Sarah Pillow "Remixes" 2 CDs package

Two CDs (same songs two styles)

This album is like none other you’ve ever heard! To call it either classical crossover or a concept album might be the closest you can get to describing it. In the fall of 2000 Sarah Pillow released a ground-breaking album, “Nuove Musiche”, introducing her new concept of giving modern arrangements to early Baroque melodies and texts, featuring the members of Brand X. In this new release Sarah further pushes boundaries to give a “before and after” taste to a 400-year time span in this challenging and enticing work.. Two CDs, two stellar ensembles, two outstanding interpretations. These songs from the 17th century are delivered masterfully by Sarah Pillow, as an interpreter of Early Baroque singing and as a jazz-rock vocalist.

This album allows two separate musical styles to coexist in a jewel box. Discovery is on the agenda, as this 2-cd set has the power to open the ears of listeners to a new style of music. The first CD, produced by Ronn McFarlane and Mary Anne Ballard of the world-renowned Baltimore Consort, is a collection of songs performed as historically informed renditions from the Early Baroque period. The second CD, produced by Tunnels’ leader Marc Wagnon, features the same songs, in the same sequence, but with modern arrangements. It offers an elixir of old and new that echoes the words of Albert Einstein, “The distinction between past, present and future is only a stubbornly persistent illusion.” This CD will not only appeal to early music, classical, jazz, progressive rock and world music listeners, but in particular the fans of Brand X, Tunnels, Deep Forest, Sarah Brightman, Enya, the Blatimore Consort, Dawn Upshaw, and Sylvia McNair.

Track Listing

1. if musick be the food of love (henry purcell

1659-1695

2. flow my teares (john dowland 1563-1626)

3. to pansies (william lawes 1602 - 1645)

4. audite me (giovanni felice sances c.1600-1679)

5. as life what is so sweet (william webb)

6. il romeo (barbara strozzi 1619-ca.1664)

7. ode du premier jour de mai (jean passerat 1534-

1602)

8. to lilies (william lawes 1602 - 1645)

9. aura soave (luzzasco luzzaschi 1545-1607)

10. o let me weep (henry purcell 1659 -1695)

11. laetamini in domino (giovanni felice sances

c.1600-1679)

12. due luci ridenti (settimia caccini 1591-c.1660)

Album Credits

CDI

recorded at st. john's in the village church, nyc november 2002

mare wagnon engineer and sound editor sakura toyamaassistant engineer and sound editor

mixed and edited at buckyballmusic studios, nyc may 2003 marc wagnonexecutive producer

mastered at the studio nyc, may 2003 katherine millerengineer

1, 4, 7, 8, 9, 11,12 produced by ronn mcfarlane

2, 3, 5, 6, 10, 13 produced by mary anne ballard

CDII

arrangements published by buckyball music, inc. (bmi)

recorded and mixed at grampa studios nyc june 2002/may 2003

mick cantarella engineer jens jungkurth assistant engineer

additional recording at buckyballmusic studios, пус may 2003 marc wagnon engineer

background of to lilies recorded in morro bay. california

masteredat the studio nyc, may 2003 katherine miller engineer

produced by marc wagnon

Full Review:

With this release, vocalist Sarah Pillow embarks upon a musical path that is equal parts jazz and classical. On disc one of this two-CD set, Ms Pillow performs Baroque music with a harpsichordist, organist, violinist, violaist, and a lute performer. As she plays the music of Henry Purcell, and other notables, yet the primary source of interest, pertains to the jazz-fusion based remixes of these works, featured on disc two. Ms Pillow utilizes the prominent jazz/fusion bands “Tunnels" and “Brand X," for the remixes, which of course, provides a direct contrast to the austere renditions evidenced on disc one. Regardless, Ms Pillow possesses a crystalline vocal delivery with near faultless intonation, as this recording signifies an extension of her previous effort titled, “Nuove Musiche." Some jazz-fusion or classical purists might dismiss this outing, via the proverbial - oil and water - analogy. And whether the willing listener is a staunch classicist or jazz-rock aficionado the musicians intimate quite a few entertaining propositions. A portion of this cross-genre type game-plan is founded upon Ms. Pillow's decision to overlay Baroque (17th Century melodies)vocals atop John Goodsall's blistering fretwork and drummer Frank Katz' pulsating backbeats. On pieces such as “Audite Me," fretless bass wonder Percy Jones provides some dreamy lead lines amid synth swashes atop a dub/reggae slant. It all takes some getting used to. And from a strict marketing standpoint, Ms Pillow seemingly has her work cut out for her. At times, the remixes portion of this offering sounds a bit awkward and constrained, although Ms Pillow's nouveau approach and willingness to take chances, speaks volumes. — Glenn Astarita All About Jazz

