Root Down

Editorial Reviews
Amazon.com essential recording
Between the making of Paul's Boutique and Check Your Head, the Beastie Boys checked into a rehearsal space and relearned how to make an album. Their new technique involved lots of extended jamming and experimentation, both of which are evident on the two previously unreleased versions of "Root Down" (and either of which could have substituted for the original version with no loss of quality). The rest of this mini-album was recorded live in Europe and shows the Boys in fine form, rocking early tracks with a funky new flow ("Time to Get Ill") as well as showing that they could pull off both their back-to-punk guitar-rock and their new-groove funk sounds onstage. --Randy Silver --This text refers to the Audio CD edition.

Tracks:

Sagg Shootin' His Arrow
For Everyone Under The Sun
After Hours
Root Down (And Get It)
Let's Stay Together
Slow Down Sagg
Root Down (And Get It)

Amazon.com

Root Down captures the king of the Hammond B3 organ, Jimmy Smith, playing down and dirty R&B. It isn't that Smith had forgotten that he was one of the jazz greats for this 1972 live concert, but with an LA rhythm section, there is definitely a groove here. A damn funky groove, at that. The album includes two versions (one previously unissued) of Smith's "Root Down," a song covered by the Beastie Boys in 1994. There is also a hypnotic reading of Al Green's pleading "Let's Stay Together," which yet again proves that Jimmy Smith is a man with a lot of soul. But it is when he ups the pace that the album really comes alive, such as on his "Slow Down Sagg," released here in its entirety for the first time. With Arthur Adams accompanying on fat-back guitar, its raw funk would impress James Brown. With Root Down, dancing shoes are essential. --Phil Brett

Customer Reviews:

Beastie Boys fans need to check out the Original, the Incredible... Jimmy Smith!.......2007-04-05

I am a big fan of jazz organ and vibes. Milt Jackson is the Wizard of the Vibes but the Incredible Jimmy Smith is the Master of the Organ. He is unbelievable. I own about 18 of his albums so far and they are all awesome but I gotta tell man, this is one of the best.

I love the Beastie Boys album, "The In Sound From Way Out!" and that is why I bought "Root Down". I know, that is backwards, but whatever, I now own the album and will cherish it forever.

All you jazz only fans need to buy that Beasties Boys album, you will not be sorry you did!

Good for its Genre.......2006-05-18

Jimmy Smith, who was a pioneer in the soul jazz genre, here graduates into jazz-funk. Though I love the Hammond B-3 organ he used throughout his career, he never was quite as much an originator as Grant Green or Stanley Turrentine. Still, his earlier soul jazz outings, especially his collaborations with Wes Montgomery have something to be said for them. Root Down is certainly an enjoyable listen, it does owe its debt to the funk music outside of the jazz world that was now making an impact on it. Though it is less predictable and more catchier than previous recordings, it never breaks the mold of jazz funk. Play it back to back with Miles Davis' "On the Corner" and see which comes out a winner.

Funkus extremus.......2006-05-04

This is some good stuff right here. No foolin'.

I have had this album for awhile and was saddened to hear that Mr. Smith died in Feb 2005. RIP. The soul has left the earthly container, but I suspect this music will stand the test of time. Thirty four years later, it sounds incredibly fresh.

It is one of those albums that you can have for 10 years, not listen to it for 3 months, put it in and be like "nice." Though I don't think I have gone more than a month.

Highly recommended.

The art of acid funk organ.......2006-04-14

First - "Root Down" is the hottest and rawest down-to-earth funkadelic live album recorded by Jimmy Smith and with his most unusual live group in the '70's. Secondly - he never did a follow up album with the concept. Too bad! Recorded live in Los Angeles in February 1972, the group of young musicians rooted in modern progressive rock/jazzrock and funk seems to have no respect for the organ master is and pushes him beyond normal limits. With Wilton Felder (yes, the man from Crusaders) plays his funky elbass, some guitar distortion/wah-wah from Artur Adams and funky drumming from Paul Humphrey, the band sounds astonishing modern in the acid jazz vein, even for today's standards. Smith kicks off laying down blues drenched organ grooves that truly cook on his originals like "Sagg Shootin' His Arrow", "Root Down" and Slow Down Sagg". The too often played "After Hours" sounds fresh and new adding Steve Williams on harmonica. The reissue is even greater than the original album since Verve have restored original tracks to their full and unedited length...great work from Verve!

Pure Fun.......2005-02-12

There's one reason why Jimmy Smith is one of the greatest Organplayers of all time. A very simple reason. Pure Fun. This album demonstrates just that quality of Jimmy Smith. Seldom has a live album managed to get the atmosphere of the show accross as well as this album does. Sweat will be oozing out of your speakers.

