Sly and the Family Stone: Live at the Fillmore East, October 4th & 5th, 1968
Epic 88843023712 (4 CDs). 2015. Sly Stone, orig. prod.; Bob Irwin, reissue prod.; Vic Anesini, mastering. AAD? TT: 3:27:31
The first thing you hear is not Sly Stone's keyboards or harmonica. Not Freddie Stone's guitar. Not Greg Errico's amazing drumming. Not Larry Graham's slapping bass. Not the voices of Rose Stone (also keys) and Cynthia Robinson (also trumpet). Not Jerry Martini's saxophone.
No. The first thing you hear is pure energy: the nuclear reaction of musical power that Sly and his Family Stone generated onstage on two October nights in 1968 at the Fillmore East. James Brown and his band(s) had nothing on these seven. This is prime Sly, when the band was still hungry, before the hits, before his life spun out of control, the music suffered, and the family split.
Perhaps the greatest strength left in the music business these days, and the major labels in particular, is their catalogs of recordings and on the reissue side of the business, no one has been better at exploiting a catalog and actually creating new releases of older unreleased music than Sony Legacy.
Vivaldi: L'Estro Armonico: 12 Concertos for Violins, Op.3
Rachel Podger, Bojan Cicic, Johannes Pramsohler, violin; Brecon Baroque, Rachel Podger
Channel Classics CCS SA 36515 (2 SACD/CDs). 2015. Jonathan Freeman-Attwood, prod.; Jared Sacks, eng.; Ernst Coutinho, asst. eng. DDD. TT: 96:54
It's no big secret that classical music is in trouble. At a time when selling a few hundred CDs will land you squarely in the upper reaches of the classical music chart, and the venerable New York Philharmonic faces an unsettled future in terms of its endowment, future conductor and hall renovation, many say that what the genre most lacks are genuine shining stars. It's been a long time since maestros like Leonard Bernstein or Georg Solti trod the boards, or a brilliant instrumentalist like Jacqueline du Pré became a celebrity and attracted the attention of a larger public that then might actually buy a record or attend a concert. In 2015, building an audience is classical music's central dilemmaso having a dominant player like baroque violinist Rachel Podger is a much-needed development. It's a sign of our fragmented times that a baroque violinist, rather than one who concentrates on the classical and romantic repertoire, has now become a leading light in the classical world.
His screams, rapid fire delivery, and end-of-line trills in tracks like “Lucille,” “Jenny Jenny” and of course, “Tutti Frutti,” every one recorded with an overloaded microphone, are impassioned in the extreme.