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Jazz Loves Disney 2 - A Kind Of Magic
The Amazing Keystone Big Band
Jazz - Released November 10, 2017 | Universal Music Division Decca Records France
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Booklet
Why change a winning formula? One year after the first volume, here’s a second stroll into the realm of tunes and melodies from Walt Disney’s cartoons. After Gregory Porter, Melody Gardot, China Moses, Hugh Coltman and Stacey Kent, it’s up to Imany, Thomas Dutronc, Bebel Gilberto, Laura Mvula, Jacob Collier, Angelique Kidjo, Madeleine Peyroux, George Benson as well as Jamie Cullum in duo with, incredibly, Eric Cantona to perform jazz covers, with the Amazing Keystone Big Band conducted by David Enhco, of all those songs that have entered the personal heritage of all the (future and former) kids from all over the world. © CM/Qobuz
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Jazz Loves Disney 2 - A Kind Of Magic
Various Artists
Jazz - Released November 10, 2017 | Universal Music Division Decca Records France
Booklet
Why change a winning formula? One year after the first volume, here’s a second stroll into the realm of tunes and melodies from Walt Disney’s cartoons. After Gregory Porter, Melody Gardot, China Moses, Hugh Coltman and Stacey Kent, it’s up to Imany, Thomas Dutronc, Bebel Gilberto, Laura Mvula, Jacob Collier, Angelique Kidjo, Madeleine Peyroux, George Benson as well as Jamie Cullum in duo with, incredibly, Eric Cantona to perform jazz covers, with the Amazing Keystone Big Band conducted by David Enhco, of all those songs that have entered the personal heritage of all the (future and former) kids from all over the world. © CM/Qobuz
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Ella Fitzgerald Sings The George And Ira Gershwin Song Book
Ella Fitzgerald
Vocal Jazz - Released January 1, 1959 | Verve Reissues
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During the late '50s, Ella Fitzgerald continued her Song Book records with Sings the George and Ira Gershwin Song Book, releasing a series of albums featuring 59 songs written by George and Ira Gershwin. Those songs, plus alternate takes, were combined on a four-disc box set, Sings the George and Ira Gershwin Song Book, in 1998. These performances are easily among Fitzgerald's very best, and for any serious fan, this is the ideal place to acquire the recordings, since the sound and presentation are equally classy and impressive.© Leo Stanley /TiVo
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Tchaikovsky: The Nutcracker, Op. 71, TH 14
Gustavo Dudamel
Classical - Released November 16, 2018 | Deutsche Grammophon (DG)
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This new version of Tchaikovsky's famous ballet has been released hot on the heels of Disney's Nutcracker and the Four Realms, whose original music by James Newton Howard reprises and updates some of the themes from the Russian's score. Recorded by Gustavo Dudamel with Lang Lang at the piano and Andrea Bocelli singing the titles, this film's soundtrack is made to measure for these three global stars. This recording of the original material was carried out at the Walt Disney Concert Hall in Los Angeles in December 2013 during a Christmas celebration. The concert marked ten years of fruitful collaboration between Gustavo Dudamel and the Los Angeles Philharmonic Orchestra. The Venezuelan maestro brings us a hedonistic vision of this German fairytale by ETA Hoffman, re-imagined by Alexandre Dumas and so wonderfully turned in to music by Tchaikovsky. It was one of the Russian's last masterpieces, coming just before the "Pathétique" Symphony which would be his musical testament. But here, all is hardly fairytale and sugar thanks to an extraordinary melodic inspiration which is brought out by a light orchestration with unique timbres, like in the Dance of the Sugar Plum Fairy which popularised the Celesta, an odd instrument invented in 1886 (an improbable lovechild of the glockenspiel and the piano that Tchaikovsky encountered in Paris). Dudamel is playing with dreams here. We are treated to a supple, refined conducting style that looks towards Vienna more than it does to St Petersburg, but it never loses sight of a childlike spirit that's sure to delight. © François Hudry/Qobuz
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One Of A Kind
Bruford
Rock - Released January 1, 1979 | Winterfold
