A family scandal causes a wealthy and powerful Mexican rancher to make the pronouncement–'Bring me the head of Alfredo Garcia!' Two of the bounty-hunters thus dispatched encounter a local piano-player in their hunt for information. The piano-player does a little investigating on his own and finds out that his girlfriend knows of Garcia's death and last resting place. Thinking that he can make some easy money and gain financial security for he and his (now) fiancée, they set off on this goal. Of course, this quest only brings him untold misery, in the form of trademark Peckinpah violence.
The title of the two-disc album, Vivaldi: Vespro a San Marco, implies that the composer wrote a set of pieces comparable to Monteverdi's Vespro della beata Vergine, but the title needs to be interpreted somewhat loosely. The program notes describe the collection of psalms, canticles, motets, and prefatory chants recorded here as an evocation of a service of vespers Vivaldi might have assembled rather than a reconstruction of one he actually ever did. These vespers are distinctly Vivaldian in idiom, but they resemble Monteverdi's in the use of some common texts and in the diversity of musical styles, genres, and performing forces assembled; there is not much of a sense of unity in the traditional sense, but a profusion of delightfully varied musical vignettes, including a cappella chants, solos, ensembles, choruses, and instrumental pieces.
GarciaLive Volume Ten documents the Jerry Garcia Band's May 20, 1990 performance at the Hilo Civic Auditorium in Hawaii. In this relaxed setting, it's no wonder that the music from this show shines so brightly both in Garcia's strong vocals and guitar playing but also the joyful setlist spanning some of Jerry's favorite corners of music Dylan, Motown, Reggae, and Rock & Roll. Spurred on by the ever-steady rhythm section of Dave Kemper and John Kahn, complete with the celestial sounds of Melvin Seals' organ and background vocals of Gloria Jones and Jacklyn LaBranch.