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Tuesday, Oct 27
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Format: Syncopated Musings: Classic Piano Rags And Ragtime Waltzes
Description
Syncopated Musings: Classic Piano Rags And Ragtime Waltzes by Bryan Wright
Product Dimensions : 5.5 x 5.5 x 0.25 inches; 2.5 ounces
Manufacturer : Rivermont
Original Release Date : 2004
Run time : 1 hour and 3 minutes
Date First Available : January 20, 2007
Label : Rivermont
Number of discs : 1
Best Sellers Rank: #213,405 in CDs & Vinyl (See Top 100 in CDs & Vinyl) #197 in Waltzes #223 in Orchestral Jazz #2,238 in Traditional Jazz & Ragtime (CDs & Vinyl)
#197 in Waltzes:
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Tuesday, Oct 27
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Top Amazon Reviews
Wonderful cd.A true pleasure to listen to.
Reviewed in the United States on January 3, 2026 by klm
This is a great disc. It contains sixteen piano rags and ragtime waltzes composed from 1896 to 1923. Scott Joplin is well represented but is by no means the only composer on this disc, which is well played and well recorded. It is one of my favorites and will be one of yours.
Reviewed in the United States on June 19, 2016 by Drew E
“Syncopated Musings” would be an impressive debut album by anyone at any level of maturity, but I was stunned to see that Mr. Wright was only 22 years old at the time of the recording. I don’t think that I would have been able to produce something with this level of subtlety or maturity at that age. The first track, May Aufderheide’s “The Thriller!” is played a little faster than Max Morath did, but it is cleanly articulated, with mostly punctuated and clearly separated notes in the bass, with the occasional little changes in the melodic lines, and dynamics (e.g. the second strain is played a little louder during the repeat). I’m not a big fan of repeating sections, but if you’re going to do it, there has to be some variation, and Mr. Wright does so while holding the listener’s attention. Arthur Marshall is not well enough known by many people who listen to this music, and Mr. Wright chooses “Ham And!” for the second piece. It is not played or recorded often, but this is by far the best rendition I’ve heard. There are, again, wonderful and noticeable changes in dynamics with great emphasis on the “blues-like” riffs in the right hand in the 3rd section. Scott Joplin’s “Country Club” is also played with similar conviction, with a slight increase in tempo in the 3rd section. It’s this kind of attention to detail which keeps the listener listening. Joplin’s “Magnetic Rag” is played with similar reverence, and with small amounts of rubato which accentuate the phrases. In “Pastime Rag No. 4” (which is full of chord clusters, very harmonically advanced for early ragtime) Wright plays it slower than Bill Bolcom did in his 1970s recording, but with a swinging lilt that gives it a “vaudeville” touch (while at the same time being informed by classical music) – an aspect of the piece which I had never heard before. A delightfully new interpretation and played with gentle, soft dynamics. I’ve known Harry Jentes’s “Bantam Step” for decades, and always wanted to play it, but never felt that I could bring it off. Mr. Wright does so in fine style, with sharp attacks in the right hand, excellent variation in dynamics, and occasional added notes in the right hand (particularly in the last section as there are long held notes, probably best suited for band arrangements), and added 5ths in the left hand. It is both satisfying to hear and stylistically accurate. I’m sure the composer would have approved. My two favourite tracks are Scott Joplin’s and Louis Chauvin’s famous “Heliotrope Bouquet,” and Joplin’s ragtime waltz, “Bethena.” I’m going to stick my neck out and say that I think that the former receives an even better rendition than it did from William Bolcom. It’s not an easy piece to play, particularly if repeats are observed, and Wright keeps our attention all the way through again with his charming and subdued use of rubato and his subtle soft ending. “Bethena” starts with use of soft pedal, and minimal use of sustaining pedal. It is played fairly quickly and not at all sentimentally. This is a perfect rendition, and does not become loud until the second section. Bryan Wright is also a phenomenal writer as well. The enclosed beautiful booklet is scholarly, accurate, and great fun to read. All in all, I think this is an exceptional album. Recommended without reservation!
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Reviewed in the United States on March 28, 2025 by Matthew de Lacey Davidson
If you are one of those people who thinks ragtime was the music of turn of the century riff-raff, Bryan Wright will prove you wrong. This guy plays with an understated, classical touch that really elevates the genre. His thoughtful and at times dramatic rendition of "Bethena" really shows why Joplin subtitled it a "concert waltz" -as opposed to just a plain old "waltz." I also like Bryan Wright's interpretation of Muriel Pollock's "Rooster Rag." There are moments in this rag where I am reminded of the delicate passagework of a Chopin Nocturne. But he can also play with a lot of vim and vigor - like in the "Thriller" and the "Maple Leaf Rag"- in which he displays some "hot" ragtime playing.
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Reviewed in the United States on June 15, 2005 by The Emu