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Pop
and Contemporary Music |
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Kraftwerk
- Minimum-Maximum
EMI 3349962 Reviewed by RC
At long last, Kraftwerk’s debut on multi-channel SACD has arrived.
That’s the good news. The less good news is that the multi-channel
mix is arguably not this album’s strong point, but not for want
of care; this is definitely not one of those SACDs that make you dive
behind the sofa when gratuitous rear channel reverb kicks in. Rather,
the issue is that the 5.1 mix seems to be the one used (in compressed
form) on the superb Minimum-Maximum DVD. As a counterpart to the visuals,
it works flawlessly. Yet when removed from the visual context, the music
can be hard to relax with. Of course, if, like many in the Kraftwerk audience,
you prefer to dance around the room, this will not be a problem. However,
the stereo mix is a stunning reproduction of Kraftwerk’s live sound,
capturing all the intricate reverb trails, sharp synthesizer leads and
pulsing beats. The sense of space also seems more tangible. As for the
music, no argument: this is the best collection of Kraftwerk music ever
released. The arrangements of early classics such as ‘Autobahn’
and ‘Neon Lights’ are faithful but have greater momentum than
the originals. particularly with the closing ‘Aero Dynamik’
and ‘Music Non Stop’. There’s a very good reason why
Kraftwerk are repeatedly hailed as being as influential as the Beatles.
You’ll find it on this album, whichever way you hear it. |
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Art
Brut - Bang Bang Rock & Roll
Banana Recordings/Fierce Panda Nong38 Reviewed by MC
Art Brut skirt a very fine line between being very irritating and very
good indeed. Bang Bang Rock & Roll is pretty hard to pigeon-hole into
a single genre; it lies somewhere between art-school indie and two-tone
garage. The formula is consistent throughout the record, a mixture of
garage guitar and shouted prose vocals. There are shades of Pulp and Blur
in the lyrics, but with much greater self analysis and deprecation. It
is, without doubt, the vocals that make Art Brut. The band are quite adequate
and, taken on their own, would doubtless sound much like the current spate
of Libertines clones. But the vocals are so different to anything else
around that Art Brut are pretty much unique. And it’s on the vocals
that they stand or fall: witty intelligence can often seem like self indulgent
egotism. The album has its high points, ‘My Little Brother’
and ‘Fight!’ are, without question, pure genius. But after
half an hour of unbroken prose, of endless clever social commentary, Bang
Bang Rock & Roll starts to drag.
Art Brut stand apart from the rest of today’s bands, in their own
words: popular culture no longer applies to them. They are slightly too
old for the charts, creating art rather than a piece of pop. However,
I can’t shake the feeling that they might just be too clever for
their own good. |
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Mississippi
John Hurt - Today
Vanguard/Pure Pleasure VSD 79220 Reviewed by RSF
This just gets harder. Here’s another desert island record and if
I keep saying that I’m going to need a bigger island. I love Mississippi
John Hurt, another giant of The Blues. Born in 1892 in Carroll County,
Mississippi, I first heard his playing on a record produced from the 1963
Newport Folk Festival, but I’d almost forgotten about that wonderful
voice and outstanding guitar. It was in the late 1990’s when I started
to ramp up my Blues collecting that I rediscovered a trio of recordings
for the Piedmont/Chesapeake label. They were intimate and in your room.
I later also picked up his recordings on Vanguard (there are two others)
and the mono release of this record has always been my reference –
but I am rethinking that now, because somehow Steve Hoffman and Kevin
Gray have brought out a sweetness and purity in the sound of this disc
that I didn’t know existed. His warm vocal style is only surpassed
by the passion of his superb pickin’ and from the first track, you’ll
be mesmerized.
It’s hard to imagine that Hurt went almost 40 years between recording
sessions, but that’s a fact. It’s also hard to believe that
he passed on within months of recording this masterpiece. A must own recording!
