Paul Arden-Taylor, Orchestra Da Camera Antonio Vivaldi - Concerti and Sinfonia (Vinyl, LP, Album)
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The Art of Fritz Reiner, Vol. Fritz Reiner. The Art of George Szell, Vol. Both are accurate, but it does seem like the label could have picked one and stuck with it. As always with Josquin, the part-writing is exquisite; as always with the Weser-Renaissance ensemble, the singing is too. What unites this seemingly diffuse program of guitar compositions is the influence of folk music.
The latter two pieces are presented here in world-premiere recordings. He is particularly beloved by reed players, and the three sonatas and one andante movement presented on this gorgeous disc feature oboes and basson prominently.
The baroque versions of these instruments are notoriously difficult to play, and the members of Ensemble Marsyas augmented for this recording by violinist Monica Huggett acquit themselves beautifully. On this album the sackbut-recorder-and-cornet ensemble La Caravaggia presents a nicely varied program of compositions from Italian and Spanish songbooks of the midth century.
Adapting such pieces for instrumental performance was a commonly accepted practice of the time. Many of these pieces are anonymous and many others are by very obscure composers, but there are also selections from the likes of Heinrich Isaac, Juan del Encina, and Costanzo Festa.
The distinctive timbres of the cornet and the sackbut a precursor of the trombonecombined with the often lilting dance rhythms, make for a thoroughly charming and enjoyable listen.
Fans of the large-scale sacred works of Monteverdi and Gabrieli will find much to enjoy here; the performances and recorded sound are excellent. There is surely no guitarist, and there may not be another musician, on the ECM label who more perfectly embodies the ECM Sound than Abercrombie: his tone is soft-edged, his phrasing and melodic ideas at times almost elegiac, but his musical intelligence is sharp and those ideas are wide-ranging, at times almost wild.
Highly recommended to all jazz collections. Perhaps not an essential purchase for every library, but those with comprehensive jazz collections should be following this series closely. Allegro DCD Stranahan Zaleski Rosato Limitless Capri There are not that many piano trios with a truly unique and personal sound. Instead, they play like a trio of equals.
Sometimes this means things are maybe just a little too busy, but mostly it means that things are richly and beautifully complex even as the sense of swing and cohesion remains strong. Any library supporting a jazz curriculum should seriously consider this disc.
This 3-disc set pulls together previously released and unreleased material including early live recordings, the complete set from a concert at the Smithsonian, and a few tracks recorded shortly before his death in The booklet includes notes on each song and a nice bio.
Notice his range, by the way: everything from Tin Pan Alley to sea shanties to gospel to Delta blues. An essential purchase for any folk collection. This is one of the latter. It consists primarily of recordings made by Angelas Lejeune, Percy Babineaux, and Bixy Guidry in and ; all are transfers from shellac 78s, they mostly sound fairly terrible, and the singing is all quite raw the playing, less so.
But for libraries that collect comprehensively in American folk music, this disc along with its accompanying notes is a treasure trove. Country fans and musicians who suspected he was making fun of them were not wrong—but he was making fun of himself and everything else too.
For all comprehensive pop and country collections. Years ago, I lent a copy of a Capercaillie album to a friend of mine from work. But I have a really hard time imagining anyone not liking this. The album is brilliant overall. On a quick listen, you could be forgiven for hearing this as more of the same old same old: big, dark, atmospheric, dub-inflected techno. But listen harder, and what emerges is something pretty unique: a restless emulsion rather than a synthesis, one that sputters between jungle, dubstep, techno, glitch, and dub in ways that constantly startle and surprise.
The result is sometimes creepy in an intriguing way and sometimes briefly danceable, but always ebbing and flowing with rich textures and fascinating polyrhythms. Kode9 Rinse Rinse dist. Forced Exposure Rinse FM is a British radio station that, over the years, has sponsored a series of DJ mix compilations on which DJs put together long strings of dance music selections, programs that may consist of 30 or 40 extracts running seamlessly from one into the other.
