Two Shades of Blue captures Robben Ford at the height of his artistic maturity-rich, soulful, and emotionally charged. Blending his unmistakable guitar tone with fresh songwriting and beautifully crafted arrangements, the album delivers everything fans love about Ford while pushing his sound into new territory. A must-hear release for blues, jazz, and guitar aficionados alike, Two Shades of Blue stands poised to become one of the defining records of his storied career.
2022 collaboration between saxophonist Bill Evans and guitarist Robben Ford. Ford and Evans have shared the stage in Europe, North America and even Japan and already released one album, The Sun Room, together in 2019. With Common Ground, they continue their creative relationship.
Can you hear the music? Do you hear it play? It’s telling you the story of the first Christmas Day… Perfect for children of all ages, this album of classical and traditional works is a charming and engaging retelling of the nativity through music, song, and rhyme. Well-known composers like Mozart, Rutter, Lutoslawski and Brahms are included here, alongside traditional Christmas carols like “While Shepherds Watched their Flocks,” and “Mary Had a Baby.” Each of these songs has been taken from an album in the Naxos catalogue, and the works are performed by world-renowned vocalists and instrumentalists. Listen to this music, read the story, and enjoy.
“Both the freshest and funniest show on Broadway, and it establishes some sort of standard in skill, taste and comic dexterity ... In style and taste A Thurber Carnival is wonderful – a glorious world of meaningful nonsense.” ATKINSON, The Times
“Completely captivating ... between the meaningful silences and the great guffaws there are dandy chuckles ... A Thurber Carnival is sheer delight ... The whole thing is dandy. And very advanced.” KERR, Herald Tribune
“About as agreeably comic as it can be ... very often we find ourselves laugh- ing at what was said a couple of lines ago ... From the opening dance ... we feel perfectly adjusted to the dry cli- mate of (Mr. Thurber’s) unostentatious humor ... (and) comfortably participating in the chaos of our times.” HEWES, Saturday Review
“A tonic anthology of the great man’s work compiled by himself, and easily the funniest show on Broadway ... music which is unfailingly spruce and witty.” TYNAN, The New Yorker
“If there is one proposition upon which every intelligent English-speaking man, woman and child is in hearty agree- ment, it is that James Thurber is incom- parable as wit, humorist and sage ... (A Thurber Carnival) is a civilized joy ... there is cause for nothing but delight.” WATTS, Post
“A joyous, magnificently lunatic festival ... anybody who shuns this house of laughter is crazy...” CHAPMAN, News
COMPLETE TRACK LIST:
1 . OPENING 2:30 Don Elliott Quartet 2 . WORD DANCE (PART I) 4:56 Peggy Cass, Paul Ford, John McGiver, Alice Ghostley, Peter Turgeon, Wynne Miller, Margo Lungreen, Charles Braswell 3 . THE NIGHT THE BED FELL 10:00 Tom Ewell 4 . THE UNICORN IN THE GARDEN 2:58 Narrator: Peter Turgeon Man: Paul Ford She: Alice Ghostley Psychiatrist: John McGiver Policeman: Charles Braswell 5 . THE LITTLE GIRL AND THE WOLF 1:37 Narrator: Peggy Cass Wolf: Paul Ford Little Girl: Wynne Miller 6 . MEMORIAL TO A DOG 5:02 Tom Ewell 7 . CASUALS OF THE KEYS 8:10 Visitor: John McGiver Darrel Darke: Paul Ford 8 . THE LAST FLOWER 3:16 Tom Ewell 9 . FILE AND FORGET 13:29 James Thurber: Tom Ewell Miss Bagley: Margo Lungreen Miss Alma Wineage: Peggy Cass Miss Wynne: Wynne Miller Jeannette Gaines: Alice Ghostley Clint Jordan: Paul Ford H.F. Cluffman: John McGiver 10 . WORD DANCE (PART II) 3:06 Tom Ewell, Peggy Cass, Paul Ford, John McGiver, Alice Ghostley, Peter Turgeon, Wynne Miller, Margo Lungreen, Charles Braswell, Don Elliott Quartet
A Thurber Carnival opened at the ANTA Theatre in New York City on February 26, 1960 and ran for 223 performances, with a break from June 25 to September 5. It closed on November 26, 1960.
"There is nothing like Songs of Innocence and of Experience in all of American music...the score is a multicultural stew of idioms, from rigorous modernism to Mahler-like Romanticism, Appalachian folk songs, madrigals, country, ragtime, show music, rock, soul and reggae...Monstrous, indeed...an influential landmark in both the development of Bolcom's eclectic aesthetic and recent American musical history, documenting the liberating shift from high-modernist orthodoxy to an all-embracing post-modern collage of styles...In a coup for UMS and U-M, the feisty classical label Naxos has agreed to issue the first recording of the piece. Naxos engineers will tape Thursday's performance, along with follow-up sessions Friday and Saturday. Despite ecstatic reviews and cult status, the piece has never been commercially recorded...Naxos is covering engineering, production, conductor, soloist, copyright and other fees related to recording. " -- Mark Stryker, Detroit Free Press, April 6th, 2004
"William Bolcom's gigantic, well-more-than-two-hour setting of William Blake's complete "Songs of Innocence and of Experience" poetic cycle is enormously difficult and expensive to perform. Looking down at the forces assembled for the University of Michigan performance in Hill Auditorium here on Thursday night was a mega-Mahlerian experience, with a stage extension needed to accommodate the nearly 500 musicians (bigger than the forces of any Mahler "Symphony of a Thousand" I have encountered). All that was missing were lighting effects and projections of Blake's engravings, suggested in the score. But they were on display in the lobby. So visually it was awesome, and musically it was pretty awesome, too. Mr. Bolcom, who is now 65, has taught at the University of Michigan since 1973. He first became interested in Blake's visionary poems - written in the late 18th century and full of Christian mysticism and a horror of modern life and human cruelty - in 1956, from when his first sketches date. Composed sporadically, the piece received its world and American premieres in 1984 and has been performed intermittently since. At its second appearance in New York, with Leonard Slatkin conducting the St. Louis Symphony at Carnegie Hall in 1992, Edward Rothstein ended the first paragraph of his review in The New York Times with the words, "It should be recorded." Now, at long last, it has been. Thursday's performance was again conducted by Mr. Slatkin and, with patching sessions, will be released on the Naxos label."