It is an evening full of promise as I stride in to the ball. I have been cordially invited at the request of Phillip Montebon, a somewhat reclusive yet wealthy man who only seems to appear in the city at night. Upon my arrival I am greeted by Phillip and immediately introduced to his stunning, yet equally reclusive sister Eva. We converse on many subjects such as the king’s new conquests in the east, the theater, and love. We dance to a waltz, and I invite her to take a stroll though the courtyard hoping that I may steal a kiss under the moonlit sky. As we walk I feel a strange sensation come over me as if death is watching my every move. Suddenly, Eva’s eyes turn red and out from the shadows appears Phillip. They wrestle me to the ground and the sensation of pain rushes through my neck to the bottom of my soul. It has become clear that what the children had always spoke about vampires is true……… As this scene occurs, the first disc of Sarah Pillow’s new disc Remixes would play in the air behind it. Operatic vocals, harpsichords, and that gothic chill that Anne Rice plays when she is ready for bed. I was ready to conclude that it was one of the most challenging discs I had ever been handed to review. That was until I got to disc 2 of Remixes and heard what appears to be a combination of soft jazz, progressive synth sounds, African tribal rhythms and opera. I really enjoy the percussionist who worked on this because they seem to keep things interesting, but with too much experimentation of different styles of music, it comes off a bit bloated and just…..well….bizarre. (Review by Moose Taverns) Altar Magazine

This is a very unusual record. Sarah Pillow sings 17th century songs, on one disc in period arrangements, on the other with modern arrangements. On both she is accompanied by a sterling cast of musicians. The traditional arrangements on disc 1 are respectfully done and allow Pillow’s voice a chance to shine. Its restful pace is refreshing in this accelerating world. The other disc creates a bridge between the distant past and the present day. Pillow’s voice is still pure and sweet but the music is more adventurous. It goes from jazzy to quasi-oriental to ambient and back again. The new context suits the songs just fine. “Remixes” is a powerful, genuinely daring record.Review by Anna Maria Stjärnell

“The distinction between past, present and future is only a stubbornly persistent illusion” -Albert Einstein This bold statement is prominently featured on the back of this CD. Is it true? Sarah Pillow proves that it is. As I said in my review of her previous album, Nuovemusiche, this is not for the narrow-minded. I’m extremely happy to find that Ms Pillow has continued in the same vein. This is an album of old, very old music. 17th Century music to be exact. Played with Harpsichord, Lute, Viola, etc. With gifted musicians, including Brand X’s John Goodsall and Marc Wagnon. And of course, the wonderfully rich and enrapturing voice of Sarah Pillow. This album takes you down a trip through history. Songs in English, Italian and French which Sarah Pillow manages to deliver convincingly. One can easily imagine her on a Renaissance stage performing these masterpieces. Luckily, she’s not of the Renaissance, so we have the privilege of appreciating her. Let’s keep her, I say. And if the thirteenth song ends and leaves you wanting more, well... Put in the second CD. The same 13 songs, but this time with 21st Century instruments and arrangements. Mindblowing! One realizes that even music that is 400 years old can be adapted to our modern world: Einstein was right. The performances on the second disc are obviously quite different from those on the first, but certainly not less magnificent. Can you tell I love this album? Sarah Pillow is an incredible artist. A delight for the ears, but more, a grand pleasure for the soul. If we didn’t have her we wouldn’t even know how to invent her. She’s in a class by herself. Do yourself a favour: buy this album. It will allow you to greatly expand your horizons and discover how truly universal music is. As for which arrangements are best, the traditional or the modern, I leave that to the listener. I listen to the first CD, then put in the second and spend two very happy hours! Oh, and pay attention after the last song on the second disc for a vocal-only rap version of (unfortunately only) the beginning of “To Lillies”. Hilarious! A-J Charron - Guitar Noise