The latest in the series features Hyperdub label founder Kode9, whose program is like an introductory guide to some of the most interesting stylistic developments over the past few years UK funky, footwork while incorporating classic house, 2-step garage, grime and other styles as well.
Libraries with limited budgets and no Clash holdings will find this a handy selective overview; those with a little more money to spend should consider the 5 Albums box. Saroos Return Alien Transistor dist.
Forced Exposure N And occasionally it just plain rocks. Fun and impressive. So, on the surface, Columbia seems to have a lot to answer for with this collection. So, on balance: well done, Columbia. Strongly recommended to all libraries. Naxos CA But actually, for the most part it works very well.
This disc presents a selection of hymns from the largest surviving collection of 18th-century Icelandic sacred music. All are sung in Icelandic, and the vocalists have a clean, pure tone that fits beautifully with the music.
This album straddles a variety of musical genres and is strongly recommended to all collections of sacred, early, or world music.
Forced Exposure ND But the lyrical messages are firm, at times downright stern, making for an impressive balance of sweet approachability and righteous admonition. Strongly recommended to all reggae collections. Makarski plays with dancing, bell-toned joy, while Jarrett cedes the spotlight to her violin while simultaneously making every note count, creating a keyboard sound that is the auditory equivalent of a constantly-unfurling string of pearls. This being an ECM production made under the studio supervision of Manfred Eicher, the recorded sound is as always rich and spacious, which one might not expect to be the best choice for music of such an intimate nature.
But it works perfectly, burnishing the sound of both instruments and creating a listening experience that is really quite unique for this repertoire. This is a charming recording of two charming suites by Robert Schumann — Carnaval and the Kinderszenen. The pieces were arranged for the Canadian Brass sextet by members Chris Coletti and Brandon Ridenour; the arrangements are beautiful, and though I find the production to be a bit, well, brassy-sounding, the playing is warm and lovely throughout and the pieces themselves are light and inviting.
Libraries supporting coursework in orchestration and arrangement should take particular note of this release. For this project, saxophonist Lou Caimano and pianist Eric Olsen recording as Dyad have taken arias from several popular Puccini operas and created jazz and jazz-like arrangements for them—they do swing though decorously, in the absence of bass and drums but they also show respect for the multifaceted beauty of the original Album).
Though he remains most deeply respected for his choral and theater compositions, Henry Purcell also wrote some very winning music for various combinations of stringed instruments: two sets of sonatas a relatively new compositional form in the late 17th century for violins, viola da gamba, and continuo, and a more old-fashioned set of 16 fantasias and two In nomines for viol consort. This very attractive three-disc set brings together previously-issued recordings of all of these works made by the Musica Amphion consort in andand can be confidently recommended to any library that would benefit from having all of these pieces in excellent performances in a convenient single package.
The Hungarian composers Bela Bartok and Zoltan Kodaly were pioneers of folk-classical fusion, traveling all over their homelands to gather traditional tunes and songs, which they then incorporated into their compositions. Over in Czechoslovakia, Leos Janacek was drawing on similar themes though not in such an ethnomusicological way.
Brisk tempos allow them to get through all six suites within the confines of a single disc, and their playing is sprightly and bright, bringing out all of the pleasure and structural beauty of the various dance movements. Most libraries will own multiple accounts of these works already, but this one is both good and unique enough to be worth acquiring even if you already own other period-instrument versions. An essential purchase for all early music collections. Wolfgang Amadeus Mozart Piano Concertos nos.
Bax is emerging as a major force in modern pianism, and this release is an impressive document of a young man very much on the rise. II Us3. Also, you may find that you love the big arrangements. Recording under the band name Klaro!
Strassmayer in particular is an exceptionally incisive and inventive player, and Mondlak supports her with rare taste and perceptivity. Guitarist George Costirilos has two big things going for him: a warm, inviting tone, and the ability to lead a trio of unbelievable tightness in such a way that it sounds loose and cheerful rather than constricted.
