileira | | • | Corcovado (Saudades Do Brasil No.7), Op.7 | | • | Sumare (Saudades Do Brasil No.9), Op.67 | | • | Concertino Da Camera: I. Allegro Con Molto | | • | Concertino Da Camera: II. Larghetto | | • | Concertino Da Camera: III. Animato Moto | | • | Laranjeiras (Saudades Do Brasil No.11), Op.67 | | • | Children's Corner: Golliwogg's Cake-Walk |
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| Editorial Reviews:
Amazon.com
This CD is the long-awaited follow-up to jazz saxophonist Branford Marsalis's 1986 debut, Romances for Saxophone with the English Chamber conducted by Andrew Litton. Since that project, Marsalis has led his own jazz combos and worked with The Grateful Dead and Sting. On this recording, Marsalis's superb soprano and alto sax are buoyed by the wonderful, conductorless Orpheus Chamber Orchestra, an ensemble that was featured on Herbie Hancock's Gershwin's World. Marsalis's clear sound and mature phrasing imbue French classics like Ravel's "Pavane pour une infante defunte," Debussy's ragtime-rhythmed "Golliwogg's Cake-Walk," and Faure's "Pie Jesu" with verve and vitality. Marsalis navigates the New World syncopations of Darius Milhaud's "Saudades do Brasil" with the same ease he displays on the composer's jazz-inspired ballet, "La creation du monde." On Jacques Ibert's showcase for the alto saxophone, "Concertino da camera," Marsalis's negotiation of its florid melody and his swing-spiced cadenza show that the innovations of jazz improvisation have enriched and extended the classical tradition. --Eugene Holley Jr.
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| Customer Reviews: Read 4 more reviews...
Some Interesting Arrangements of Early 20th Century French Music February 3, 2007
2 out of 2 found this review helpful
A few years back, I remember hearing Branford Marsalis interviewed as part of an intermission feature of a broadcast from, the Metropolitan Opera. He was speaking about the one opera that made him fall in love with the musical form. Most people who fall in love with opera usually name a work such as LA BOHEME or RIGOLETTO as a first love, but for Marsalis the choice was TRISTAN UND ISOLDE. As he began stating his reasons for choosing one of Wagner's monumental and challenging works, he began discussing the composer's intricacies of the vocal and orchestral components and the originality of the work. It was obvious we were hearing a musician's musician speak. Marsalis has the same appreciation for what a composer intends in this collection of early twentieth century French compositions and just like the interview, demonstrates that he is a musicians' musician.
CREATION is a collection of early twentieth century works arranged for saxophone and orchestra. Marsalis is joined by the Orpheus Chamber Orchestra for arrangements that are original yet also respect the intention of the composers. Overall CREATION is a great relaxation disc, with the exception of some of the Milhaud pieces (the arrangement of LA CREATION DU MONDE is perhaps the one piece that makes this collection of what could be termed background music somewhat startling). Our local classical music radio station often plays some of the pieces from this collection and calls the pieces "tracks to relax." The selections are varied from Debussy, Satie, Ravel and Faure to the more experimental sounds of Darius Milhaud. The choice of selections shows the variety of the music and in many ways shows that the line between classical and jazz in the twentieth century is not always as fixed as it seems.
This collection provides great musical entertainment and offers some interesting interpretations of great music that's certain to be enjoyed by many.
 B. Marsalis delights, but does not surprise August 16, 2005
2 out of 3 found this review helpful
Can an album seem pleasant, become a bit predictable, and then drift into the beautiful category? Here is graceful playing by one of the best saxophonists alive today, but there is no perspiration in the music. Why perspiration? Because when playing like this is so effortless, it does not ask much of the listener to join in with the musician's effort.
Then I realize this is all BS. Just listen to one of the best instumentalists playing very nice tunes. It is not his fault if it is so smooth, and clean. Just great.
The Disc Title Says it All October 14, 2004
5 out of 5 found this review helpful
"Creation" is probably the best word one could choose for this fine effort. This is an interesting recording, one that mostly excels, but also has some shortcomings.
Branford's playing is a lot of things here, studied, practiced, prepared, thorough, and strong. It could have been more sensitive and collaborative. This is not something that necessarily need be laid at his door; it could be a "group" thing as much as anything. Other reviewers have noted that ensemble players often have difficulty working within an orchestra setting, and that the presence of a conductor could have kept things in check.
But that was not the point of this effort. If Orpheus and Branford had wanted a conductor they would have hired one. So one must use a more nuanced and blended yardstick to measure this . The compositions themselves clearly have a strong jazz influence, so the conceptual approach of the players is not only entirely appropriate but interesting. And that's what in the end separates jazz music from classical music. You may not like what people play or the way they play it, but at least it's not the same old stale sh-t. Branford's history of exploring a variety of musical stylings comes in well here; I appreciate his playfulness and almost joyful approach to some of these pieces. That's the way I think they ought to be played.
Highly Recommended.
 Fairly lackluster, but interesting to hear December 8, 2001
15 out of 20 found this review helpful
Branford Marsalis is an excellent jazz saxophonist.However, he runs into the same problems many jazz musicians have when trying to "cross over" into classical: too little emphasis on tone quality, rough articulation, trouble blending with the strings, and in some cases, sloppy ensemble technique. Perhaps this latter problem has more to do with the lack of a conductor than a lack of skill. Marsalis plays quite respectably on the Ibert. He doesn't take the ossia altissimo passages, but many "classical" artists don't either, so I can't fault him for that. The "Scaramouche" comes off the best of all the traditional recital pieces on this disc. Marsalis caputures the fleeting playfulness of the first movement, and his technique is flawless here. His tone is unacceptably bright and raucous in the "Creation du Monde," however. His playing in that piece is beyond the range of any interpretation I've ever heard. Much of this has to do with the placement of the microphones and the production of the recording as well. I would have preferred that the disc include fewer transcriptions, but Marsalis seems to enjoy recording transcriptions instead of the more serious works for classical saxophone. It would be interesting to hear him play some of the heavier repertoire: the Glazonov concerto, the Dubois Concerto, the Dahl concerto, etc.
Shivers down my spine August 3, 2001
4 out of 5 found this review helpful
If you're a Branford Marsalis fan, you'll be on the edge of your seat 4 seconds into the opening cut. Imagine his exquisitely clear alto sax intoning the melody of Satie's Gymnopedie. And with Orpheus's incredible group energy (it's an orchestra whose members conduct themselves) and you'll understand.I thought it would be wonderful background as I sat working at my computer -- it's so incredible it's distracting. Savor this.
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