From 1600 to fusion in two excellent CDs (Printable version) "The distinction between past, present, and future is only a stubbornly persistent illusion" (Albert Einstein). The quote at the beginning of the CD is illuminating. After "Nuove Musiche," released by Buckyball in 2002, the extraordinary vocalist Sarah Pillow returns with a project similar to her previous one, even more decisive in rearranging and interpreting pieces from the 1660s, from Caccini to Purcell, from Dowland to Sances. This time, two discs, a testament to the tenacity with which Pillow and her band threw themselves into the project. And what "bands": the full Brand X, with Percy Jones, John Goodsall, Frank Katz, and Marc Wagnon (who is also the vocalist's partner); also featuring a quintet from the New York Philharmonic. The project began in late 2002, as a sort of culmination of previous successes. The first disc was recorded with the classical quintet (viola da gamba, violin, harpsichord, lute, and organ), and the songs were performed in their original form. Here, Pillow attempted operatic singing and revealed her full talent. Her talent is astonishing, considering that on the second disc, with Brand X, the transition is toward a rather advanced and sophisticated form of jazz-fusion, with Jones' fluid bass playing prominently and Goodsall consistently in top form. We even featured Wagnon's vibraphone on "Il Romeo." It's essentially a mirror image of the work: the thirteen songs are performed in a "double guise," and the contemporary version on the second disc is the one we're most interested in. We cite "Flow My Tears," the elegant funk of "Laetamini in Domino" and "If Music Be the Food of Love" (among the album's highlights), the exotic "Ode du Premier Jour de Mai" and "Due Luci Ridenti." "To Pansies" is even close to soul, "Aura Soave" to rock, "As Life What Is So Sweet" to the Tunnels' experimentation. Italy Of course, the freshness of "Nuove Musiche" is lacking: the album is marked by greater awareness, is more constructed, and, although bolder, has less impact. Yet Brand X's work is excellent and impeccable. Their current sound is fluid, flowing, and technically remarkable. Pillow's vocals are intense and magnetic (for example, "Audite Me"), as befits a great singing diva.

On this double album, Pillow comes out to the world that knows her as one or the other by presenting a set of classics with her early music friends, then refashioning same on disc two with former members of Brand X. Those that won't know what to do with her, won't know what to do with her. Everyone else should sit back and enjoy one of the best voices of our time opening the ears to a creative tour-de-force. A well-conceived set that more than delivers the goods, the melding of minds and modes here would cheer all creative music fans. Well done. Midwest Record Recap

Sarah has a nice voice. It's similar to that of an opera singer and that is the feeling that surfaces on disc one. Harpsichord as well as organ, flutes and strings embellish it. The second disc recasts each of the classics with a contemporary feel. There is a subtle, cool, funky groove that makes it work! You will appreciate CD1 for its artistic beauty but we suggest CD2 for aural pleasure. D. Oscar Groomes O's Notes

Sarah Pillows' latest release is a genre-crossing work that presents each song in two completely different versions across two CDs. Sarah sings songs from the 17th century. On CD1, the 13 songs are presented in a traditional style. Jennifer Peterson (harpsichord), Dogsok Shin (organ), Ronn McFarlane (lute), Mary Anne Ballard (viola da gamba), and Karen Marie Marmer (violin) perform the songs as they were originally written. Sparse, clear arrangements without any embellishments or flourishes characterize the songs. The classical and, to modern ears, unusual melodic lines are very romantic. The lyrics, sung by Sarah in their original Latin, French, and English, are used in a classical style. Her clear, warm alto voice, with impeccable intonation, conveys the melodies and lyrics with great grace. Sarah's voice is neither tremulous nor wavering. Their reproduction is of a very high standard in terms of sonic balance and aesthetic refinement.-----CD2 – with the same songs – is completely different from the first CD. Dressed in a modern arrangement, only the vocals are comparable. But even the vocals only convey melodic similarities; the vocal delivery is adapted to the typical rock arrangement and wouldn't work in this form in a classical arrangement. The band consists of Marc Wagnon (mallets, keyboards, percussion, chekere, kashishi, repinique), Percy Jones (fretless bass, keyboards), Frank Katz (drums), John Goodsall (guitars), Susan Pereira (urdo, agogô, cabassa, triangle, whistle), and Vanderlei Pereira (urdo, berimbau, snare drum, caxixís, ganzá, repinique, pandeiro, tamborins, cowbell, woodclap, conga, shaker). The lively, now very poppy songs, which are interestingly played thanks to the instrumentation and enriched with jazz elements, are nevertheless recognizable as classical compositions. This is due in part to the vocal line, and in part to the melodic structure. While the arrangement is modern, it doesn't overpower the songs; rather, it enhances them. However, the older pieces don't quite seem to work in their modern guise. They remain strangely pale and cold, despite the band's best efforts and sophisticated playing. Somehow, the modern interpretations lack energy, making the pieces sound underdeveloped and bland. Perhaps the two styles simply don't mesh, or the arrangements are too cerebral; in any case, a consistently vibrant structure fails to emerge. CD1, on the other hand, is exceptional. If you consider CD2 with its modern arrangements as a bonus, an alternative version, then the release is a worthwhile gift. "Remixes" offers not only excellent classical-romantic music but also its modern counterpart. Volkmar Mantei Ragazzi

