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Classical
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Prokofiev
/ Martinu / Hindemith: Sonatas for Flute and Piano
Mathieu Dufour / Aleksandar Madzar
Harmonia Mundi HMN 911770 Reviewed
by SG
Harmonia Mundi have a real knack for finding excellent new talent for
their Les Nouveaux Musiciens label, and this debut release by Mathieu
Dufour confirms the point. While he has played a fairly safe in choosing
three pieces from the mainstream of 20th Century flute repertoire, Dufour's
manifest technique makes it work, producing some exquisite music. The
principle character of his performance appears mainly in the pianissimo
sections, especially in the Prokofiev and the beautiful and lyrical Martinu
pieces, where he achieves sounds that can be most ethereal - the effect
can sound weak and fabricated if the flautist lacks the necessary control
or is too tense. He also impresses with his evenness of tone, especially
in the Prokofiev where his higher registers are superb, reaching the most
treacherous notes with aplomb and creating more sweetness than most. Aleksandar
Madzar's accompaniment is also excellent, animating proceedings with the
bright piano tone, but never losing sight of their interplay. Since 1999,
Dufour has been the principal flute with the Chicago Symphony Orchestra.
This auspicious debut has introduced him to those of us outside the "Windy
City", and made me eager to hear more, especially in less familiar repertoire.
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Mussorgsky:
Pictures at an Exhibition / Night on the Bare Mountain (Original and Rimsky-Korsakov
versions)
NSO of Ukraine / Kuchar
Naxos 8.555924 Reviewed
by SG
These performances remind me of the brilliant, compelling style of many
Russian orchestras of the 1960s that appeared on the Melodiya label and
their EMI incarnations. They may not be the most subtle, but then neither
is the music. In Pictures at an Exhibition, Gnomus is too frantic, while
both Samuel Goldenberg and Schmuyle exhibit less than perfect rhythms
in the brass section, but with Kuchar's execution these imperfections
are of little importance. Although Bydlo is a little ponderous, the second
Promenade reveals sonorous wind characters, while The Hut on Fowl's Legs
and The Great Gate of Kiev both demonstrate an entirely unreserved attack
from the brass and percussion. These blistering events are wholly matched
by the two renditions of A Night on the Bare Mountain (both the original
and more familiar Rimsky-Korsakov versions), while the two other short
pieces simply put the icing on an already intensely rich and flavoursome
cake. Their warmth and excitement is assisted by the fitting recording,
which brings out the nuance of each performance, resulting in a real musical
treat that confirms that the great Russian orchestras, with their unmistakable
style and marvelous bravura, have yet to disappear. |
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El
Diablo Suelto; Guitar Music of Venezuela
John Williams / Alfonso Montes
Sony Classical SK 90451 Reviewed
by SG
Venezuelan guitar music and the performing of it is generally a 20th Century
phenomenon, and follows the teaching of Raúl Borges, whose work Vals Venezolano
is included here. All the pieces here reveal the influence of the country's
folksongs and dance, exhibiting an intoxicating amalgam of European styles
and native Indian and African rhythms, meaning that a waltz becomes much
quicker and more intricate, especially rhythmically. Most are short and
simple, lacking formal complexity, but the majority more than make up
for this in energy and drive. Four require the support of a second, smaller
guitar known as a curato, admirably played by Alfonso Montes, but the
majority remain solo efforts performed with total assurance by John Williams.
His playing reveals dynamic tempos allied to exquisite charm and lyrical
freedom, and exhibits absolute technical command, which is just as well
as the Sony engineers have supplied a particularly close and revealing
recording. In fact a lesser performer would not have stood up to the scrutiny.
Despite the number of recordings of guitar recitals currently available,
this charming disc is a remarkably fine tribute to the guitarist's art,
as well as an appealing and vivacious musical tradition. |
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Kancheli:
Simi / Magnum Ignotum
Rostropovich / Royal Flanders Philharmonic Orchestra / Kakhidze
ECM New Series 1669 462 713-2 Reviewed
by SG
Georgian composer Giya Kancheli's music generally
expresses sorrow and lamentation, with little sense
of joy, and played either loudly or softly, with very
little in between. It is structured with a stop start
approach that breaks up the general slowness of
pace, relieving any weariness that may overcome
the listener. On the surface it may give off an
aura of total misery, but beneath the surface there
is a greater sense of poignancy and a sincere
unsentimentally that more than compensates for
the gloomier emotionality. Although there are very
few artists who can perfectly reveal the music's
more lyrical qualities, through attention to detail,
his integrity, and supreme concentration, Mstislav
Rostropovich does just that, taking the reverent
simplicity of Simi (a kind of cello concerto) and
letting it grow from its fragmented opening
through a couple of huge climaxes to its sad
conclusion. Magnum Ignotum, for winds and
tape, sees the composer working on particularly
original lines, with the folk song and religious
chant of the tape gradually intermingling with
the instrumental to rise to a single climax,
perfectly revealing Kancheli's technique of
utilising his chosen materials and fashioning
them through natural growth.