Bill Bruford ended his brief affair with U.K. and condensed his original outfit to a quartet, releasing a second album of sinewy, celebratory jazz/rock fusion, One of a Kind. Good-humored twists and turns abound in the music, punctuated by Bruford's steadying if slightly subversive rhythms, Allan Holdsworth's flashes of fire, Jeff Berlin's insistent bass, and Dave Stewart's remarkably colorful keyboards. At the heart of many of these songs is an uplifting melody, a trait shared with fusion artists like Weather Report and Jean-Luc Ponty, though Bruford's outfit favors a faster pace than the former and pursues more musical avenues in a single song than the latter. When he takes to tuned percussion, Bruford can even sound like Frank Zappa (both bands have a funky side to them). Standout cuts this time include "Hell's Bells," "Fainting in Coils" (which, in an indirect link to his previous employers, would have felt at home on Robert Fripp's Exposure), "Five G," and "The Sahara of Snow." The remaining tracks are a little less muscular, and the band's strength would seem to lie in fusion propelled by the complex rhythmic patterns of Bruford and Berlin (i.e., when the band leans closer to the rock side of the fusion family). Those who enjoy their fusion with a healthy dose of rock will find One of a Kind a fair match for anything from Return to Forever or Brand X. Note that many of these songs also appear in live versions on the beat-the-boots release The Bruford Tapes.© Dave Connolly /TiVo
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No Sacrifice, No Victory
Hammerfall
Miscellaneous - Released June 27, 1997 | Nuclear Blast
Booklet
Hammerfall have had plenty of lineup changes since 1993, and 2009's No Sacrifice, No Victory finds the Swedish headbangers unveiling yet another new lineup. This time, the participants are Joacim Cans on lead vocals, Oscar Dronjak and Pontus Norgren on guitar, Fredrik Larsson on bass, and Anders Johansson on drums; guitarist Stefan Elmgren is gone, and so is bassist Magnus Rosen. But despite all the personnel changes that Hammerfall have experienced along the way, their sound hasn't changed much -- and on No Sacrifice, No Victory, they maintain their 1970s/1980s-based power metal orientation. A title like No Sacrifice, No Victory is as stereotypically power metal as it gets, and larger-than-life offerings such as "Legion," "By Any Means Necessary," and "Punish and Enslave" don't run away from power metal's dungeons-and-dragons stereotypes. In fact, Hammerfall's 2009 lineup enthusiastically embraces those stereotypes -- and while the results are predictable, they are inspired more often than not. No Sacrifice, No Victory's most surprising track is an unexpected cover of the Knack's 1979 hit "My Sharona"; Hammerfall take the song out of new wave and place it in pop-metal of the Kiss/Quiet Riot/Ratt variety. "My Sharona" is the only thing on this 49-minute CD that isn't power metal, and it's an enjoyable departure from the rest of the album. No Sacrifice, No Victory isn't Hammerfall's best or most consistent release, but there are more strong tracks than weak ones -- and many die-hard Hammerfall fans in Europe will no doubt acquire the disc simply because it is by Hammerfall.
© Alex Henderson /TiVo
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In The Dutch Mountains
Nits
Pop - Released November 18, 1987 | Columbia
After the synthesized hijinks and tomfoolery that blighted much of Henk, the Nits -- once again a four-piece with the addition of bassist Joke Geraets -- opted for a return to simplicity with In the Dutch Mountains. The result was an album that probably did more to seduce listeners far beyond their homeland than any other, not least because it was the first to secure a release in the U.S. and the U.K. Yet although it was recorded live in the studio direct to two-track tape, this is no mere exercise in bash-it-out, one-take boogie. It's a warmly atmospheric set that contains some of the Nits' most fully realized work to date. Many of the songs are inspired by childhood memories, including the title track with its reference to the young Henk Hofstede's assumption that there must be mountains beyond the borders of his home town of Amsterdam. A massive hit across continental Europe, "In the Dutch Mountains" still generates a storm of applause at Nits concerts. Another live mainstay is "J.O.S. Days," an atypically rustic song about Hofstede's failure to make his local football team, featuring sampled acoustic guitar and (real) harmonica. This contrasts sharply with the dreamy "Two Skaters," at around seven minutes one of the longest songs in the Nits' repertoire and as close as they've ever gotten to an exercise in pure atmospherics. Other highlights include "The Swimmer" (yet another in a long line of film references), with frenzied accelerating piano assaults framing a delicate melody; the faintly berserk "An Eating House"; and the gorgeous lullaby "Good Night," with Hofstede's tender vocals cushioned by a remarkably convincing brass band sample. On the vinyl edition, this made for a wonderful coda to the album, but for the CD release three bonus tracks -- none of them quite in keeping with the rest -- were tacked onto the end. Nevertheless, In the Dutch Mountains marked the beginning of a richly creative five-year period that the Nits have yet to top.© Christopher Evans /TiVo
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Monteverdi: Daylight. Stories of Songs, Dances and Loves
Rinaldo Alessandrini
Classical - Released November 5, 2021 | naïve
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West Side Soul
Magic sam
Blues - Released June 4, 2002 | COBRA RECORDS
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The Art of Jazz