Sarah Pillow continues her research, merging the traditions of centuries past with modern music. With "Remixes," the American singer aims to go big with a double CD featuring thirteen seventeenth-century compositions performed in dual formats. On the first disc, the songs are presented in their original form, with classical instruments (harpsichord, organ, lute, viola, and violin) played by musicians from the New York Philharmonic. On the second, we hear modern arrangements, difficult to categorize (with a touch of jazz and fusion), performed by members of Brand X and other guests. Pillow continues to demonstrate her extraordinary vocal abilities, delivering excellent interpretations and proving perfectly at home in both classical and modern versions. Her performance is flawless and virtuoso, her voice is magnificent, and she once again demonstrates her ability to sing in multiple languages ​​(English, Latin, French, and Italian). The tagline accompanying "Remixes" is a fitting one, echoing Einstein's words to describe the vocalist's musical aspirations: "The distinction between past, present, and future is merely a stubbornly persistent illusion." Indeed, this album fully demonstrates this, as the songs on this album display their full charm in both versions, a testament to an artist who knows how to assert herself with a particularly distinctive personality. Perhaps there's a lack of freshness compared to her previous album, "Nuove Musiche" (probably because a certain self-satisfaction is more evident), but it's truly difficult, if not impossible, to find any weaknesses in "Remixes." It's not formalism, it's not academic, it's not an exercise in style... Sarah Pillow is truly talented, and the artistic value of her offering can only be considered highly praiseworthy. Pepe Italian review

You will either love this, or hate it. Ambivalence is not an option.

In Remixes , Sarah Pillow has taken a selection of seventeenth century baroque tunes and reproduced them faithfully on disc 1. Then on disc 2 she re-arranged each of the thirteen songs for modern consumption. The concept is not new, with the most recent incarnation being Shania Twain’s 2002 release Up! which comprises a country mix on one CD, a second CD with a pop mix of the same 19 songs, and a third CD with an ‘international’ mix. Disc 1 contains the classical arrangements. The style is early baroque, with much of the music taken from the late 17th century. The baroque era in the history of western arts was distinguished by its stylistic complexity, grandeur, sensuous richness, drama, movement, and emotional exuberance. This music is classical, but clearly not in the operatic style. (Baroque for dummies: Think Green Sleeves, not Figaro!) If you’re into pre-classical folk songs, you’re in for a treat. The songs on the first CD are faithfully reproduced down to the instrumentation which is played by Pillow’s Galileo’s Daughters ensemble – with Mary Anne Ballard on viola da gamba and Jennifer Peterson on harpsichord. Lutenist Ronn McFarlane and organist Dongsok Shin also contribute to the traditional renditions of the songs. Sarah Pillow has a wonderful, crystal voice which is beautifully suited to her selection of baroque pieces. Her classical training is very apparent, and she is also an accomplished jazz singer. Bon’t look for any hint of modern jazz here – this is pure classical stuff. 4 Stars

Disc 2 contains the remixes. Each song is essentially the same piece as the corresponding track on disc 1, re-arranged and featuring backup music by an ensemble drawn from Tunnels & Brand X. You can’t help thinking that Pillow and colleagues were scratching, trying to find a format that would work. It is a brave attempt but it’s tough to take a 17th century Henry Purcell piece and throw in a few brilliant lead guitar licks and a pop rhythm and say that it works. Some of the remixes have a pop style, some are jazzy, some are great elevator music, all sound a bit awkward. 2 Stars If you have a very bro mind and are an aficionado of classical singing, new age, jazz and progressive music, then don’t hesitate – this album will be a key addition to your collection. But if your collection favors standard prog-rock, prog-metal or fusion, then approach with caution and go to Buckeyball Music’s samples page and try it out first. You may be surprised. Duncan Glenday