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Mendelssohn:
String Quartets Nos. 3 and 4
Eroica Quartet
Harmonia Mundi HMU 907287 Reviewed
by SG
These pieces are to many simply examples of
standard chamber repertoire, with nothing new to
examine, but the Eroica Quartet treat
Mendelssohn's quartets as if they were the equal
of his large-scale works. This is their second
volume of the composer's work and it is obvious
that the excellence of their debut recording was
no fluke. Quartet No. 3's opening movement,
Molto Allegro Vivace, is not just lively, it becomes a
living and breathing entity. But they do not ignore
delicacy when it is required. They simply take the
slower movements and nourish the music with
charm. But they are always ready to launch back
into the playful or exhilarating, generating
strength and weight if so desired. The Fourth
Quartet may not be quite as concisely written as
its predecessor, but its darker, more plaintive mood
is beautifully handled by the Eroica's articulation,
which reveals much of the same excitement. This
may not be the scholarly way to interpret these
quartets, but these performances certainly
entertain, supplying the atmosphere of each
with an electrical charge that invigorates our
view of the work of a composer we thought we
knew, and therefore doing everything a quartet
recording should. |
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Guarnieri:
Symphonies 1 and 4, "Brasília" / Abertura Festiva
Săo Paulo Symphony Orchestra / Neschling
BIS-CD-1290 Reviewed
by SG
The Săo Paulo Symphony Orchestra, under the
direction of John Neschling, present their second
disc of works by the Brazilian composer "Mozart"
Camargo Guarnieri for BIS. As with the first, which
featured Symphonies 2 and 3, this release exhibits
performances of excellence, with first-rate playing,
and glorious sound. The music here can only be
described as pure American neo-classism. The First
Symphony, composed in 1944 and dedicated to
Serge Koussevitsky, is reminiscent of a number of
American composer's work, from Copland's to
Piston's, but intertwined with Tippet's rhythmic
complexity and contrapuntal writing. The Fourth,
although subtitled "Brasília", is actually dedicated
to Leonard Bernstein. Although the work, which is
based on Brazilian folk music, only lasts less than
eighteen minutes, its central movement, which is
almost half the length of the whole piece, is
marvellously scored gracefully formal. In between
the two symphonies is the colourful Abertura
Festiva. This brilliant work comes complete with a
number of percussive outbursts and is a joy from
start to finish. With Guarnieri hardly a household
name and his work pretty-well unknown outside
his native Brazil, these attractive releases should
do much to further this talented composer's
wonderful music. |
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Beethoven:
Symphony No. 3 "Eroica"
Cleveland Orchestra / Dohnányi
Telarc CD-80090 Reviewed
by SG
Recorded in 1983, this compelling Eroica was
among the first recordings made by Dohnányi
following the opening of his tenure as director of
the Cleveland Orchestra. Now re-issued on the
Telarc Classics Midline series, it still sounds
wonderfully exhilarating. This is testament to both
Telarc's engineering prowess and the conductor's
convincing direction. He pushes the score forward
with ever increasing momentum, fully aware of his
new charges' full-bodied tone. Dohnányi is always
bold, asserting the forcefulness of Beethoven's
phrasing, in a truly "heroic" reading that stands up
against the very best Eroica recordings, even if the
closing coda lacks the absolute thrill supplied by
Szell, although the Telarc disc exhibits even better
playing and sound that is both dynamic and vivid.
There are moments of true explosive drama, such
as during the central bars of the Funeral March or
in the opening of the Finale, where vigourous
string playing is met by the pounding tympani
and assertive brass. The disc does need to be
played loud for full the effect to materialise -
something most Telarc discs require - but once in
full flow there are very few releases of Beethoven's
work that can compete with this CD.
