All Tomorrow's Parties (Good Times Just Seem to Pass Me By) (after Velv - Andrew Russo, Felsenfeld, Daniel
Three of a Perfect Pair (Menage a Deux) (after King Crimson), for piano - Andrew Russo, Mellits, Marc
Search and Destroy (after The Stooges), for piano - Andrew Russo, Kline, Phil
Born To Be Wild (after Steppenwolf), for piano - Andrew Russo, Lang, David
The Corner (after Common), for piano - Andrew Russo, Kotche, Glenn
Dead Beat Club (after The B-52s), for piano - Andrew Russo, Ziporyn, Even
The Promise (after Tracy Chapman), for piano - Andrew Russo, Russo, Andrew
Rosalinda's Eyes (I Know How Good You Are) (after Billy Joel), for pian - Andrew Russo, Sanford, J.C.
You're Beautiful (after James Blunt), for piano - Andrew Russo, Russo, Andrew
Play That Funky Music (Toscanini's Glasses) (after Wild Cherry), for pi - Andrew Russo, Felsenfeld, Daniel
Jerusalem (Curried Kafka) (after Emerson, Lake and Palmer), for piano - Andrew Russo, Mellits, Marc
Portrait of Tracy (after Jaco Pastorius), for piano - Andrew Russo, Molinaro, Anthony
Cars (after Gary Numan), for piano - Andrew Russo, Ueno, Ken
Street Spirit (Fade Out) (after Radiohead), for piano - Andrew Russo, Ruchalski, Ed
For those who went to an American junior high or high school in the 1980s and '90s, the mix tape was an important tool--a way for young people to encapsulate their identities. After carefully compiling the songs that meant... more » the most to them, these tapes were often shared among friends or given to romantic companions. It was a way to say, "This is me" when verbal or interpersonal skills seemed inadequate. Now a grizzled veteran of Generation X, Andrew Russo began to wonder what would happen if a number of American composers were asked to arrange their favorite tunes in their signature keyboard styles. Collaborating with composers such as Daniel Felsenfeld, Marc Mellits, Phil Kline, and David Lang, he presents the harmonies of pop standards through the lens of modern classical composers.« less
For those who went to an American junior high or high school in the 1980s and '90s, the mix tape was an important tool--a way for young people to encapsulate their identities. After carefully compiling the songs that meant the most to them, these tapes were often shared among friends or given to romantic companions. It was a way to say, "This is me" when verbal or interpersonal skills seemed inadequate. Now a grizzled veteran of Generation X, Andrew Russo began to wonder what would happen if a number of American composers were asked to arrange their favorite tunes in their signature keyboard styles. Collaborating with composers such as Daniel Felsenfeld, Marc Mellits, Phil Kline, and David Lang, he presents the harmonies of pop standards through the lens of modern classical composers.