This was the first album that tenor saxophonist Jimmy Forrest made after his R&B phase ended. Particularly notable is that the set served as the recording debut of guitarist Grant Green; completing the band are pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones. The top-notch group performs two ballads, "Caravan" and three basic Forrest originals, including the title cut. The music is essentially melodic and blues-based hard bop that looks toward soul-jazz. Everyone sounds in fine form.
This 1972 LP (recorded at 1959), a complement to All the Gin Is Gone, released the remainder of tenor saxophonist Jimmy Forrest's two Delmark sessions, including four alternate takes and five other songs. Forrest sounds fine, guitarist Grant Green was making his debut on record, and the rhythm section (pianist Harold Mabern, bassist Gene Ramey and drummer Elvin Jones) plays up to par. Get All the Gin Is Gone first, and then, if one wants to hear the rest of the story, this set.
This disc is really something special. Collectors are so spoiled for choice in the baroque repertoire at present, particularly on period instruments, but even in a glutted market this disc stands out for imaginative repertoire selection and outstanding interpretation. Its particularly gratifying, in these days of complete editions of everything, to see a discerning artist like Giuliano Carmignola choose four remarkably diverse works by three different composers, and simply play the living daylights out of them. The result roundly disproves the notion that Italian baroque violin concertos all sound the same, a point made even more forcefully by imaginative continuo work (on harpsichord, lute, and organ) by the Venice Baroque Orchestra that helps to emphasize each pieces individual character. The two Vivaldi concertos, for example, couldnt be more different.
The Piano Concerto No. 2 is also Beethoven in classical mode, using an orchestra that would have suited a Mozart piano concerto equally well. What marks it out from other classical works of the time are the solo outbursts in each of the first two movements. In the first, a contrapuntal cadenza with exciting modulations takes us into new and more individual territory, in which the keyboard becomes absolutely the composers focus; in the second we are treated to some powerful, improvisatory solos. The last movement, a rondo with a highly rhythmic main theme in 6/8, manages to introduce a descending chromatic progression towards the end and closes with the piano oscillating rapidly between major and minor chords (a light hearted conclusion to the piece, but one which taxes every pianist).
For Simon Rattle, Jean Sibelius is “one of the most staggeringly original composers that there is”. And indeed, this music has a unique musical language whose many beauties are particularly succinctly conveyed in Sibelius’s seven symphonies. There is sonorous warmth as much as there is austere Nordic folklore. Moreover, there is a conceptual boldness that takes the listener on exciting musical journeys of discovery. In 2015, to celebrate the 150th anniversary of Sibelius’s birth, Simon Rattle and the Berliner Philharmoniker presented the cycle live, which was met with unanimous delight by audiences and critics alike. “The Philharmoniker show that with them and Simon Rattle, Sibelius is in excellent hands,” wrote the Berliner Zeitung, “because the orchestra has that astringency and sheer power which is so important for this kind of music.”
Karl Richter’s recordings of Bach’s orchestral and sacred music influenced an entire generation of musicians and listeners, presenting the conductor’s unique sound and style. When Richter recorded Bach’s works, he freed them from a ponderous tradition that had mired the music in romantic sounds and idiom. Richter lightened Bach’s music, and, with an orchestra of outstanding musicians, helped bring it toward the more modern interpretations that listeners have become familiar with today. This is still a bit far from the historically-informed performances that are pretty much the norm, but there is a unity and natural originality that comes through the music in these recordings.