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Chopin:
Cello Waltzes, Vol. 1
Pieter Wispelwey / Dejan Lazic
Channel Classics CCS 16298 Reviewed
by SG
While Chopin's musical conceptions were most
certainly aimed squarely at the piano, his most
appreciated and successful works can be
performed on alternative instruments. Of course
the success of even the most skilful transfers falls
on the shoulders of the players involved. Chopin's
music reveals a distinct lyrical quality, and this is
demonstrated by playing of the utmost eloquence
by cellist Pieter Wispelwey. Using this disc as an
example, Chopin's Waltzes suit the cello superbly
and Wispelwey performs each difficult section
with apparent ease. The fact that out of the
eighteen selections on this release, only four are
actually waltzes does not matter, and he is able
to transform the most taxing runs with aplomb,
including the left hand piano part from the
G major Prelude, which becomes a softly-spoken
etude. Similarly the two pieces originally written
for the cello - the early Polonaise Brilliante and
the Scherzo from the Cello Sonata - are both
despatched with effortless panache. Dejan Lazic's
accompaniments are incisive and accentuated,
as well as perfectly gauged, and the warm and
atmospheric engineering is also first-rate. Clearly
the performers here are the right ones to make
these effective arrangements an entertaining
and masterful success.
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Arriaga:
Cuartetos para cuerda
Cuarteto Casals
Harmonia Mundi HMI 987038 Reviewed
by SG
Born in Bilbao fifty years to the day after Mozart,
Juan Crisóstomo Arriaga was only eighteen when
he composed these three string quartets. Yet they
were viewed by his contemporaries as works of
originality and refinement, displaying a freshness,
charm and fluency of technique also found in the
Austrian's work. They also exhibit the influence of
Cherubini, Haydn and Rossini, as well as foretastes
of both Mendelssohn and Schubert. However, the
sensuousness, gentle poignance and lively passages
of local colour are undeniably Arriaga's own.
Listen to the opening Allegro of Quartet No. 1
(which must have been the first quartet to include
a bolero) and you will hear a profound, yet at
times decidedly melancholic composition, while
the slow movement of No. 3 begins in a mood of
rustic apathy before launching into a vivacious
development. The youthful Cuarteto Casals supply
ardent performances that reveal a sense of
improvisation; phrasing the lyrical melodies most
elegantly, retaining animated rhythms and
savouring the composer's colourful textures.
Ten days short of his twentieth birthday, Arriaga
was dead, in Paris, exhausted from tuberculosis
and overwork. It's not surprising that he became
known as the "Spanish Mozart".
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New
Formats |
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Neil
Norman - SCI-FI in HI-FI
Audio Fidelity AFZ 012 Reviewed
by RP
Space rock and sci-fi, "It's music Jim, but not as we know it". Sadly,
too, it's also entertainment but not as we know it as well, in this twenty-track
collection of TV and Cinema themes from Godzilla and Star Wars to The
Prisoner and Space 1999. Neil Norman's guitars, synths, theremin and keyboards
(together with an orchestral cast of thousands) give performances that
are a pale imitation of the tunes many of us so fondly remember. Only
his arrangement of UFO and Blade Runner can be recommended-they never
stray too far away from the originals. It doesn't really work as pastiche
either, probably because there seems to be very little wit or humour crafted
into scores that generally plod on with an unerring disco beat. When Mysterious
Island came on Bernard Herrmann must have turned in his grave. Now there
was a man who understood the use of full orchestra and a whole array of
weird and wonderful instruments. I would urge you to seek out his Fantasy
and Mysterious Film World CDs if you want to hear how this should really
be done. The recording though will be compensation enough for some. All
I can say is "Please God, don't let this disc become common currency at
hi-fi shows". If it does, "kill me now!" However, I must add that there
were fans of this CD in the Parry household - the budgies - who happily
sang along throughout. But then they are Australian.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Mozart:
Clarinet Concerto and Quintet
Fröst / Vertavo Quartet / Amsterdam Sinfonietta / Oundjian
BIS-SACD-1263 Reviewed
by SG
Swedish clarinettist Martin Fröst is renowned for the intrepid, working
with a number of contemporary composers to stretch and create new boundaries
of musical expression. So why has he approached the work of a composer
who's work can hardly be called audacious? At least not for the last century
or two. The answer is not at first obvious. He utilises a basset clarinet
(for which the work was originally conceived - see my Opus 3 overview
in issue 8), providing a richly-hued tone,
but with a number of other such performances available this cannot be
classed as daring. But it is a tasteful choice, hinting at Fröst's reasoning,
for the ultimate goal when approaching Mozart has to be refinement allied
to technical perfection. His readings here may not flaunt any previous
reputation, always remaining on the nonchalant side, but with prolonged
listening it is easy to appreciate his pristine command. Both the Amsterdam
Sinfonietta and Vertavo Quartet accompany him with totally satisfying
displays but it is Fröst's performance that steals the show, with playing
of great sensitivity and dynamic control, most obviously in the slower
movements, resulting in the most beguiling of releases that simply leaves
you wanting more. |
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Sonny
Rollins - Way Out West
Analogue Productions CAPJ 7530 SA Reviewed
by RP
Sonny Rollins gives a sonorous, exceptionally open
and swinging performance as he immerses himself
in this unlikely Western orientated material.