Supplier: www.purepleasurerecords.com |
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Krista
Detor - Mudshow
Corazong Records 255087 Reviewed by AH
It would be wholly unwise to ignore any album with such a striking sleeve,
wouldn't it? God knows what the significance of the elephant is, but the
grand piano speaks volumes as far as Krista Detor's Mudshow is concerned.
Detor's had all the labels thrown at her; rock, country, alt-country,
folk, but none fit the bill. The one she quite likes is Leonard Cohen
meets Joni Mitchell, although you could if you wish add on ... meets Mary
Chapin Carpenter and Tori Amos, although that last one probably has its
roots in that piano on the sleeve. First and foremost Detor is a singer/song-writer,
one with extraordinary lyrical prowess and an uncanny ability to work
outside of the songcraft box. She has a beautiful voice too; on the deeper
side of delightful – the perfect tool to encase her incredible lyrics.
The songs themselves are generally low-key affairs, gently augmented by
the occasional fiddle, dobro, mandolin, cello, accordian and banjo. In
Detor's skilful hands they become something quite magical, mystical and
deeply hypnotic, with an odd dreamlike quality. As you've got this far
and are still reading then your interest must have been slightly aroused,
in which case it would make perfect sense to seek out this gorgeous little
gem. It's a soft, seductive listening experience; all in all the perfect
way to end a perfect day.
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Bonobo
- Days to Come
Ninja Tune Reviewed by JK
This is the third outing from Simon Green AKA Bonobo and while it represents
a new direction for him it will not come as a shock to anyone familiar
with his first two outings. Not sure what the current name for this variety
of sampled and real instruments sourced music is but it used to be called
trip-hop. Anyone who watches BBC 2 regularly will be familiar with the
style from various gardening programmes that help me to remember where
a particular tune has been taken from. Bonobo seems to have come under
the influence of label mates the Cinematic Orchestra, the use of strings,
harp and woodwind making tunes like ‘Transmission94’ and the
title track among others very reminiscent of that fine band.
The deal here is a layering of tracks to produce a busy, percussive vibe
that builds into a climax in a relaxed and unhurried fashion. ‘If
You Stayed Over’ features Fink’s fine voice while four tunes
are lead by Bajka whose smokey voice grace the single ‘Nightlite’
that you may have heard on Zane Lowe’s evening show. For me the
highlights are the instrumentals which work so well in the background,
keeping you interested and listening but not diverted. This stuff works
at high levels but comes into its own at a more subliminal level.
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The Pipettes
- We Are The Pipettes
Memphis Industries M1072 Reviewed by MC
All girl three-piece The Pipettes probably like to think they echo the
music of the great girl groups of the early sixties, with all the polish,
glamour and stardust of people like The Supremes. Personally though, I
think they stand somewhere a little closer to Bananarama. Backed by companion
band, The Cassette, they are blessed with the ability to pen effortlessly
catchy tunes. These they then render with a smooth, polished sound, all
close harmonies and careful orchestration. Nothing in the instrumentation
ever breaks rank with the vocals so don’t expect howling guitars
or bass solos, this record is strictly about the girls. With this in mind,
the backing is kept low key, tight and set well back in the mix. The vocals
are a little weak by modern standards, lacking the power and definition
of a modern RnB diva, and certainly nowhere near a true female legend.
What they do achieve though, is a near perfect blend. This is a warm,
analogue record: spring reverbs kick out small, unintended percussives
from the guitars and the vocals come with long, phasing plate reverb.
All this helps to give the album a distinctive pre-aged sound and style.
The Pipettes grow on you, and as the hooks do their job this album will
weld itself to your hifi. |
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Maria
Ana Bobone - Senhora da Lapa
M·A Recordings M046A Reviewed by AKB
When a children’s song suddenly makes you cry, then you understand
that you are part of one of those magic moments that happens from time
to time. An angelic voice, clear as crystal and bright as the stars, combined
with the dark timbre of the Portuguese language – this is the right
mixture to make you shiver, to give you goose bumps. But it is –
as always – the sheer simplicity that makes it so beautiful. Voice
and piano, here and there some notes on guitar or saxophone, sufficient
and satisfying, just perfect!
