Wild Exotic Dances
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New works for clarinet and clarinet ensemble by distinguished composer James Scott Balentine.

Composer by character and performer by temperament, James Scott Balentine brings a complex mix of multicultural and eclectic experiences to his music. Professor of Music at the University of Texas at San Antonio, Balentine has received awards, grants and commissions from the Barlow Endowment, the Opera Guild of San Antonio, and many chamber ensembles and soloists. For this recording, clarinetist Robert Walzel has assembled works for clarinet and piano; clarinet and bassoon; and clarinet ensemble. Most of these works have received performances at the annual ClarinetFest conferences that take place around the world. Performer Robert Walzel has been featured at music festivals and other venues around the world for more than 25 years and was principal clarinet of the Lubbock Symphony Orchestra before becoming Dean of the School of Music at the University of Kansas.
Contents:
James Scott Balentine, composer
Nine Wild Exotic Dances
Robert Walzel, clarinet; Steven Glaser, piano

March, Strathspey and Reel
Robert Walzel, clarinet; Steven Glaser, piano

James Scott Balentine, composer
The Charlie Effect
Robert Walzel, clarinet; Steven Glaser, piano

James Scott Balentine, composer
In a Bright Room
Robert Walzel, clarinet; Scott Walzel, bassoon

James Scott Balentine, composer
The Ghost of Eric Dolphy
Texas Clarinet Consort

James Scott Balentine, arranger
Monk, Through a Glass Darkly
Texas Clarinet Consort

James Scott Balentine, arranger
Three Spirituals
Texas Clarinet Consort

James Scott Balentine, arranger
A Toot in Ninesia
Texas Clarinet Consort

Review:
“[Robert Walzel] has a nice, bell-like clarity to his tone and some impressive technique. Balentine’s music suits him very well.” (Audiophile Audition)

“Balentine’s original works, which are as skillful as they are lacking in pretension, are easy to enjoy. …You don’t have to be a clarinet specialist to like this CD. I think the av-erage ‘drive-time’ listener, for example, would get much pleasure out of these works as he or she headed home. Having arrived there, the average listener would nt feel it a bur-den to give this disc his or her complete attention.” (Fanfare)