Art Blakey & The Jazz Messengers
Jazz - Released October 9, 1989 | IN+OUT Records
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Drummer Art Blakey and the 1989 version of his Jazz Messengers (with trumpeter Brian Lynch, tenor saxophonist Javon Jackson, trombonist Frank Lacy, pianist Geoff Keezer and bassist Buster Williams) celebrated the leader's 70th birthday by welcoming back several notable alumni: trumpeters Freddie Hubbard and Terence Blanchard, altoists Jackie McLean and Donald Harrison, tenors Wayne Shorter and Benny Golson, pianist Walter Davis Jr. and trombonist Curtis Fuller. This single CD has some of the highlights of the British concert, although one wishes that the entire date had been released, for some of the musicians only make cameo appearances. Highlights include the opportunities to hear Shorter in this setting (he is well featured on "Lester Left Town") and versions of "Along Came Betty" and "Blues March" that contain short solos from many of the players. In addition, Michele Hendricks sings Horace Silver's words to "Mr. Blakey"; drummer Roy Haynes plays second drums on "Blues March"; and the CD concludes with a nearly-13 minute interview that Mike Hennessey conducted with Blakey in 1976 in which the drummer reminisces about the Jazz Messengers' early days. Well worth picking up.
© Scott Yanow /TiVo
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Ray Charles Story, Volume Two (Édition Studio Masters)
Ray Charles
Rock - Released January 18, 2005 | Rhino Atlantic
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Love Songs (US Digital Download)
Phil Collins
Pop - Released September 14, 2004 | Warner Records
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Seiji Ozawa: A Celebration
Seiji Ozawa
Classical - Released February 11, 2024 | Warner Classics
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Gold
Marvin Gaye
Soul - Released July 17, 2001 | UNI - MOTOWN
Marvin Gaye left behind one of the greatest legacies in American pop music, a fascinating and irresistible string of chart hits and stunning album-long suites that explored the sacred/secular divide in his own soul, and by extension, the philosophical divide in the American psyche, and he did it all with grace, ease, assurance, and style. This double-disc anthology hits the obvious high points, but also is deep enough to include some rarities (like the wonderful What's Going On footnote song "Where Are We Going?"), live tracks (his famous live performance of "Distant Lover" from an Oakland concert is included), a generous selection of his classic duets with Tammi Terrell, and his late, last burst of brilliance, 1982's "Sexual Healing." There are countless Marvin Gaye compilations on the market, but Gold does as well a job as any of them at skating across the high points of his career. The thing to remember, though, is that the water is deep, and listeners owe it to themselves to eventually dive down past these kinds of "greatest hits" collections into the full sweep of this brilliant singer's body of work. [The track listing on Gold is identical to that on the 2001 Motown compilation The Very Best of Marvin Gaye.]© Steve Leggett /TiVo
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A Shropshire Lad: English Songs Orchestrated by Roderick Williams
Halle
Vocal Music (Secular and Sacred) - Released November 4, 2022 | Halle Concerts Society
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Booklet
This album represents the culmination of what leading British baritone Roderick Williams described as "a dream come true". It features premiere recordings of his orchestrations of songs by Vaughan Williams and other composers associated with him and is released to commemorate those who perished in WWI. Featuring orchestrations by Williams of his favourite songs from the 20th-Century English repertoire, this album contains works by Vaughan Williams and specially commissioned new arrangements of songs by women composers Ina Boyle, Ruth Gipps, Madeleine Dring and Rebecca Clarke. The album features also the work of composers who were killed in the First World War, George Butterworth, William Denis Browne and Ernest Farrar and is released to coincide with Remembrance Day. These songs portray the composers’ evocative responses to the poetry they set, and Williams’s orchestrations further convey the songs meaning through highly effective use of orchestral instruments and textures. © Hallé Concerts Society
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Master Strokes 1978-1985
Bill Bruford
Rock - Released January 1, 1986 | EG Records
