MILES DAVIS: The Complete On the Corner Sessions
Miles Davis, trumpet, electric trumpet, electric organ, electric piano, synthesizer; Michael Henderson, (electric bass); Badal Roy (tablas); Dave Leibman, Carlos Garnett, Bennie Maupin, John Stubblefield, Sonny Fortune, Sam Morrison (reeds, flute); Wally Chambers (harmonica); Cornell Dupree, John McLaughlin, Dave Creamer, Reggie Lucas, Pete Cosey, Dominique Gaumont (guitar); Al Foster, Bernard Purdie, Jack DeJohnette, Billy Hart, Pete Cosey (drums); Mtume, Don Alias, Billy Hart (congas, percussion); Herbie Hancock, Chick Corea, Harold Ivory Williams, Lonnie Liston Smith, Cedric Lawson (keyboards); Colin Walcott, Khalil Balakrishna (electric sitar), Paul Buckmaster (electric cello).
Columbia/Legacy 88697 06239 2 (6 CDs). 1972–75/2007. Teo Macero, Billy Jackson, orig. prods.; Bob Belden, Michael Cuscuna, reissue prods.; Stan Tonkel, Don Pulese, Russ Payne, Doug Pomeroy, orig. engs. AAD? TT: 6:47:42
TARIK O'REGAN: Threshold of Night Had I Not Seen the Sun, The Ecstasies Above, Threshold of Night, Tal Vez Tenemos Tiempo, Care Charminge Sleepe, Triptych, I Had No Time to Hate
Conspirare Company of Voices, Company of Strings; Craig Hella Johnson, conductor
Harmonia Mundi HMU 807490 (SACD/CD). 2008. Robina G. Young, prod.; John Newton, eng. DDD. TT: 59:31
Having a long career in the temporal world of indie rock, as the Posies have, has its drawbacks. Before I wrote this review, someone sent me a quote about Blood/Candy from the all-powerful world of Internet music criticism, where speed trumps knowledge. "A collection that's thankfully a world away from their largely charmless and invariably dull nineties output for Geffen."
Bill Frisell All We Are Saying . . .
Bill Frisell, guitar; Jenny Scheinman, violin; Greg Leisz, pedal steel guitar; Tony Scherr, bass; Kenny Wollesen, drums
Savoy Jazz SVY17836 (CD). 2011. Lee Townsend, prod.; Adam Blombert, prod. asst.; Adam Munoz, eng.; Greg Calbi, mastering. AAD? TT: 68:12
How do you escape the pressures that come with making a record of well-known John Lennon tunes, many of them from archetypal Beatles songs? Convene a quartet of longtime bandmates, each a skilled instrumentalist with whom you've played this material beforealbeit not in a whileand just hang loose, let the ideas flow, and jam up beautifully recorded, feel-no-heat-from-the-classic-originals versions whose rough charms somehow seem exactly right. Oh yeah, and bring in pedal-steel wizard Greg Leisz to put an evocative, legato tang on the whole thing.
David Byrne & St. Vincent: Love This Giant
4AD CAD3231 (LP). 2012. David Byrne, Annie Clark, prods.; Patrick Dillett, John Congleton, asst. prods., engs.; Yuki Takahashi, Jon Altschuler, asst. engs. DDA? TT: 44:23
The world's Web-based culture has progressed to the point that you don't need to be in the same room, or even the same general region, to be inspired by or collaborate with someone else. Ideas can fly back and forth for years across time and distance. By all accounts, the Internet played a key role in the creation of this sparkling and unexpected bit of funky world pop. This pair of wonderfully hard-to-define talents, who over a three-year gestation period seem to have found a glorious common ground for songwriting and harmonizing, has succeeded in fashioning an utterly original shard of brass-band-meets-layers-of-drum-programming, all of it overflown by the delicate voice of Annie Clark, aka St. Vincent, and the recognizable keen of the Talking Heads' former big-suited frontman, David Byrne.