'Wagon Wheels' and Johnny Mercer's 'I'm An
Old Cowhand' (which is repeated here as one of
three alternative take bonus tracks) develop from
comfortable and quirky beginnings into sublime
and uninhibited jazz. Grooves where the Ray
Brown bass and Shelly Manne's "oh so cool"
beat delicately fleshes out the space left by the
Rollin's with an imaginative, complementary and
sympathetic underlining or counterpoint to his
tenor sax lead. These are witty and respectful
performances. Elsewhere, the full ripeness and
warmth of Sonny's tone communicates at a deeply
emotional level for the sweet Jones-Symes ballad,
'There Is No Greater Love' and his interpretation
of the Ellington standard, 'Solitude', is a haunting
one. Doug Sax beautifully transfers these
performances and the Rollins title track and
'Come, Gone' (in both their original 1957 guises
and in the alternative takes as well). The sound is
remarkably naturally and the subtleties, nuances
and delicious interplay are clearly demonstrated
in this transparent and finely detailed format.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Eleanor
McEvoy - Early Hours
Market Square MSM51SACD128 Reviewed
by RG
Eleanor McEvoy might be the current audiophile
darling, but it's the musical quality as much
as the sonics that make Yola such a hard act
to follow. Well, you needn't worry. Early Hours
is a triumph that succeeds as art as impressively
as its predecessor while notching up the
technology another level by adding multichannel
to the SACD mix.
Musically it's a more resolute and confident
outing, lacking the almost brittle fragility
that gave Yola its slightly winsome appeal.
These are strong songs that pull no punches
and head straight for the heart of things.
A fabulous, slow tempo rendition of Chuck
Berry's 'Memphis, Tennessee' refocuses the
song on its lyrics rather than its simple, rocky
chord progression, revealing a depth and
sensitivity to the words of which I was
completely unaware. A plea on the part of estranged fathers? Yep, I was
surprised. The best cover since Devo
elevated 'Satisfaction'? Probably.
It's a brave artist who takes on such iconic
material, and a great one that lift it to this
extent. The decision to deal with such a
legendary track speaks volumes about Eleanor's
confidence in both herself and those around
her. It's a quality that pervades the whole
album, from the personal songs of commitment,
fulfillment or loss, to the overt statements
of 'Ave Maria' or 'Memphis…' Then there are
the catchy pop tunes of 'I'll Be Willing' and
'Days Roll By' to provide light relief (and
radio air play). But the real change is in the
voice and fabric of the music itself. This is
a distinctly more Irish album, and not just
because of the presence of 'Driving Home
From Butlers' and 'Anach Cuain (Eanach
Dhuin)'. There's an accent and idiom to the
playing that is somehow unmistakably Irish,
while there's no attempt to soften or mask
Eleanor's natural vocal delivery. The result is
an authenticity to the playing that breathes
power and purpose into the songs.
With single takes recorded on two-inch
analogue tape before the addition of
minimal overdubs and conversion to DSD,
both musical and sonic integrity are superbly
served. This is great music, beautifully recorded
and deserves your attention. You'll enjoy the
experience.
