The pieces brought together on this CD range widely, from ceremonial works associated with affairs of state to intimate compositions addressing moments of great personal significance. Two of the three pieces by Parry best exemplify this contrast: if I was glad – written for the coronation of Edward VII and premiered in chaotic circumstances – fits into the former category, ‘My soul, there is a country’ (from Songs of Farewell) – composed in the year of his death – belongs in the latter.
Originally released in 1973 as a 9-LP set, it presents a comprehensive survey of Friedrich Gulda's accomplishments as a superb composer and performer of works crossing the lines between classical music and jazz. This 5-CD box set features extensive new and original liner notes, song lyrics and rare photos in a 48-page beautiful booklet! It's really a rich "midlife harvest" of work by the Austrian genius of the universal music - a key figure in the intersection between jazz and modern music on the European scene of the postwar years, represented here by a wealth of recordings done for Preiser, Decca and MPS during the 60s and 70s.
Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form.
This is a three classic albums CD box set with the original artworked 'mini LP' CD wallets in deluxe packaging. It contains the albums "Sounds Of Silence", "Parsley, Sage, Rosemary And Thyme" and "Bookends".
The reasons for Holst’s relative neglect, beyond The Planets and the Band Suites, aren’t hard to fathom. He wrote no large works in conventional forms, and never repeated himself. Even the Choral Symphony on poetry by Keats, here in its finest recorded performance to date (by Boult), owes very little to precedent–Mahler’s Eighth and Elgar’s The Black Knight, perhaps–and in any case features Holst’s personal combination of “spacey” orchestral color and rhythmic complexity (sample below). The music is both personal, technically virtuosic, and however beautiful somewhat cool emotionally. There is nothing else quite like it in the early 20th century.