Deadlines and the Dead don't mix. Let me explain . . .
Back when I was a cub reporter, green as ivy, I was, in retrospect, suckered into volunteering to review a Grateful Dead concert. I dutifully drove to the venue for the 8pm show, abstained from intoxicating substances, and was on trackuntil I realized that, after two hours, the band was still on just the third song. Jerry was deep into an epic, 2000-bar solo that was gaining rather than losing momentum. In Deadspeak, it was one of those nights.
BEETHOVEN: Violin Sonata in G, Op.96
ENESCU: Violin Sonata No.3, Op.25 (In Rumanian Style)
David Abel, violin, Julie Steinberg, piano
Wilson Audio W-8315 (LP). David Wilson, prod., eng. AAA.
Oh, what a breath of fresh air this is! An audiophile recording of real music that isn't bombastic, overblown, or high-powered.
Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about.
I could rhapsodize endlessly about this record, but I won't. Suffice it to say that if you think there's even a remote chance you'll like this music, you will be positively mesmerized by this recording of it . . .
The Moscow Sessions Barber: First Essay for Orchestra; Copland: Appalachian Spring; Gershwin: Lullaby (for string quartet); Glazunov: Valse de Concert in D; Glinka: Russlan and Ludmilla Overture; Griffes: The White Peacock; Ives: The Unanswered Question; Mussorgsky: Khovanshchina Prelude; Piston: The Incredible Flutist (ballet suite); Shostakovich: Symphony 1, Festive Overture; Tchaikovsky: Symphony 5
Lawrence Leighton Smith, Dmitri Kitayenko, Moscow Philharmonic Orchestra
Sheffield Lab CD-1000 (3 CDs); TLP-1000 (3 LPs). CDs DDD. LPs AAA. TT: 180:40
The ecumenical collaboration between Sheffield Lab, the Moscow Philharmonic Orchestra, conductors Lawrence Leighton Smith and Dmitri Kitayenko, an imposing gaggle of businessmen and bureaucrats, and partial sponsorship by The Absolute Sound's Fund for Recorded Music, if somewhat short of epoch-making, is, nonetheless, a positive example of free enterprise and socialism bedding down together, liberally (pardon the expression) lubricated with glasnost. Art, we are told, is universal. It transcends philosophical, racial, political, and religious differences of opinion. Yet, despite the implied altruism of this international cooperative effort, the actual genesis of the project was essentially pragmatic, fundamentally bottom line.
RAMEAU: Works for Harpsichord
Albert Fuller, harpsichord
Reference Recordings RR 27 (LP), RR 27-CD (CD*). J. Tamblyn Henderson, Jr., prod.; Keith O. Johnson, eng. AAA/DDD. TTs: 57:45, 63:57*
I have to admit that I gave Reference Recordings' last Baroque release somewhat short shrift: I was disappointed enough in the performance that even KOJ's usual superb recording was insufficient to redeem things. Here, however, Albert Fuller (who was also present the last time out) is in fine fettle, giving as good an account of these works as we could wish. Clearly he is more sympathetic to Rameau than he seemed to be toward Bach; the French emotionalism of the former is apparently more in accord with the performer's personality. I still enjoy the rendition given by a young Trevor Pinnock in the mid-'70s (Vanguard VSD 71271), and you will find the roots of Fuller's style on the old Bach Guild releases of Gustav Leonhardt, but the present recording stands on its own merits musically and is orders of magnitude better sonically than any of the previous versions. Fuller also sticks to real English in his liner notes, which he most emphatically did not do on the previous RR disc.
FAIRFIELD FOUR: Standing in the Safety Zone
The Fairfield Four: Isaac Freeman, bass, musical director; James Hill, baritone, group manager; W. L. Richardson, lead, chaplain; Walter Settler, utility lead; Wilson Waters, tenor, treasurer Warner Bros. 26945-2 (CD only). Lee Olsen, prod. ADD. TT: 38:13