The fado (Portuguese for fate), this sad, sentimental music from Portugal,
seems to consist of pure melancholy and sentiment cast in sound. But it
can also act as a cathartic storm, can purify the soul, may help to bring
a new approach to life and to the world with its somewhat distant glance.
Pure analogue recordings, engineered with care and dedication to the music;
that’s what I expect from M A Recordings – that’s what
I call audiophile: love for music. Maria Ana Bobone sings of good times
and bad times, but it sounds soothing. She sings from melancholy, but
it sounds consolatory. She sings from distance, but it sounds like home.
She could sing the words of a cooking recipe and still find the beauty
within. A voice to die for!
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Angie
Palmer - Tales Of Light And Darkness
Akrasia Records PMCD4 Reviewed by AH
Partnerships play a major role in our world and come in many guises. Sometimes
they work really well and sometimes they don't: Angie Palmer and Paul
Mason are a classic example of the former.
Having met by chance (although I'm a great believer that nothing is),
they have produced a body of work that rubs shoulders with the very best
in their field. The words come courtesy of Paul, and pull heavily on the
deep and the spiritual. He and Angie appear to have an almost telepathic
understanding of the song-writing craft – it's hard to imagine either
working with anyone else. This album follows on from the critically acclaimed
`Road', but this time around the emphasis is on a more full-bodied sound.
Angie's singing a little harder than before, but that's not to say there
aren't plenty of poignant moments too. `Premonition Blues' is one of those
moments; over the top of a hushed acoustic and banjo she echoes what must
be at the forefront of our minds in these troubled times, the lyrics cutting
hard and deep: " Well I heard somebody saying we're progressing every
day, well I think they must be joking 'cos the end is on its way."
This is a magical album, and to resist is madness. Go buy and enrich your
lives beyond measure.
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Muse -
Black Holes and Revelations
A&E Records HEL3002 Reviewed by MC
In interviews Muse have talked about finding a more soulful, funkier side
to their music in New York whilst spinning tunes in underground clubs.
Certainly their first single from this record sounds slightly off-beat,
with a chunky bass riff and syncopated rhythm section. But don’t
let it fool you, this is the band at their old school best.
Pretend their last album never happened, that they never got angry at
the world. Black Holes and Revelations can be lined up against their second
album Origin of Symmetry track for track. In this case ‘Supermassive
Black Hole’ simply drops out as the new ‘Feeling Good’.
And the comparison doesn’t end there, because Muse have returned
to the fertile ground of the concept album. Massive slabs of sound assault
you from the very start, no melody can be too operatic, no flourish too
theatrical and no effect too overblown. Massed choirs accompany the choruses,
synthesisers loop in the background in ever ascending arpeggios, and the
vocals reach high into the falsetto. As the record nears the close, tacked
on almost as an afterthought, ‘Knights of Cydonia’ suddenly
becomes ‘Bohemian Rhapsody’ and Matt Bellamy finds himself
filling the roles of both Brian May and Freddy Mercury at the same time.
And quite frankly, if that’s not good enough to impress you, what
is? Quite simply, the best album I’ve bought all year.
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Gretchen
Wilson - All Jacked Up
Epic: EK94I69 Reviewed by AH
When your debut album goes straight in at number one on the country charts
(selling millions along the way) following it is bound to be a daunting
prospect. That was the dilemma facing Gretchen Wilson after Here For The
Party exceeded all expectations and became a quadruple platinum album
in double quick time.
She needn't have worried; All Jacked Up sold over 264,000 copies in its
first week and looks all set to repeat the success of the debut. `If it
ain't broke, don't fix it' is the order of the day here, this album being
more of the rollicking redneck country she served up first time around.