Well, maybe one other big thing as well: phenomenal melodic inventiveness. On this album he switches between electric and acoustic guitar and between originals and standards with an emphasis on the formergliding effortlessly between soulful blues-oriented passages and kaleidoscopic bebop lines and doing an admirable job of filling the open space provided by the trio format with lots and lots of very tasty music.
None of these recordings has ever been commercially released before. An essential purchase for all folk collections. The singing is authentically weedy, the playing tight and skillful enough but not airlessly so.
Mike Oberst has developed a sort of customized clawhammer banjo style that works very nicely in this context. Every song here is original, both literally and figuratively. I only wish the program were three times as long. Strongly recommended to all library collections. If your collection could use a good, budget-priced historical overview of bluegrass gospel music, then look no further than this anthology from the Rebel label. Some of these recordings will be familiar to fans of the genre, but others are more obscure, and the mix of new and old styles is both enjoyable and instructive.
Their voices are full-bodied and soulful, their subject matter subtly daring, their instrumental chops unimpeachable, and their overall sound simultaneously backward-looking and progressive. RonKat Spearman D. If you miss the glory days of Parliament Funkadelic and you know you dothen check out the latest from RonKat Spearman, a member of that band for ten years and an unabashed carrier of the Funkadelic torch in his own right.
Spearman is a fine vocalist as well as a gifted multi-instrumentalist and arranger. Where Spearman draws on Funkadelic grease, Afrolicious goes for something more jazz-oriented—and the word on the street is that a remix album is coming out later this fall. The Sounds Weekend Arnioki 5. I really enjoyed their last outing, but this one is even better, the sound more fully developed and the hooks sharper and more refined.
A Christmas album from Erasure? All too often, these Fabriclive DJ mixes end up being generic exercises in post-Detroit oonts-oonts-oonts that bore the pants off me within about three minutes. Unsurprisingly, they spent most of touring behind Primus. Or if, like me, you just get in a certain mood sometimes and need to indulge a secret jonesing for avant-pop perversity.
Born to Trinidadian and Italian parents and raised in East London, Lea Lea grew up surrounded by a wild variety of music, and her debut album reflects that fact.
The overall sound is tense, funky, and dark, and thoroughly wonderful. Allen Toussaint Songbook Rounder The music they created for this album is densely, swirlingly polyrhythmic, featuring ecstatic vocals and subtle layers of synthesizer Orchestra Da Camera Antonio Vivaldi - Concerti and Sinfonia (Vinyl guitar underneath the talking drums and skittering snare and high hat. The ska and rock steady revival that came of age in New York and Brooklyn 15 years ago continues to bubble along despite all the talk of ska being dead again.
For solid evidence, consider this collection of 20 new songs by Brooklyn artists working in the tradition of rock steady, a sound that flourished briefly in s Jamaica as the galloping dance beats of skae were starting to slow and thicken into what would eventually become reggae around Some of these artists Crazy Baldhead, King Django, Victor Rice will be familiar to listeners who have been keeping an eye on this scene over the years, but others will come as a pleasant surprise and merit further investigation.
As its name suggests, this is music that unfolds without rhythmic pulse, but with rich and powerful harmony. This recording was made in the field by amateur singers, and the sound quality is very good; the singing is rough-edged but expert, and the disc includes a brief video documentary. The whole package should be of great interest to libraries with a collecting interest in ethnomusicology. Their sound is tight, dry, slow, and dread, the lyrical themes strictly roots-and-culture, the vocals as rich and strong as ever, and the grooves positively elephantine.
And every track comes with a dub version. Any library with a reggae collection, however selective, would be wise to pick this one up. After their harrowing split aroundLinda did some solo work and then found herself physically unable to sing for almost 20 years.
Her return has been gradual but welcome, and this album may be her best solo effort yet. No folk or folk-rock collection should be without this disc. This is a typically sparkling and brilliantly colorful performance from violinist Rachel Barton Pine, the fourth in her ongoing series of recordings drawing on the German romantic violin repertoire. This album is a pure pleasure. The temptation when playing Beethoven especially on modern instruments, with their heavier internal bracing and steel strings is to confuse richness with density, and intensity with ponderousness.