When you're a drummer playing behind the vocal heights of Jon Anderson, the guitar virtuosity of Steve Howe, or the keyboard genius of Rick Wakeman, you may expect to be disregarded from time to time. Aside from die-hard fans of Yes or King Crimson, Bill Bruford's drumming is taken for granted more often than not, when in fact he's one of the finest rock drummers to emerge from the era. Master Strokes: 1978-1985 is a well-assembled compilation of some of Bruford's best drum work, spanning numerous styles and examples of percussive artistry. All 14 tracks explore the many sides of Bruford's repertoire, delving into jazz fusion, straightforward rock, and progressive rock, and laying out some entertaining examples of how much fire the drums can truly muster, not only in their bombastic state, but also as an accompaniment to other instruments and rhythms as well. Taking tracks from Feels Good to Me, One of a Kind, and Gradually Going Tornado, this collection stands as one of the best offerings of his solo work; from the attitude-laden "Hells Bells" to the steady flow of "Travels With Myself and Someone Else" to the imaginative "Fainting in Coils," every aspect of Bruford's percussive talents are covered. "The Drum Also Waltzes" and "Gothic 17" are two of the best out-of-the-ordinary cuts, exhibiting both hard and soft styles of drumming and cymbal playing. Presenting twice as many tracks as The Bruford Tapes, Master Strokes: 1978-1985 makes for the best one-stop for those who want to hear Bruford playing to his own ideas, tempos, and genres.© Mike DeGagne /TiVo
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Something Magic
Procol Harum
Progressive Rock - Released March 1, 1977 | Esoteric
When Procol Harum's ninth studio album, Something Magic, was released in March 1977, it sold poorly and was largely dismissed, with the group breaking up at the end of the promotional tour for it. With this reissue more than 30 years later, annotator Roland Clare argues it is "in need of outright reappraisal." He doesn't actually make that case, but he does explain the circumstances that led to the debacle. After its previous album, Procol's Ninth, produced by Jerry Leiber and Mike Stoller, Procol Harum might have been expected to go back to a more conventional approach; instead, the group hired the hot studio of the day, Criteria in Miami, and its hot resident producers, Ron and Howie Albert. When the band arrived in Florida and played the songs intended for the album, the Albert brothers threw half of them out. That left half of an album to fill, which led singer/pianist/composer Gary Brooker to turn to a parable-like poem written years earlier by his lyric partner Keith Reid, "The Worm & the Tree," and -- in a move anticipating This Is Spinal Tap -- writing a musical suite around it to fill up side two. He then recited the poem rather than actually setting it to music, creating a pretentious work just at a time when critics and fans were tiring of peers like Jethro Tull and Yes doing much the same thing. It didn't help that the songs making up side one were relatively minor Procol Harum. None of this has changed in the ensuing decades, but Clare's explanation is interesting to read; the remastered sound is terrific; and the album boasts three bonus tracks including not only the instrumental B-side "Backgammon," which has appeared elsewhere, but also previously unreleased live versions of two of the songs the Alberts rejected, "You'd Better Wait" and "This Old Dog." They do not suggest that Something Magic could have been a great or even good Procol Harum album. But they do add to an understanding of one of the more confusing chapters in the band's history.© William Ruhlmann /TiVo
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Handel: Ode for the Birthday of Queen Anne
Andreas Scholl, Akademie für Alte Musik Berlin, Marcus Creed, Guilmette, Wolf
Classical - Released October 22, 2009 | harmonia mundi
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Stravinsky : The Firebird - A Symphony of Psalms
Andris Nelsons
Symphonic Music - Released March 4, 2010 | Orfeo
A certain amount of acoustic reverberation is welcome in orchestral recordings, if it has been controlled for a particular effect, but it is omnipresent in Andris Nelsons' 2009 recordings of Igor Stravinsky's The Firebird and the Symphony of Psalms. From the very beginning of the complete music for The Firebird, resonance dominates and creates an aural haze that is so thick that details only emerge as if from a dense fog, and the timbres of certain instruments are blurred into an echoic cloud that seems almost artificially engineered. Other recordings made in Birmingham Symphony Hall by the City of Birmingham Symphony Orchestra certainly have a vibrant acoustic quality, but it is so strong here, it must be a product of microphone placement, mixing, or both. Be that as it may, The Firebird survives this soft-focus reproduction much better than Symphony of Psalms, because its impressionistic colors and intensely lush, chromatic harmonies are already somewhat dream-like and mysterious, whereas the dry sonorities and punchy rhythms of the symphony need a much crisper presentation than they get here. The blurred textures and harmonies that are tolerable in The Firebird become a distraction in the Symphony of Psalms, and the work's dissonant counterpoint and lean, staccato chords bleed into each other in an unsatisfactory way, despite the impressive wall of sound that's created in fortissimo sections and the glorious sound that Nelsons and the orchestra produce on cadences.
© TiVo
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