Interesting enough this record is something of an oddity for Smith. It is the only album I know of where he's being backed by a bass player. Smith usually plays bass himself on the organ and thinks of bassplayers as being too much of a good thing. Maybe the presence of the bassplayer is what makes this album so much more alive as your average Jimmy Smith album. Although Jimmy Smith is an excellent organplayer his albums had just one weakness, uniformity. Root Down is a rare Smith item in the fact that it doesn't really repeats a formula. As a result of that it was one of his more dynamic albums in years, maybe his whole carreer.

Two tracks on the album require special attention. The title track Rootdown is a bonafide funk classic. The Beastie Boys later lifted the entire intro for their version of the song. And then there is After Hours. A fine and sexy blues that manages to move time after time.

Enjoy.

Average customer rating:

not worth 11.99, but pretty good
FedEx Ground
Beasties Live
A couple of great remixes
Lot more than just Root Down- Awesome CD

Root Down
Beastie Boys
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002TXO
Release Date: 1995-05-23

Tracks:

Root Down (Free Zone Mix)
Root Down (LP)
Root Down (PP Balloon Mix)
Time To Get Ill
Heart Attack Man
The Maestro
Sabrosa
Flute Loop
Time For Livin'
Something's Got To Give

Amazon.com essential recording

Between the making of Paul's Boutique and Check Your Head, the Beastie Boys checked into a rehearsal space and relearned how to make an album. Their new technique involved lots of extended jamming and experimentation, both of which are evident on the two previously unreleased versions of "Root Down" (and either of which could have substituted for the original version with no loss of quality). The rest of this mini-album was recorded live in Europe and shows the Boys in fine form, rocking early tracks with a funky new flow ("Time to Get Ill") as well as showing that they could pull off both their back-to-punk guitar-rock and their new-groove funk sounds onstage. --Randy Silver

Customer Reviews:

not worth 11.99, but pretty good.......2006-10-27

if you can find this for a cheaper price, its worth getting, especially for a hardcore beasties fan. the Free Zone remix surpasses the original version, and the PP Balloon remix just falls short, but is still very good. the live tracks are very good and show off the energy of the band.

FedEx Ground.......2006-04-20

Like always the B-boys deliver. However, the small number of songs and numerous versions of root down makes it come up short. It leaves you waiting and waiting for more. Should have gone with next-day air.

Beasties Live.......2003-08-13

Length - 29:38
Riding on the giant wave of success that emanated from Ill Communication, the Beastie Boys came back in 95' and put this EP together, consisting of the studio version of Root Down, and nine other tracks performed live in Europe. Overall the cd is pretty strong, offering such rocking live tracks as Heart Attack Man and Time For Livin', and excellent hip-hop tracks like Flute Loop and all versions of Root Down. The last track, Something's Got to Give, is an awesome closer- really spaced out and jamming. All in all, this album is definitely worth buying for casual or diehard Beastie Boys fans.

A couple of great remixes.......2002-06-14

The highlight of this CD for me are the two remixes of "Root Down," which add a nice hip-hop flavor to the song. The remixes remind me a bit of their work on their next CD, "Hello Nasty." The rest of the CD consists of live versions of songs, mostly from their two prior CD's "Ill Communication" and "Check Your Head." I'm not a huge fan of the more rock-oriented "Ill Communication," so this CD was a bit of a disappointment for me, although the Beasties do sound pretty great live considering the complexity of their music. I think that fans of "Ill Communication" will probably really like this CD.

Lot more than just Root Down- Awesome CD.......2002-04-11

I would have to agree with what someone else said about this being better for people who have already heard the album versions. That being said, it's a great album. In my opinion, the best track on here is the live version of "Time to Get ill". I love it- it's raw, fresh, and as close to gangster rap as any white guys can get (B-boys are way better than eminem). "Root Down" is one of my all-time fave B-Boy songs, and the remixes give it an extra kick (even though both of the mixes can be found on the DVD, if you heard them on there and liked it, you can listen to them in your cd player now). For those who actually like "Sabrosa", like me, this live version is great. It's got more wah's than, well....., let's just say Adrock doesn't take his foot off the pedal once- and it's still an awesome groove. For those who haven't seen B-boys live, they've got so much energy (especially Adrock) that isn't ever shown on their studio albums, and I think this album finally does it well. Hearing Adrock scream like a maniac really does something for you on the inside. Last thing- I've never been a huge fan of B-boy punk, but just listening to the live version of "Time for livin'" got me hooked.