The guitars are cranked, the beers are in full flow and everyone sounds
like they're having a blast, especially on the title track and the fabulous
`Rebel Child'. Merle Haggard helps out on 'Politically Uncorrect', and
the combination of her driving vocal and his grizzled approach works a
treat. `I Don't Feel Like Loving You Today' is the big ballad and although
it's sensitively sung and likely to encourage a plethora of lighters to
be held skywards, it's a bit too Nashville-by-numbers.
If you're looking for a challenging musical experience you won't find
it here; Gretchen's all Jacked up and ready for a party - you know what
to expect.
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Kim
Carnes - Chasin' Wild Trains
Corazong Records 255091 Reviewed by AH
Best remembered in this country for the haunting 'Bette Davis Eyes' (revisited
here as an acoustic bonus track), Kim Carnes continues to make excellent
albums. As a songwriter she's lost none of her originality, and the same
can be said for that voice; a mix of sharp sand and whisky which, whether
applied to a rocker or a sensitive ballad, still stands as one of the
most original and easily recognisable in music today.
Carnes moved from Los Angeles to Nashville in 1994, primarily because
as an in-demand songwriter she was spending more time in the air than
she was on the ground! Other artists have benefited hugely from her writing
gifts but a Kim Carnes song is still best sung by her, as evidenced by
the gorgeous tracks on display here. Separation and loss are prime subjects,
represented quite beautifully by the sad lament `Goodnight Angel' (".
.. if you were here we'd put `Into The Mystic' on the stereo" ) and
the subtle country rocker `Lucid Dreams', a co-write with Green On Red's
Chuck Prophet who lends his rustic tones and musical weight to one of
this album's major high spots.
Carnes doesn't break any new ground but her song writing chops are in
first-class condition, and she does an excellent job in the producer's
chair too. Good to have her back.
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Kid
Koala - Your Mom’s Favourite DJ
Ninja Tune Reviewed by JK
Kid Koala, or Eric San, is what young folks call a turntabalist; we used
to call them DJs but that title does not indicate the extent to which
the Kid mucks around with his records. They used to call it scratching
but that pursuit sounds pretty crude next to the manipulations and overlays
that this guy achieves with one of the most esoteric and out there record
collections in the land. KK must spend most of his waking hours searching
for unusual old, very old, tunes and the rest of them delving through
spoken word recordings and movies of yore looking for apt sound bites.
The result makes for highly engaging listening though whether you’d
call it music in the regular sense is another question.
In fact there is a clip on here that goes: “There’s some music
involved a little later but that’s not exactly what we’re
doing for the moment.” Which is pretty much spot on. At times he
gets wrapped up in clever mixes and scratches but at others he lets things
flow, scratching one tune over another and building it up into a solid
beat.
Inevitably sound quality is limited by the fact that he is using relatively
unbreakable turntables to do the mixing, but given that limitation the
result is still clean and even open on occasions. If you enjoy the sounds
and voices of yesteryear rearranged and can appreciate “a good progressive
rock DJ”, though the term progressive clearly had different associations
in the sixties, check out this short but sweet gem.
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Maria
Muldaur - Heart Of Mine
Telarc CD83643 Reviewed by AH
It's dangerous to record an album of cover songs by a songwriter as celebrated
as Bob Dylan.The artist attempting such a difficult task (in this case
Maria Muldaur) leaves themselves open to scorn and contempt; how can anyone
do justice - or indeed improve upon - songs so famously ingrained in the
minds of the record buying public? To Dylan's fans, what Muldaur has done
here is tantamount to treason, and there will be plenty of critics too
ready to slate her and hang her out to dry. That would be a pity as Heart
Of Mine is really rather fine; cover versions they may be, but they're
handled compassionately and with great taste, at the same time offering
a fresh take on some very original material. Muldaur's been very clever
here; true, he's covered `Lay Lady Lay', `I'll Be Your Baby Tonight' and
`You're Gonna Make Me Lonesome...' but she's also dipped into some of
Dylan's newer compositions, such as `Moonlight' from Love And Theft and
`Make You Feel My Love' from Time Out Of Mind. She's also surrounded herself
with a crack band that includes seasoned guitarist Amos Garrett, and they
provide Muldaur with the perfect backdrop for her sensual southern vocals.
