Altoist Charlie Mariano plays very much in a Charlie Parker style on these early recordings from Boston (eight from 1951 and six from 1953), but his arrangements for the octet (six of the pieces from the former session) are quite original and unpredictable; only trumpeter Joe Gordon among the otherwise obscure personnel ever gained much recognition. The later six selections match Mariano with trumpeter Herb Pomeroy and the brilliant pianist Dick Twardzik in a quintet; Twardzik, with his odd mixture of Bud Powell and Lennie Tristano, consistently steals the show. A historical and generally enjoyable set, it's recommended for bop fans.
Janis backed by one of the greatest symphonies ever assembled (the 50's/60's Chicago Symphony under the baton of the micromanaging Fritz Reiner) put together in short a legendary and frenzied performance of the Rachmaninov Concerto No. 1. I wish I could stop there, but unfortunately this recording was coupled with a stale performance of the No. 3.
A superb unreleased live concert performance from 1981 by hard rock legends, Rainbow featuring guitar god Ritchie Blackmore! Incredible audio quality captures the vibrant energy and emotion pouring through the band as they offer up scorching versions of Man On The Silver Mountain, Long Live Rock N Roll and the epic Smoke On The Water! Recorded Live At The Orpheum Theatre - Boston, MA On May 7, 1981.
CPO follows its stellar releases of Conradi's Ariadne and Lully's Thésée by the Boston Early Music Festival with an equally extraordinary performance of Lully's Psyché. These are works that have had limited exposure and are known far better by reputation than by performances or recordings.
Boston Baroque and Martin Pearlman recorded a splendid set of the Brandenburg Concertos on period instruments in 1993 and 1994. Made entirely in the US, these snappy, crisply articulated, and fluent performances rely heavily on the talents of violinist Daniel Stepner (who doubles as one of the two solo violists in Concerto No. 6). Among the highlights are the joyous finale to Concerto No. 4 and the superb cembalo cadenza in No. 5, played by Pearlman. Along with outstanding sound, there's a winning sense of freshness and discovery in these performances.