Barbara Bonney's recital of the Schumanns' songs is prefaced, in the booklet-note, with a little feminist homily from the singer defending the reputation of Clara as woman and artist. Clara hardly needs that kind of defence nowadays, witness recent CDs by Skovhus and Stutzmann, plus several others not reviewed in these pages; her songs are far from patronized, let alone neglected. Yet, for all the advocacy of these singers, her inspiration remains for me intermittent, though thoroughly conventional songs are occasionally leavened by notably individual ones, such as, here, her very last and unpublished song, Loreley, which vividly conjures up that dangerous creature, particu lady in the hectic piano part, evocatively played by Ashkenazy. Indeed it seems that Heine most inspired her, as "Sic liebten sich beide" from her Op. 13 provoked a setting of economically intense meaning, to which Bonney finely responds.– Gramophone [9/1997].
Beyond category or idiom, audacious in its very idea, Herbie Hancock and Wayne Shorter perform a little over an hour of spontaneous improvised duets for grand piano and soprano sax. That's all no synthesizers, no rhythm sections, just wistful, introspective, elevated musings between two erudite old friends that must have made the accountants at PolyGram reach for their Mylanta. Hancock's piano is long on complex harmonies of the most cerebral sort, occasionally breaking out into a few agitated passages of dissonance. His technique in great shape, Shorter responds with long-limbed melodies, darting responses to Hancock's lashings, and occasional painful outcries of emotion.
This recording received the 1998 Cannes Classical Music Award for "Best Choral Performance - 19th/20th Centuries"..
So just exactly what are 'The Rockfield Mixes'? In essence they are the second and most dynamic of The Ian Gillan Band albums, namely 'Clear Air Turbulence'. The mixes on this CD were done at Rockfield Studios in Wales but Ian Gillan was unhappy with the results and the album underwent a major remix before it was finally released on 15 April 1977. The Ian Gillan Band's music was a fusion of many styles from Rock to Jazz Funk. The Rockfield Mixes is a unique opportunity to hear classy (and some say superior) performances, from a great 70's Rock super group, in their original form.
Philippe Herreweghe directs these Schumann concertos with severity and urgency, with an impact that’s particularly strong in the opening movement of the A minor piano concerto. The soloist is Andreas Staier, who plays a mid-19th century J.B. Streicher instrument. But it’s not just the use of period instruments (this is certainly the kind of piano Schumann would have known) that proves so fascinating here; rather, it’s the minutely detailed way in which soloist and conductor interact during this performance. Note, for instance, how astutely Herreweghe’s wind players articulate the sorrowful first subject group after the soloist’s opening salvo, a passage that sets the tone for all that follows.
Verve's Master Edition of the Oscar Peterson Trio date released as Night Train includes stately covers of blues and R&B standards like "The Honeydripper," "C-Jam Blues," "Georgia on My Mind," "Bags' Groove," "Moten Swing," and "Things Ain't What They Used to Be." Ray Brown and Ed Thigpen provide tight accompaniment, and there are six previously unavailable tracks recorded the same day, including "My Heart Belongs to Daddy" and "Volare," as well as alternate takes of "Happy-Go-Lucky Local" and "Moten Swing."