In a three-year period, Stan Getz played with bands featuring either pianist Duke Jordan or a young Horace Silver. This is the boppin' Getz on tenor, playing standards fervently. There are two Gigi Gryce originals, the Getz original "Hershey Bar," and Silver's "Penny" among the 24 tracks. This is a decent introduction to the pre-bossa nova player the world would later know.
Features 24 bit remastering and comes with a mini-description. A wonderful live set from Gary Burton – originally issued only in Japan, but a wonderful record that stands strongly with Gary's classic early 70s work for Atlantic and ECM Records! The group's a quartet – and has Gary's vibes alongside warm guitar lines from Sam Brown – a player whose sense of tone and timing really echoes that of Burton – cascading fresh sounds one minute, laying back in waves the next – always hitting the right balance of space and tone to keep things right.
Enthusiasts have long clamoured for a Bax symphony cycle under the baton of the composer’s doughtiest champion, but even they could hardly have imagined that it would appear in one fell swoop – and from the same company that has already given us a sumptuous, if admittedly uneven, series under Bryden Thomson. Hats off, then, to the BBC Manchester Music Department (and executive producer Brian Pidgeon, in particular, for pushing the project through) and to Chandos for its foresight, courage and sheer enterprise.
The BIS Skalkottas series goes from strength to strength, opening up a series of fascinating doors on the music of this neglected composer. The Third Quartet is a concise, three-movement piece, which seems to have been written at white heat, from its arresting opening, through the lyrical central Andante, to the contrasts of the final rondo. People often complain that they can’t follow serial music, but Skalkottas has a knack of writing memorable melodic shapes and devising contrasting textures which really underpin the musical structure: the first movement is one of the clearest examples of sonata form imaginable. The New Hellenic Quartet, led by Georgios Demertzis, who has already shown his prowess in recordings of Skalkottas’s solo violin music, performs with extraordinary virtuosity, passion and love – qualities which are even more apparent in the Fourth Quartet, a massive piece of amazing power and energy. The angry first movement must be one of the most concentrated eight-and-a-half minutes of music since Beethoven’s Fifth Symphony, while in the extended variations which follow, Skalkottas encompasses an enormous variety of moods. And, after the frenetic scherzo, the short finale (another rondo) reconciles the lyrical and incisive sides of the work. Terrific music – a terrific CD.
The Amadeus Quartet developed a reputation as one of the finest string quartets from the second half of the twentieth century. Its tradition and style were Viennese and its repertory was largely Austro-German: Haydn, Mozart, Beethoven, Schubert, and Brahms were at the core, though it performed works by Smetana, Franck, Bruckner, Bartók, Britten, Tippett, and other twentieth century composers. They also regularly performed quintets and sextets (Mozart, Brahms, Schubert, etc.), usually adding cellist William Pleeth and/or violist Cecil Aronowitz. The Amadeus was one of the longest-lived quartets, performing for 40 years without a personnel change, and it was also among the most popular string quartets in England, Germany, the United States, and parts of Europe. It made numerous recordings – many still available – for several labels, including DG, Decca, and EMI.
Features the latest remastering. Includes a Japanese description, lyrics. Features original cover artwork. Forget the hokey kangaroo picture on the cover, because the record's a mighty sweet set of 50s modern jazz – played by some key musicians from Australian who were working in the US at the time! The record's got a style that's somewhere between the hippest sessions of LA and Sweden at the time – all the coolness of both scenes, but a sense of playful expression that really comes through on some of the more unusual passages. The core group features Errol Buddle and Dick Healey on reeds, Bryce Rhode on piano, and Jack Brokensha on vibes – with added work from John Fawcett or Jimmy Gannon on bass, and Nick Stabulas on drums. Titles include "Loose Walk", "Like Someone In Love", "Music For Walkin", "Fascinating Rhythm", "A Foggy Day", and "Little Girl Blue".
The latest release in Hallé’s award winning series of recordings of works by Elgar couples his last great choral work with a fascinating collection of works which similarly remember the departed. Previous Elgar choral releases of The Dream of Gerontius (CDHLD7520), The Kingdom (HLD7526) and The Apostles (CDHLD7534) were universally acclaimed, winning numerous awards, including a Gramophone Award for each release. The largely overlooked The Spirit of England is arguably Elgar’s last great choral work. Thematically linked to The Dream of Gerontius the work sets texts from WWI poets and was premiered in sections during 1916 and 1917. In tone it is close to the melancholy of the Cello Concerto and Britten referred to its music as displaying “a personal tenderness and grief” as well as “genuine splendour”.