The All Seeing Eye is the ninth jazz album by saxophonist Wayne Shorter, recorded on October 15, 1965, and released on the Blue Note label as BLP 4219 and BST 84219. The album features performances by Shorter with Freddie Hubbard, Grachan Moncur III, James Spaulding, Herbie Hancock, Ron Carter and Joe Chambers with Shorter's brother Alan Shorter guesting on one track. The Allmusic review by Scott Yanow states: "it is clear from the start that the music on this CD reissue is not basic bop and blues… the dramatic selections, and their brand of controlled freedom has plenty of subtle surprises. This is stimulating music that still sounds fresh over three decades later".
Alan Curtis continues his exemplary series of Handel operas for Archiv with Ezio, a 1732 work that has received few modern productions. Its initial limited success and failure to generate much interest until the late twentieth century may have to do with its length (over three hours), its preponderance of recitatives, and the composer's reluctance to use the voices together in ensembles, so that the entire opera, until the final chorus, consists of solo singing. Handel's gift for astute psychological insight and distinctive musical characterization is evident throughout the score, and the recitatives, which are necessary for explicating Metastasio's convoluted plot, are not a problem when they are performed with as much vivid dramatic realism as they are here.
Joyce Di Donato and Maite Beaumont are outstanding as the devoted couple tormented by Tiridate’s abuse of power. Their flexible and agile voices are ideally displayed in the opening scenes of Act 2 – Beaumont’s sublime ‘Quando mai’ followed by Di Donato’s powerful ‘Ombra cara’. Patrizia Ciofi is suited to the moods of the Tiridate’s long-suffering wife. Dominique Labelle is the most rounded and ideally equipped Handel soprano in the cast: the music effortlessly trips off her tongue in ‘Mirerò quel vago volto’… Alan Curtis directs with superb pace and judgement. He is a successful advocate for Handel’s first version of Radamisto, although in Act 3 he uses two pieces from the second version for dramatic reasons. I wonder how Polissena’s original climactic aria ‘Sposo ingrato’ might sound instead of the exclamatory ‘Barbiro, partirò’, but I cannot fault Curtis’s decision to opt for the more dynamic later aria. Il Complesso Barocco play neatly and sympathetically support the singers. The orchestra avoids forcing rhetorical effects too much but I wish it had mined the textural richness in Handel’s score a little deeper. However, this enjoyable performance lacks nothing essential in theatrical impact and musical drive. (David Vickers, Gramophone)