I have listened to this disc over and over since receiving a review copy a month or so ago, and it still slays me every time. It consists of English, Portuguese, and Flemish pieces from the late 16th and early 17th centuries, all of them drawing on Biblical lamentations over the fate of Jerusalem—but using them as a veiled commentary on the plight of Catholics in England and of the Portguese under Spanish rule. The putative overarching theme is oppression, but the feeling is less angry and defiant that powerfully, gently, and heartbreakingly mournful.
So I was taken by surprise when this fantastic account of those suites, played on double bass, grabbed me by the collar and refused to let go. Recommended to all classical library collections. All were recorded and previously released between and The playing by Il Giardino Armonico on period instruments is thrillingly energetic and admirably skillful, but I was brought up short immediately by the dry, brittle, and sometimes harsh sonic qualities of these recordings, particularly those on the first two discs.
Various Composers Cantus Kuniko Linn dist. Naxos CKD Some of the choices are surprising seriously, a marimba-and-vibes arrangement of Fratres? Any library that supports a percussion program should jump at the chance to acquire this example of masterful transcription for mallet keyboards. This two-disc set brings together two very different cornett-focused recordings: one recorded in of chamber settings of traditional melodies along with sacred and secular pieces by the likes of Palestrina, de Rore, and Rognoni.
Here the cornett is accompanied by keyboards or lute. The second disc from is a collection of vocal and instrumental pieces associated with St.
Though the pairing of these two discs is a little bit odd, the playing and singing are wonderful throughout—William Dongois is a cornettist of rare skill—and the set offers a wonderful listening experience. Naxos CDR As it turns out, he was a friend of the Mozart family and an influence on the young Wolfgang himself, and remains a criminally overlooked figure of the classical period partly due to his tragically early death.
This is the third installment in a projected five-disc series that will bring selections from the Peterhouse partbooks the largest and most important source of English music surviving from the period before the death of Henry VIII to modern listeners for the first time.
An essential purchase for all early music and choral collections. Naxos BEE But as jazz goes, this stuff is seriously out there. At its worst the music is unfocused and boring—but that happens rarely on this strange and impressive album. Sony Legacy Drummer Billy Cobham has been a bright star in the jazz firmament since his work in the s with Miles Davis and the Mahavishnu Orchestra. Leading a quartet that included keyboardist Gary Husband, bassist Stefan Rademacher, and guitarist Carl Orr, Cobham goes off in all kinds of discursive directions—modal, bluesy, rockish, occasionally boppy and swinging.
Very nice stuff. Harmonia Mundi JV Ahmad Jamal. What can one say about this guy? At 83 years of age, he still plays with the energy, Album), and sharp intelligence of a brilliant year-old.
Here he leads a quartet that includes bassist Reginald Veal, drummer Herlin Riley, and percussionist Manolo Badrena through a program of lush and at times somewhat abstract numbers, most of which are originals. Some of them push the boundaries of jazz and edge into the realm of 19th-century impressionism. Every library supporting a jazz program should own a copy of this album. And now for something completely different: straight-ahead and fusion arrangements of classic country, pop, and soul songs by Texan mostly songwriters.
And as you might expect, the results are a bit uneven. Unevenness is what happens when you take chances, and we need more—not less—chance-taking in jazz. What's going on here? I was exposed to Bach when I was fifteen or sixteen by a trio of relatives including my maternal grandmothers.
I have two through divorce. It might have been Grandma Celia who also gave me shortly thereafter Yo-Yo Ma's recording of the cello suite. So it could have all happened at once. It was Gould's recordings of Goldberg that really provided me with a way in, with a foothold, because up to that point, I had thought of, for lack of a better word, "classical" music as being something that was fairly rhythmically disconnected from the body.