Brave it might have been but stupid it wasn't; in every respect Heart
Of Mine is a resounding Triumph.
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Son
House - The Legendary Son House, Father of the Delta Blues
Pure Pleasure Records PPAN CS 9217 Reviewed by RSF
When he was “rediscovered” in 1964 in Rochester, New York,
Eddie James House, Jr. was far from his birthplace of Riverton, Mississippi.
House had ‘retired’ from the music business and was working
for a railroad at the time, but he’s a direct link to Charlie Patton
one of the early pioneers of the Delta Blues. House played with Patton
and by 1964 there weren’t many people around that could make that
claim. This re-issue offers way better sound then the original Columbia
and we’re also treated to an additional dozen tracks that have never
before appeared on vinyl. Whether you talk about ‘Empire State Express’
– a page out of Son’s life – or ‘Motherless Children’,
‘Shake It And Break It’ or ‘Levee Camp Moan’,
these are heartfelt blues.
While his guitar playing - these sessions used a steel-bodied National
guitar – wasn’t the last word in style, there’s a wonderful
rawness and technical naiveté about his playing. His vocal style
is soulful and a little edgy… but there is something about it that
just grabs you. Recordings by House are rare, his earliest work being
done for 78’s, with some individual tracks available on a 1967 American
Folk Blues Festival disc, making this an indispensable document. I hope
you enjoy this set as much as I do. Highly recommended.
Supplier: www.purepleasurerecords.com |
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The
Waybacks - From The Pasture To The Future
Compass Records 74430-2 Reviewed by AH
What we have here are four first-class musicians stamping their own particular
style on acoustic-led music – and succeeding spectacularly. Stevie
Coyle (vocals and acoustic guitar), James Nash (vocals, electric guitar
and mandolin), Chuck Hamilton (drums) and Joe Kyle Jnr. (bass and vocals)
whip up a veritable storm; a concoction of sensational picking, strong
vocals and ultra-tight rhythms on (mostly) original compositions. It’s
difficult to place them into any particular genre, but if you can imagine
taking Nickel Creek and Alison Krauss and blending them with The Grateful
Dead and elements of more recent jam bands like Widespread Panic and Railroad
Earth, you wouldn't be too far off the mark. One of the most interesting
tunes is 'Motorway', an ode to that most prestigious of establishments
- the motorway services. These chaps handle the subject with copious good
humour, even wheeling in a tuba for extra added Oomph, but the full extent
of their musical powers is unleashed on 'Hot Kranski', an instrumental
with terrific interplay between the mandolin and stand-up bass. Roping
in Lloyd Maines to handle production was a masterstroke; the sound is
rich, spacious and organic, the final piece to a chameleon-like jigsaw
currently going down a storm in the USA. |
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Dave
Rich Band - Overload
Livid Records LIVIDDRBI Reviewed by AH
Okay I confess, I know nothing about the Dave Rich Band other than they
come from Devon, put on a great live show and occasionally get likened
to Pink Floyd. That comparison I find difficult to hear, although every
now and then there is the odd trace of Gilmour's tone in Dave Rich's guitar
playing. I would actually place them closer to Paul Weller in his Jam
days, albeit with the levels on the angst-ometer turned down a notch or
two. There's no denying the quality on show though. In Dave Rich they
have a singer, songwriter and guitarist who can go head to head with the
best of them, and the rest of the band are no slouches either. Good songs
linger long after the final note has faded and that is very much the case
here. Take opener `Overload' for instance; acoustic guitars jangle into
life and jostle with Rich's forceful vocal before the song heads into
an insanely catchy chorus, in turn followed by a guitar solo fizzing with
an effortless fluidity. Some
songs lull you into a false sense of security; you think you're going
to get a touching ballad but instead it heads off in a completely different
direction, but somehow always manages to stay interesting and focussed.
