Is there any doubt that Robert Craft is the reigning Stravinsky conductor of our time? His years of friendship with, apprenticeship to and quasi-adoption by Stravinsky certainly give him bona fides for this, but it is his impeccable musicianship that tells here. These performances have appeared before on CD Jeu de cartes and Danses concertantes on Koch, and the Scènes de Ballet, Variations, and Capriccio on MusicMasters all recorded in the 1990s. Naxos is in the process of re-releasing on their own label all of Craft's Stravinsky recordings of that period (plus a few new ones done specifically for them) and the series is an undiluted triumph.
Ian Matthews left Fairport Convention in 1969, and while the U.K.'s greatest folk-rock band was beginning to reinvent itself in a more traditional and very British direction, Matthews began digging deeper into the American influences that had marked his old band's first era. Later That Same Year, the second album from Ian's new group Matthews Southern Comfort (it was released in late 1970, a mere six months after their debut, hence the title), is a beautiful set of songs that splits the difference between West Coast folk-rock and early country-rock, with Gordon Huntley's pedal steel and Roger Coulam's lending an air of sunny sadness that dovetails beautifully with Matthews' silky tenor. Matthews wrote three of the songs on Later That Same Year, and they rank with the album's finest moments, especially the ethereal harmonies of "And Me" and the graceful simplicity of "My Lady," but Matthews also borrows some excellent material from American writers, including a cover of Neil Young's "Tell Me Why" that remains faithful while creating a languid mood of its own.
During the final part of their career, the Stanley Brothers did most of their recording for the King label, laying down almost 200 sides for the company between 1958 and 1965. All of those tracks are available in box set form should you want them, but the ordinary fan will be satisfied with more selective samplers such as this one, which has a couple dozen cuts originally released in 1961-1966. The Stanley Brothers were a consistent enough act that the songs picked for best-of comps are pretty much up to the taste of the compiler, but this does a fine job both in the quality and the variety of the material presented. In addition to plenty of originals, there are also interpretations of songs by A.P. Carter, Alton Delmore, and traditional items.
A jam band coming out of the Midwest in the mid-'90s, Umphrey's McGee edged toward the Frank Zappa side of the improv rock scale, as opposed to the Grateful Dead/Allman Brothers Band direction of their many contemporaries. The members of Umphrey's McGee met at the University of Notre Dame in South Bend, Indiana…
The subject of many poor quality bootlegs, this concert - one of only a handful undertaken by Fripp & Eno - is routinely described as ‘legendary’. Hearing the tapes in fully restored audio quality, it's easy to understand why it attracts such reverence now and perhaps, why the shows attracted such hostility then. No Roxy Music hits, No King Crimson riffs, just a duo sitting in near darkness with a reel to reel tape recorder, improvising over the pre-recorded loops with a filmed background projection. Replace the reel to reel machine with a couple of laptops/iPads/sequencers and the core of much current live performance from electronica to hip-hop was there some thirty years in advance. At the time, audiences responded to such a glimpse of the future with booing, walkouts and general confusion.