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Pete Townshend - Live > La Jolla Playhouse 2001, June 23 (2001) {2CD Set Eel Pie EPR015-1/2}
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© 2001 Eel Pie Recording Prod. | EPR015-1/2
Rock / Contemporary Rock / Acoustic / Art Rock / Rock & Roll / Classic Rock

Two CDs capture the second of two fundraising concerts that Townshend played at San Diego's La Jolla Playhouse, and an enchantingly intimate look at the veteran Who man as he chats, jokes, and, of course, plays through a solid set of acoustified classics. The venue itself has some fond attachments to Townshend – it was here that he premiered the Tommy musical before launching it on Broadway and, hardly surprisingly, the deaf, dumb and blind kid opens the show, via a rousing "Pinball Wizard." Initially, it feels as though the second evening is simply going to be a recap of the first, as "Let My Love Opens the Door" follows on. But "Heart to Hang Onto," "Collings," "Sheraton Gibson," and the Quadrophenia chestbeater "I'm One" all make unexpected appearances amid the previous evening's fare, and Townshend's between-song chatter and joking is even more effusive than it was before.

It is difficult to know where to begin when approaching an artist as wonderful as Ella Fitzgerald, especially when covering a revered recording like Sings the Irving Berlin Song Book from the late '50s. This set includes two CDs with 32 songs chosen from Berlin's collection of nearly 800 songs. These selections are perfectly suited for Fitzgerald's voice and her romantic sensibility; they are happy, occasionally sad, and full of swinging rhythm. A few of these songs - "Cheek to Cheek," "Puttin' on the Ritz," and "Blue Skies" - will be most familiar; others, "Top Hat, White Tie, and Tails," "Russian Lullaby," and "All By Myself" are as memorable but perhaps less known. Choices like "Isn't This a Lovely Day?" feature everything a listener would want in a song: intelligent lyrics, memorable melodies, and a strong emotional center…

Arabella Steinbacher is yet another obviously talented young violinist, but this enterprising release really throws down the gauntlet to the competition, showing how to be both brilliant and musically interesting. These three Milhaud concertos are all but unknown, but they give Steinbacher plenty of opportunity to display her glittering technique as well as emotional maturity. This may sound surprising given the composer, a member of Les Six and one often noted for his cool polytonal style, eclecticism, and emotional detachment.