Average customer rating:

Presents Sound Crush at the Root Down
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ProductGroup: Music
Binding: Audio CD

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Album Details

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Symphony 9: Introduction to Dvorak
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THE SHAPE OF THINGS TO COME
a voice teacher and early music fan

George Frideric Handel: Esther

Manufacturer: CORO
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001B0A94
Release Date: 2004-06-01

Tracks:

Overture Andante - Larghetito - Allegro
Recitative Habdonah/Haman: " 'Tis greater far to spare"
Aria Haman: " Pluck root and branch from out the land"
Recitative Persian Officer: "Our souls with ardour glow"
Chorus: "Shall we the God of Israel fear?"
Recitative First Israelite: " Now persecution shall lay by her iron rod"
Aria: " Tune your harps to cheerfull strains"
Chorus: " Shall we of servitude complain"
Aria Israelite Woman: " Praise the Lord with cheerful noise"
Recitative Israelite Woman: " 0 God, who from the suckling's mouth"
Aria Second Israelite: " Sing songs of praise, bow down the knee"
Chorus: " Shall we of servitude complain"
Recitative Priest of the Israelites: " How have our sins provoked the Lord!"
Chorus: "Ye sons of Israel mourn"
Aria Priest ofc The Israelites: "0 Jordan, Jordan, sacred tide"
Chorus: "Ye sons of Israel mourn"
Andante
Allegro
Adagio
Allegro

Tracks:

Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
Aria Mordecai: " Dread not, righteous Queen, the danger"
Recitative Esther: "I go before the King to stand"
Aria Esther: " Tears assist me, pity moving"
Chorus: " Save us, O Lord"
Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
Recitative Esther: " If I find favour in thy sight"
Aria Ahasuerus: " How can I stay when love invites?"
Recitative Third Israelite/Fourth Israelite: " With inward joy his visage glows"
Chorus: " Virtue, truth and innocence"
Arioso Priest of the Israelites: " Jehovah, Crown'd with glory bright"
Chorus: " He comes, he comes to end our woes"
Recitative Ahasuerus/Esther: " Now, a Queen, thy suit declare"
Arioso Haman: " Turn not, a Queen, thy face away"
Aria Esther: " Flatt' ring tongue, no more I hear thee!"
Recitative Ahasuerus: "Guards, seize the traitor, bear him hence!"
Aria Haman: " How art thou fall'n from thy height!"
Chorus: "The Lord Our enemy has slain"

Album Description

Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.

We decided, therefore, that we should attempt to convey that intimacy of performance on disc; so we performed in the round with microphones in the middle, the orchestra in front of me, the choir behind and the soloists alongside. The result is everything that chamber music should be where players and singers can enjoy every aspect of Handel's masterpiece.

"The 'sound' of Esther, superbly communicated in the recorded performance here, is pure enchantment... The choral singing has an exceptional grandure, and the instrumental playing a shimmering beauty. Among the soloists, none of whom is less than accomplished, Nancy Argenta and Michael Chance dominate... Both singers affirm a new golden age of Handel interpretation".

Customer Reviews:

THE SHAPE OF THINGS TO COME.......2007-01-26

Esther is the first of Handel's oratorios by a good many years, written when he was 33 and enjoying the patronage of the Duke of Chandos. When he later became his own impresario and was running into trouble as a composer and producer of Italian operas he turned to oratorio as a strategic alternative, but at this early date his concern was to deliver staged entertainments for the Duke, and Esther, contemporary with the work that later gained the title Acis and Galatea, seems to have been just an unusually serious specimen of its type.

As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.

Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.

There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.

My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.

a voice teacher and early music fan.......2006-04-04

Handel began composing the oratorio 'Esther' in 1718. There is some confusion as to who actually worte the libretto for it, but the story follows very closely the biblical story of Esther in the Book of Esther in the old testament. The story tells of a plot of Haman, the Agagite (Michael George-bass) jealous and powerful vizier of King Xerses (Ahasuerus-Tom Randle-tenor) of Persia(485-464), to destroy in a single day all the Jews living in the Roman Empire. He is moved to this out of hatred for the Jewish servant Mordecai (Mark Padmore-tenor),who for religious motives refuses to render him homage. The day of the proposed massacre is determined by lot. Meanwhile, Esther,niece and adopted daughter of Mordecai, is chosen Queen by King Xerses. She averts the pogrom planned against her people and has the royal decree of extermination reversed against Haman and the enemies of the Jews. Mordecai replaces Haman, and together with Esther, works for the welfare of their people. As you can see this makes for an interesting Oratorio, which it truly is!
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.