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Eleanor
McEvoy - Early Hours
Market Square MSM51SACD128 Reviewed
by AS
McEvoy's latest is SACD done right. Whether on
the CD level, delving into stereo or full-blown
multi-channel SACD, each format has been
approached intelligently, using the right tools
for each job. The recording was made on
analogue multi-track, then mixed to half-inch
analogue tape and onto a SADIE DSD mastering
device for stereo SACD, or the 16-bit output of
a SONOMA mastering device for CD. Meanwhile,
the SACD surround mix came from eight digital
subgroups using state of the art TIMAX
processing, before also passing to SADIE
mastering. This is the same set-up that helped
to make McEvoy's last release - Yola - such
a critical success. The added surround effects
are subtle enough to enhance rather than
distract from the winning recipe.
This is a beautiful recording of a beautifulsounding
artiste, more immediately bluesy/
jazzy than earlier recordings, yet retaining
her distinct Irish folk roots. There's not a duff
track among the thirteen on the album
(including three covers, a fine reworking of
Chuck Berry's 'Memphis Tennessee' among
them), all of which show McEvoy to be as
gifted with the pen as she is with the plectrum
and larynx. She's even comfortable when the
tempo turns up a notch on 'Days Roll By', even
if this does sound like acoustic Cranberries.
From a hi-fi buff point of view, this is a
mandatory show-off disc. Even the weakest
recording (Slipping Away) remains stronger
than most of the competition. It doesn't really
matter whether you are an SACD devotee or
not, this is a must buy album. Good enough
to find its way into CD dems as well as every
SACD dem going. Enjoy it while you still can
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Audiophile
Recordings |
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Respighi:
The Birds and Brazilian Impressions
Speakers Corner/Mercury SR90153
Reviewed by RSF
If you ask any collector of the Mercury Living Presence series to put
together a Top 10 list, no doubt this record will be on it. For whatever
reason, the only other stereo, vinyl recording of The Birds that I'm aware
of is EMI ASD 3327 with Sir Neville Marriner and the Academy. Unfortunately,
their recording isn't in the same universe as the Dorati. I know of no
other vinyl release of the wonderful Recorded in July 1957 at Watford
Town Hall, the liner notes tell us, "…the composer's rich orchestral palette
constituted a perfect demonstration of high fidelity stereo reproduction."
After you purchase this re-issue, and you absolutely should, please read
the back of the jacket for a wonderful explanation of the instruments
the London Symphony used to portray the dove, the hen, the nightingale
and the cuckoo. Reviewers of the original U.S. Mercury have sometimes
felt The Birds a little on the brightsounding side. As usual, I disagree
with that. To me it's tonally and harmonically accurate - but I will tell
you I went through several copies until I found that perfect copy (a white
label promo). I love this music and the way it was recorded. A big, spacious
natural sound with all the delicacy, yet authority one could demand. Brazilian
Impressions is an evocative triptych - beautiful and atmospheric. It's
a shame there are not more performances of these works in the catalogues.
I do think Speakers Corner is doing an outstanding job of re-creating
the "U. S. Mercury Living Presence Sound," and before my Editor pokes
at me again, this is another must own release. The music is fun and engaging
and the sound quality is genuinely first rate. This is a recording guaranteed
to please every classical enthusiast and should even cause those readers
who aren't too comfortable with their knowledge of this category to dive
right in. Great performances, great sound quality, don't hesitate: Buy
it. |
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Joan
Baez - Farewell Angelina
Cisco / Vanguard VSD79200
Reviewed by RSF
While my musical tastes have evolved over the years, this particular record
is reminiscent of that old adage "the more things change, the more they
remain the same." Farewell Angelina was first released by Vanguard in
November1965 -just three years after my only opportunity to see Joan Baez
in person. Somewhere, sometime I had lost track (and ownership) of this
well loved album. For me, this was the last album that Baez performed
with a true folk ethic - and yes, I'm fully aware of Donavan's Colours
as the last track of side one. After this album, in my opinion, there
were too many Beatles and Paul Simon influences for my taste. (Okay, I
also like VSD79240 entitled Joan …but that's it) On this stunning re-issue
by Kevin Gray of Acoustech and Robert Pincus of Cisco Music, pressed on
beautiful, silent 180 gram vinyl by RTI in California, we've caught Joan
at the height of her powers. The repertoire is classic 1960's Folk and
there is nothing not to like about this release. I had the opportunity
to compare this record to an original and to my ears there is no doubt
that the sonic winner by miles (or kilometers, if you're so inclined)
is the re-issue. It's richer, more detailed and contains a fuller sound
than the 'polite' sounding original, which also exhibits more tape hiss.