Watch this space, this lot could be big news.
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Jazz
Music |
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Roy
Eldridge - Rockin’ Chair
Speakers Corner/Clef Records MG C-704 Reviewed by DDD
One could assemble a respectable jazz collection just by pulling together
recordings of the Oscar Peterson trio playing with other leaders or guest
stars. This session with trumpet great Roy Eldridge, is certainly one
of the finest examples. Peterson, Ray Brown on bass and Barney Kessel
on guitar are joined by Buddy Tate on tenor saxophone and is tastefully
backed by a string orchestra. This 1956 release captures one of the great
swing players at the peak of his powers in a setting that ideally suits
his style. Eldridge played on the edge and was not afraid to take chances.
The songs are mostly medium tempo with Eldridge doing his usual high range
acrobatics, as well as vocal additions on several numbers. This is a perfect
place to learn the trademark Eldridge sound, and anyone familiar with
Dizzy Gillespie will recognize where it came from.
Early Norgran and Clef records can sound quite wonderful, if not up to
the best Verve recordings of the later 1950s. This is one of the better
examples and Speakers Corner has done a fine mastering job. They’ve
also released the equally invaluable The President Plays with the Oscar
Peterson Trio, essentially the same small group without the strings, recorded
in 1952. Both are highly recommended. |
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Sonny
Clark - Cool Struttin’
Blue Note/Classic Reviewed by JK
Sonny Clark had a short but spectacular career as a jazz pianist before
his early death at the age of 31; Cool Struttin’ is considered by
many to be the pinnacle of his recorded work. Made in 1958 it features
a classic line up with Art Farmer on trumpet, Jackie McLean on alto, Paul
Chambers on bass and ‘Philly’ Joe Jones on drums, a group
of musicians who contributed significantly to bop era jazz and played
with many of the greats of that time. Clark’s style was described
by Art Tatum as being devoid of strain, and it does indeed swing in a
totally natural way. Clark says of the album that “the music was
played the way I wanted it and I got the fellows I’d been wanting
to record with for some time.” It’s not hard to hear why.
The rhythm section is superb; deft and delving without trying to take
over. The horns play with the band rather than over it but don’t
let this get in the way of some beautiful soloing.
Sonny Clark defined jazz as self-expression and in his case this meant
soulful musicality. The Rudy van Gelder recording is good for the era
but a shade thin by later standards. Classic has done a beautiful job
with both pressing and artwork. |
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Adam
Pieroñczyk Trio - Busem Po Sao Paulo
Metarecords meta 033 Reviewed by AKB
Fine feathers make fine birds – and it’s the name that makes
a star?!? I have no other explanation as to why Adam Pieroñczyk
(with his unpronounceable name) hasn’t been paid international tribute
until today. This saxophone player from Poland has already cooperated
with Archie Shepp, Bobby McFerrin and Tomasz Stanko, has found in Robert
Kubiszyn (bass) and Krysztof Dziedzic (drums) excellent trio partners.
Busem Po San Paulo (São Paulo by bus) is a trend-setting album,
free from fusty tradition, uninspired improvisation or jazz standards
already heard umpteen times. Instead the trio captures the journey from
their Polish home in their music – in combination with influences
from all over the world. The result: Free, modern jazz, innovative, experimental,
intelligent and simply unique. Pieroñczyk’s brilliant technical
skills allow him not just to master his saxophone, he creates new soundscapes.
