Constance Demby is one of the few representatives of the New Age movement (in both her music and her personal philosophies) who consistently creates artistic, highly expressive compositions. Demby was trained in classical music as a child, and her artistic spirit led her to also master several other art forms; at the University of Michigan, she studied painting, sculpture, and music. It was her work as a sculptor that led her to new dimensions of sound. As she was torching a sheet of metal, it roared thunderously, and thus was born the Sonic Steel Instruments: the Whale Sail, and the Space Bass, enormous bowed instruments with deep archetypal resonances.
Rafael Kubelik was one of our foremost interpreters of Dvorak and other great Czech composers such as Smetana and Janacek. His critically acclaimed 1960's Dvorak symphony Deutsche Grammophon cycle was reissued several years ago as a budget-priced collection.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military.
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins).
Herbert von Karajan also often confronted himself with spiritual music. Especially the Mozart, Verdi and Brahms Requiem were always performed in the utmost quality, whereas before all else Verdi's Messa di Requiem demands excellent opera voices.
In 1988 when this period-instrument Figaro was released, the style was still a novelty, and Ostman gained some notoreity for his rushed tempos as well as the scrawniness of his chamber orchestra, by far the smallest to play this great opera on CD. Yet when I read a glowing review by Andrew Porter in the New Yorker, I immediately bought the performance, shortly discovering that it was a true gem in the extensive Figaro catalog.
By Santa Fe Listener