This 1965 Paris concert by Louis Armstrong is not all that different in content from many of his live dates recorded during the last 15 years of his life. His all-stars had changed somewhat, with clarinetist Eddie Shu replacing Edmond Hall, singer Jewel Brown taking the place of the late Velma Middleton, and trombonist Tyree Glenn replacing Trummy Young, but the dependable pianist Billy Kyle (who died the following year) is still on hand to keep the band in a familiar groove. Armstrong sticks to his dependable opener, "When It's Sleepy Time Down South," following it with a spirited "Back Home Again in Indiana." Jewel Brown is acceptable on the snappy "A Kiss to Build a Dream On," but butchers "Can't Help Lovin' That Man of Mine" with an overly dramatic and very pop-ish rendition…
In June, Universal Music will issue a new Def Leppard albums box set which will be available on CD and vinyl. It’s the first of four planned volumes which will cover the band’s complete recorded output.
Reissue with SHM-CD format and the latest 24bit remastering. Comes with a mini-description. A great chapter in 60s bossa jazz – Zoot Sims "answer" to Stan Getz's bossa work on Verve – recorded in a similar jazz-meets-bossa style, with some great guitar work by Jim Hall! Zoot's solos are a bit tighter and not as laidback as Stan's – giving a more jazz-based sound to the work that makes for a nice change – and most of the tunes feature larger backings from Manny Albam and Al Cohn – never too over-arranged, but with enough of a full swinging sound to set things right. Hall's guitar works surprisingly well in the setting – and titles include "Barquinho De Papel", "Ciume", "Recado Bossa Nova (parts 1 & 2)", and "Cano Canoe".
This program also makes a perfect introduction to the world of the cantatas in general for anyone who loves Bach's instrumental music or larger vocal works (like the B minor Mass), but who has been hesitating before taking the plunge into the vast sea of his cantata production. Why? Simple: two of these pieces contain music found elsewhere in Bach's output. For example, the first chorus of BWV 120 became the concluding number (Et expecto) of the B minor Mass "Credo". BWV 29 opens with an almost shockingly brilliant arrangement (as an organ concerto) of the opening movement of the E major violin partita, followed by the chorus that appears in the B minor Mass as both the "Gratias" and the "Dona Nobis Pacem" (the German original means exactly the same thing as the Gratias: "We thank thee," making the adaptation entirely apropos). All three cantatas feature brilliant writing for trumpets (four of them in BWV 119) and drums, and were written for civic ceremonies in Leipzig. And if the words are often less than inspiring to us now, no one can argue that Bach didn't rise to the occasion musically.
This fifth installment of the Michel Gielen Edition contains works by Bela Bartok and Igor Stravinsky. Gielen greatly admired these composers, whose works he frequently performed. We thus continue the editorial play for the Michael Gielen Edition. Volume 5 includes many first releases or recordings of Gielen from the 1960s and 1970s. Gielen is celebrating his 90th birthday in July, 2017. The album also contains a spoken section from Michael Gielen's last concert with his SWR Sinfonieorchester Baden-Baden und Freiburg in 2014.
One of Bach's more magnificent extended choruses graces the cantata BWV 12, and another less substantial but no less impressive one dominates BWV 38. These works represent some of Bach's most profoundly affecting and musically sophisticated textual and emotional representations, the former an ideal evocation of "weeping and wailing" with its unmistakably vivid chromatic descending bass-line, lurching rhythm, and agonized melody (which Bach later re-used in his B minor Mass). The pungent, reedy sound of the oboe adds perfect color and character to the whole cantata, and of course, Bach's ingenious writing, especially the obbligato parts, lifts all three of these cantatas beyond the functional to the highest artistic and spiritual level.