He skirls, squeals, moans or sings on his instrument, whether in quarter,
semi or whole-tones; oriental influences from the zoucra (India) are mixed
with Indian spirit from Brazil or the imitation of bagpipes. The three
musicians play independently, free from traditional role allocation –
but their music melts together into a dome of sound. Check out ‘Braniewo’,
‘My cocktail bar’, or the outstanding ‘Touched By Tupinamba’
with its meditative mood and you will understand what I mean. Rest assured:
no elevator music here! |
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The
Monty Alexander Trio - Full Steam Ahead
Pure Audiophile Records Reviewed by DDD
This was pianist Monty Alexander’s seventh album for Concord Records,
recorded in 1985 with backing from Concord stalwart Ray Brown on bass
and Frank Gant on drums. Alexander grew up in Jamaica and began his professional
career there playing in clubs. He moved to the United States and began
recording in the mid-1960’s and had produced many albums on Pacific
Jazz, Verve and Concord over the last four decades. For all that, Alexander’s
name has never become a household one. His main influence was Oscar Peterson,
and sometimes his debt to Peterson is a little too obvious, particularly
in his ornamentation. That said I find his unique blend of Caribbean rhythm,
boogie-woogie and straight-ahead jazz addictive.
As the title suggests, this is collection of up-tempo numbers, and the
song selection is eclectic, ranging from Miles Davis’ ‘Freddie
Freeloader’ to Jagger/Richards’ ‘I Can’t Get No
Satisfaction’. This two record issue contains the original album
spread out a bit over almost three sides with three bonus tracks thrown
in from a couple other Alexander albums. Resident mastering engineer George
Horn most often mastered Concord albums, and he always did a fine job,
but the combination of Stan Ricker’s half-speed mastering, the 180
gram pressing on pristine vinyl and the extra groove space take this album
up several notches from any vinyl product Concord ever released.
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Gordon
Grdina / Gary Peacock / Paul Motian - Think Like The Waves
Songlines Reviewed by JK
With its classic ECM style rhythm section and relatively unknown lead
this is an unusual collaboration but there is no doubt that it works.
Grdina is a guitar and oud player from Vancouver who persuaded bassist
Gary Peacock to be his tutor after hearing him play with Keith Jarrett.
All the tunes on this 14 track disc are Grdina compositions and have a
similarity in as much as they involve a continuous interplay between the
three musicians with none of the egotistical lime-lighting that can get
in the way of the music with many a jazz record.
Whilst this is essentially a jazz record it explores new territory in
a harmonious and rhythmically intriguing fashion that brings to mind the
Arabic influences that have clearly played a part in Grdina’s education.
At times it seems as if all three musicians are playing different rhythms
but nothing seems to be clashing; it might be because of the soft tonality
all round but more likely it’s the fact that they are all listening
to one another rather than disappearing up their own proverbials.
This is a very natural and real sounding album, originally recorded at
24/88.2 it has transferred beautifully onto SACD and warrants attention
on this level alone. However some things are more important than sound.
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Victor
Alcántara Trio - Stabat Mater Inspirations
Organic Music ORGM 9716 Reviewed by AKB
Giovanni Battista Pergolesi’s Stabat Mater has always been one of
the most touching classical compositions for me – a nearly perfect
gem of liturgical music. There’s something sad but beautiful about
Pergolesi, feeling his death coming closer and closer, retreated at the
age of just 26 from the secular world, putting all his anguish and sorrow
into musical lamentation. But if you listen carefully, you will become
aware of shades full of hope and faith too. Thus, you can understand my
surprise when I got hold of this arrangement for jazz trio! And even now,
after playing it several times, my mind still seesaws between “sacrilege”
and “stroke of genius”.
Of course, with the absence of lyrics one fundamental column is missing,
but Victor Alcántara doesn’t intend to recreate an aura of
meditation or even prayer. At heart, there isn’t the Christian substance
of a Pergolesi, but the sheer joy of playing. Perhaps you’d best
approach this music with an open mind?
Since Jacques Loussier’s Play Bach, we know that the linear melodies
of that time are perfectly suited for jazzy improvisation. These excellent
arrangements, with an astonishing complexity and space (just a pinch too
much cymbal here and there), are perfectly balanced between the original
composition and improvisation. Who knows, maybe this is the beginning
of a wonderful series; Play Pergolesi?!?
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