A spinoff of its parent magazine, Classic Rock Presents Prog takes a look at progressive music and the artists who weave them together. Each issue takes a soul-searching foray into the hearts and minds of the heroes of rock, reviewing both new and old releases. Building upon the history of some of the most genre-defining pieces ever devised and those who followed who continue to refine, revolutionise and completely discard the formulas of those who came before. Reflecting on the proud genesis of this unexpected genre, Classic Rock Presents Prog is an able tutor for those in the dark about the evolution of progressive music, and a tonic for existing fans.
Après 2 ans sans album, Jean-Louis Murat revient avec Grand Lièvre. Enregistré en quelques jours dans le sud de la France, le disque sonne comme s'il avait été capté dans les conditions du live. Dix titres aux musiques et textes magnifiques, des thèmes chers à l'auteur : la nature, la dérision de la condition humaine, le doute, l'amour, la solitude. Mais ici magnifiés, nimbés de mélodies tournoyantes, à la fois familières et surprenantes, agrémentées de bruissements, bruitages et dialogues mystérieux, et, nouveauté muratienne, de choeurs hypnotiques et lumineux. Du Murat au sommet de son art, intime et immédiat, secret et universel. A savourer avec de grandes oreilles.
Telemann had made reference to writing twenty operas during his four years in Leipzig, but sadly the scores have been lost and very few librettos and arias are extant. Michael Maul has proven that some 40 arias discovered at the Frankfurt University Library were from Telemann’s Germanicus and its modern premiere took place with Gotthold Schwarz and the Saxon Baroque Orchestra. Germanicus is a tale of love, lust and political intrigue based very loosely on events during the first-century occupation of Teutonic territory by the Romans. Since only arias survive, for recitatives Maul substituted a tongue-in-cheek narrative wittily delivered by actor Dieter Bellmann.
With OPEN CONTINUUM Wim Mertens presents his second project with symphonic orchestra. In 2006 the composer recorded Partes extra partes, a studio production with the Brussels Philarmonic directed by the Argentinian conductor Dante Anzolini. Since then, Wim Mertens regularly performed with a piano/voice and symphonic orchestra setup, with among others Madrid, Murcia, Berlin and Brussels Philarmonic’s orchestras. The composer considers the production and the performing with symphonic orchestra as one of the facets of his musical activity.
This double LP was the first jazz concert ever recorded at the Hollywood Bowl (and only the second one held at that L.A. institution). Although not an official Jazz at the Philharmonic concert, it has the same basic format and was also produced by Norman Granz. Trumpeters Roy Eldridge and Harry "Sweets" Edison, tenors Flip Phillips and Illinois Jacquet, the Oscar Peterson Trio and drummer Buddy Rich all jam on "Honeysuckle Rose" and "Jumpin' at the Woodside" and there is also a ballad medley and a drum solo by Rich. In addition the Oscar Peterson Trio plays two numbers, the remarkable pianist Art Tatum (in one of his final appearances) has four, Ella Fitzgerald sings six songs (including a scat-filled "Airmail Special") and collaborates with Louis Armstrong on two others. For the grand finale nearly everyone returns to the stage for "When the Saints Go Marching In" which Armstrong sings and largely narrates, cheerfully introducing all of the participants. This is a historic and very enjoyable release featuring more than its share of classic greats.
A hit in its first run in 1726, in London and elsewhere, Alessandro has had less success in our day. It is a demanding and lengthy work. The story moves quickly and is fairly silly, and meant to be. This Alexander conquers Ossidraca during the overture, but manages to bungle his subsequent amatory assaults, which constitute the rest of the opera. All manages to end well for him in the nick of time, however, as a good lieto fine requires. The performance takes just over three hours, though Bernd Feuchtner, the author of the notes, claims that London audiences in 1726 were in the theater for five.