Kevin Gray has obviously increased the levels while reducing the tape
hiss with no detriment to the sound of the re-issue - quite the opposite.
I find the immediacy, presence, dynamics and that "she's in my room" effect
on this recording wonderful. What more could we ask for than more recordings
like this from this team. Cisco can be located at: http://www.ciscomusic.com,
and I suggest you check out their other offerings; You won't be disappointed.
I consider this a must own LP - wonderful music, extremely well recorded
on super-silent vinyl; a winning combination. |
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Peggy
Lee - Latin a la Lee! Capitol / S&P Records S&P-504
Reviewed by RP
Peggy Lee, although better known in later life for
that well publicised law suit against the Walt
Disney Corporation for outstanding video royalties
from her songs and voice overs in Lady And The
Tramp, will still be remembered as one of the
classiest singers of the twentieth century.
Scandinavian good looks and her deliciously light
voice, delivered with just a touch of huskiness,
brought an unspoken sexually charged dimension
to those standards of the Forties, Fifties and
Sixties. Latin a la Lee (1960) was one of those
trademark albums that contrasted this vocal
delicacy and a barely disguised sexuality against
much broader orchestral canvases. Here, fifteen
Broadway songs including 'Till There Was You'
(The Music Man), 'I Could Have Danced All Night'
(My Fair Lady) and 'C'est Magnifique' (Can-Can)
swing and sway to the rhythms and intoxicating
tempos of an Afro-Cuban beat. Lee eases through
these ballads and dance numbers: Breathless,
tender and sultry for the romantic moments.
Agile, vibrant and pulsating on the fleet, foot
tapping tunes. Perhaps this material is a shade
dated but then these Steve Hoffman re-mastered
original tapes are a shining musical time capsule
that transports you to the music theatres of
another age.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Tchaikovsky
and Rimsky-Korsakov: Capriccio Italien and Capriccio Espagnol
Kiril Kondrashin / RCA Victor Symphony Orchestra
JVC / RCA JM-XR24013
Reviewed by RSF
Some will find these Kondrashin readings a little too
individual simply because we have as a matter of
course come to expect white-hot performances of
the Capriccios to the exception of just about everything
else. But this is a conductor who understands
that the Russian psyche - even in moments of
unadulterated exuberance - is still dogged by an
underlying melancholia. Here the visions of Italy and
Spain are taken from a truly Russian perspective. He
develops a sense of this emotional complexity
through the dramatic almost ceremonial recreation
of music, which does not alone rely upon the
adrenaline sustained tempi for its excitement. The
inherent flamboyance, passionate and idiomatic
nature of these themes is not overlooked but instead
of a breathless chase through the piazzas we are
treated to a more dignified and considered journey.
The thrilling part is undoubtedly Lewis Layton's
extraordinary 1959 recording from the Manhattan
Centre in New York. Bold orchestral colours, searing
brass flourishes and a richly vibrant and full-bodied
string sound caps an incandescent and superbly
defined production. Solo passages like that for Oscar
Shumsky's violin in the Scena e canto Gitano are
beautifully balanced as Layton easily captures both
the exaggerated gesture and slightest instrumental
nuance of his playing with the corresponding
dynamic and appropriately weighted solution.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Peggy
Lee - Bewitching-Lee!
Capitol / S&P Records S&P-502
Reviewed by RP
This is a scintillating collection of Miss Lee's finest
performances. All the big guns are present from
a seductive 'Fever' to the worldly-wise 'Why
Don't You Do Right'. There are also heart-rending
interpretations from the Great American Songbook,
often with backing orchestras conducted by the
likes of Max Bennett, Jack Marshall and Lee's
husband, Dave Barbour. Interestingly, this release
comes as a numbered and limited edition LP that
also contains three immortal bonus tracks:
'Unforgettable', 'You Don't Know' and an unusual
avant-garde Lieber & Stoller penned 'I'm A Woman'.
