Gary Karr's Favorite CDs

Of the 19 Discs Gary Karr offers as his cherished favorites, only one is a bass recording. But such an impact did the sound of Serge Koussevitzky, the Complete Double Bass Recordings (Biddulph WHL 019) have on Karr as a young lad if nine, that he made the decision to become a doublebassist.

Clearly certain female vocalists played an equally large part in shaping Karr's instincts for musical expression. He became an ardent fan of Jennie Tourel, immortalized on A Tribute to Jennie Tourel (Columbia Odyssey Y2 32880). When Karr's career was evolving, he met, befriended and was coached by Tourel herself - a collaboration which led to Jennie Tourel Sings Russian Songs (Odyssey 32 16 0070) on which the young Karr is featured.

Karr's reverence for Rosa Ponselle, the Metropolitan Opera's sensation of the 'twenties, is best exemplified by two CDs: Rosa Ponselle the Victor Recordings (Romophone 81007-2), and Prima Voce (Nimbus Records NI 7805).

But Karr is equally fond of more contemparary divas. Pop vocalist Morgana King was introduced to Karr by American song-writing genius Alec Wilder, an eclectic composer who wrote a Bass Sonata for Karr in 1962 published by Margon. Morgana King - the Winter of my Discontent (Ascot AM 13014) easily makes it onto Karr's list of favorite recordings.

Operatic influences, though, remain strong. While Gary Karr was a student at Julliard in New York, he secured a free-lance job in an orchestra accompanying Joan Sutherland. Immediately, Karr was a devoted fan: "Listening to her has influenced my playing to an enormous degree," says Karr (Joan Sutherland; the Art of the Prima Donna, Vol.1 London 5601). He also fervently admires Cecelia Bartoli, and explains that "whereas Sutherland has almost inhuman vocal ablities, Bartoli has music in her bones, in her blood, and in her soul - she has a conviction of musical expression which cannot be taught" (Cecelia Bartoli: Rossini Arias, Decca 425 430-2). The remaining legendary chanteuse in Karr's favorite collection is Billie Holiday's Lover Man, Decca DL 8702. Karr praises her sense of timing: "She floats over the barlines."

Two ensembles which Karr enjoys immensely are the Amadeus Chamber Ensemble of Poznan, Poland(Mozart Serenades and Divertimenti, Amadeus Musical Foudation ST 101) and the Collegium Terpsichore (Dance Music from the Time of Praetorius, Archiv 198 166). Both recordings demonstrate irresistible rhythmic buoyancy. But s surprising addition is a well-worn album of Ukrainian trumpet virtuoso Timofey Dokschutzer (Trumpet, Boston Records BR900): "an artist who can communicate the language of music straight from his heart". Jascha Heifetz (The Decca Masters, Vol.1 MCAD42211) is also beloved by Karr: "He had style - the highest feeling for musical expression and the technique to pull it off." Communication between two musicians reaches perfection, in Karr's estimation, in the Heifetz/Feuermann Brahms Double (HMV DB 6120/3) and in Two of a Mind (RCA Victor LSP 2624), featuring saxophonists Paul Desmond and Gerry Mulligan. These two collaborations epitomize for Karr a celebration of the special empathy that can exist between two musicians.

Typical of Karr's far-reaching eclecticism are two favorite CDs: Percy Grainger Orchestral Works (Polygram ABC 426989-2) and Salamander Pie (DMP CD-442). This latter disc is a 1983 release by American bassist/writer/singer Jay Leonhart, whom Karr considers a real musical genius.