Although best remembered for his devotion to the core Austro-Germanic repertoire, Austrian conductor Herbert von Karajan did flirt with the English repertoire in the '50s and early '60s.
Jazz For The Electric Blues Guitarist provides a valuable lesson for those who wish to introduce sophisticated jazz lines and more advanced chord concepts into their playing. This information-packed lesson takes the player on an exciting journey from the basic "jazz" blues progression to advanced chord substitution. Turnarounds and chord families, together with further elaborations and inversions are also discussed, in an easy to understand way, which will spice up your blues playing in no time. As the DVD unfolds, Adrian Ingram reveals the secrets of jazz substitution and improvisation, showing how the fundamental concepts can be used to lift your blues playing onto a higher plateau. Coloristic devices, such as Charlie Christian's worry notes and Wes Montgomery's octaves are also discussed. A detailed tab/music instructional booklet is included as a PDF file on the DVD.
This two-CD collection offers a strong, masterfully performed selection of Vaughan Williams' shorter orchestral works. All the best-known pieces are here–the Tallis Fantasia, the Fantasia on Greensleeves, The Lark Ascending, Dives and Lazarus–as well as lesser-known but equally beautiful works such as the Norfolk Rhapsody No. 1, the Concerto Grosso and the Oboe Concerto. Disc One is devoted to performances by Sir Neville Marriner and the Academy of St. Martin in the Fields; on Disc Two, Barry Wordsworth and the New Queen's Hall Orchestra take over, except for one selection–the fiercely dramatic Partita for Double String Orchestra–performed by Sir Adrian Boult and the London Philharmonic. I did not think there could be a more beautiful performance of The Lark Ascending than the one by Boult and Hugh Bean, but the recording here by Marriner and Iona Brown is at very least its equal. For anyone who loves the music of Vaughan Williams, or for anyone who wants to get acquainted with this great and underrated composer, this double-CD set is a must.
This is an interesting session that finds John Williams sitting in with an all-star youth orchestra. The arrangements sound very much like a high school orchestra, however, Williams is careful not to overplay and dominate the session. The "Plymouth Hoe-Down" is particularly fun and closes out the concerto with exhilaration. There are also three additional pieces from composer Paul Hart, written for guitar and keyboards. These pieces alone are worth the price of admission, as Hart masterfully taps into Williams' strengths of adaptability, technical virtuosity and impeccable tone. Highly recommended for both jazz and classical enthusiasts. ~ Robert Taylor, All Music Guide