Together they offer a beautiful and thoroughly
satisfying snap shot of Peggy Lee's artistry. She was
the beguiling pop standard, blues and archetypal
jazz diva who captured the very essence of a lyric
through slight and subtle vocal changes. So much
so that each and every emotional undercurrent has
a corresponding shift in weight, intonation, volume
or inflexion. This is a remarkable album full of
colourful and tactile observations with textures that
are clearly drawn from her blue-collar roots. While
these recordings were made over a three-decade
period, it is only the earliest tracks like 'I Don't
Know Enough About You', which were cut in
the mid-Nineteen Forties, that lack technical
refinement. They do nevertheless give us
delightfully expressive insights.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Peter
Green - Man Of The World… Reflections on Peter Green
Audio Fidelity AFLP 011
Reviewed by RP
Peter Green, from those early days with John Mayall
to the Fleetwood Mac years and the relatively
infrequent solo albums that have followed, has
proven himself to be the UK's finest white blues
guitarist-one whose compositional skills are
sometimes overlooked as a consequence. This album
is a tribute to those occasions when he put pen to
paper. A scintillating line up including Billy Sheehan,
Rory Gallagher, Savoy Brown, Paul Jones, Southside
Johnny, Dave Peverett, Harvey Mandel, Arthur Brown
and Vince Converse rip through electric blues
interpretations of raw and emotional music. Stunning
and sometimes quite melancholic performances of
'Leaving Town Blues' (Gallagher), 'Oh Well' (Billy
Sheehan) and 'If You Be My Baby' (Dave Peverett)
have to be worth the entrance fee on their own.
But these are the appetisers in a feast wire bending
moments. Larry McCray's jaw dropping rendition of
'Black Magic Woman' burns with intensity. A soulful
'Looking For Somebody' delivered with those
voluminous Snowy White vocals and Ian Anderson's
heartfelt closing title track demonstrates the
eloquence, passion and sadness that Green as a lyricist
brings to this table. A tasty Steve Hoffman transfer
of these original 1995 analogue master tapes puts an
indelible stamp of quality against everything from
the savage guitar breaks, mournful rising harmonica
notes and to the frayed and vulnerable singing.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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Khachaturian and Kabalevsky: Masquerade Suite and The Comedians
Kiril Kondrashin, RCA Victor Symphony Orchestra
JVC / RCA JM-XR24014
Reviewed by RP
Unquestionably this Lewis Layton/Richard Mohr
collaboration is one of the finest sounding Living
Stereo recordings. The Manhattan Centre hall
acoustic is as big as a parade ground and arrayed
before his podium are Kondrashin's orchestral
formations who play these vibrant, sweeping and
often bombastic tunes with a wonderful precision
and of course with all those exaggerated gestures
that this music demands as well. Accurate timbres,
delicious transparency and a real snap in the
delivery of instruments like the snare drum in the
Masquerade Suite are a revelation. I love that
rolling inevitability of the opening Waltz with its
peaks and troughs that surge forward and as
suddenly collapse inwards, then to rise again. These
are beautifully realised. For the Nocturne Oscar
Shumsky's solo violin image is both secure and
accurate and this helps to impart a sense of
expressive integrity. A cavorting Comedians that
burst apart with a splash of bright orchestral
pigment reflects all ten of those varied but goodnatured
scenes painted by Dmitri Kabalevsky. Yes,
these are two relatively lightweight compositions
but that doesn't stop them from being hugely
enjoyable. Just take them at face value.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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JJ Cale - Naturally
A&M / Vivante AMLS 68105
Reviewed by DD
If you own just one JJ Cale release this is the one
to have. Stuffed to the brim with Cale's ubiquitous
roots rockin' laid-back sound and a good
smattering of his best numbers. Although hardly
known for his enormous range there's something
about the album that is just so darn comfortable
the effect is like a long smooth glass of the finest
bourbon. In a way Cale's weakness is also his
strength. Whilst there is a touch of repetition in
his music and a lack of really strong tunes, the
consistency of feel and the quality of playing
coupled with his distinctive vocals make his
albums, and this one in particular, a joyful listen.
Just take the oh so relaxed 'Magnolia' as a fine
example and note also that despite its apparent
simplicity there's great artistry on display here
too, from Cale's smokey vocals to his beautifully
understated guitar work. Other standouts are
'Call Me The Breeze', 'Nowhere to Run' and
'After Midnight'.
The album's not an obvious contender for Vivante's
audiophile treatment. Cale fits more comfortably
in the low-fi than the hi-fi bracket, but they have
done it proud, bringing the best from this
recording with Cale's guitar shining out from the
warm full-bodied acoustic, in a good clean
pressing. A very nicely printed sleeve too.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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