It didn't make me move, it didn't make me just leap out of my chair, but all of a sudden, here's Glen Gould just bringing it home like John Bonham or something. I was just hooked. It was because of Gould's almost pop-like approach to the rhythm of those pieces--and when I say pop-like, I kind of mean metronomic only with so much soul, which is kind of what's so fun about pop music.
You can count on it, rhythmically and physically speaking, you can count on pop. So then can you count on Glenn Gould to deliver a danceable experience with the most complicated Bach music. That was my way in. I could hear it, instead of just switching off and saying, "This is just," I don't know, "music for people with wigs. That's why there's Bach for me. I gradually got interested in tons and tons of classical music, but certainly Bach still stands above everyone else, and I think he does for a lot of serious musicians.
It's like he was a little one-man musical enlightenment. MR: Bach has had that effect on a lot of people, and it was almost like the pop of its era, too, I think maybe that's why he keeps getting revisited. As a composer, I think Bach understood that, and I think the best interpreters of Bach are the lively ones, sort of like you mentioned. CT: Right. Not a whole lot, but we played the third Brandenburg Concerto together, but never on record.
That's been sort of a special treat for a live show here and there. MR: Right on. My point is Chris Thile, right now, might be looking at this kind of music as the basis for his solo career.
CT: I think that I'm so curious about what I perceive to be an historical separation between an intuitive and Album) approach to music, that the two have been unnaturally separated for hundreds and hundreds of years. I think initially, the separation made sense because it was a question of class. If you had money and you were musically inclined, then you would pursue a learned approach to music and you would go study it, and if you didn't have the money but you were musically inclined, then you would just make music.
So I kind of hope that all of my activity henceforth is sort of wrapped up in earnestly seeking a dissolution between those distinctions. MR: And you have historically done that, for instance with Goat Rodeo. That's a blend of all of your flavors including folk and classical, like you were saying. CT: Right, that's kind of the idea, and Punch Brothers are searching for that kind of music, music that hits one in the body and the head and the heart to where you hopefully can disarm all of those areas and then get people to just kind of feel.
I know for me when I listen to music that starts to feel purely visceral then my mind gets a little skittish. It's like it's a little overactive. But if only my mind is being appealed to then my body gets bored, I get listless and I can't pay attention. But when both of those things are engaged, that's when I feel like my whole body can go limp and all of a sudden, I'm possessed by the music.
It's almost as if a new camera in the documentary that is my life gets switched on and I have a wholly new perspective. MR: Beautiful. Chris, of all these songs that you recorded for this Bach project, which possessed you the most? CT: I feel like he's almost always striking that natural balance between viscerally and intellectually charged or viscerally and cerebrally charged, if you like. So I can't even tell you; I was just engaged from start to finish. We were having these epic days in the studio in the Berkshires, in this beautiful old hotel called The Blantyre, and we'd break and then head to the studio and play Bach all day long and then go back to The Blantyre and have to put on coats and ties for dinner.
It was so awesome. They were magical days. To get back to the question, though, I suppose that of the stuff that I recorded, I would get the most lost in the A minor fugues. But every now and then, we'd be playing one of those slow, meandering movements.
Actually, one that was really fun was the Siciliana in G Minor. On the recording as it transitions, you can hear, all of a sudden, this wind picks up, so after we'd gotten done recording the fugue and we went into recording the siciliana, this incredible wind was whipping all around the studio and there was no way to not get that to show up on tape. Initially, I was really dismayed about that as I was listening to the tracks, but I've come to really enjoy it, and it was so much fun to play that piece.
MR: Obviously, this being "Part 1" opens up the possibility for a second volume, but what about taking on the works of some other classical artists? Are there any others that move you in a similar way? CT: We're definitely going to do a second volume and finish this music up. Punch Brothers just had a writing session for its next project and there's some Debussey piano music that I would love to try and explode into a Punch Brothers song.
I'd actually take a little bit more liberty with the music, hopefully, doing nothing that all collides with the screw ups. But just to get it from the piano to a five-part piece in a really satisfying way, I'm excited to try a couple things like that. Certainly, I love playing Bach with the Punchies.
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