Red Jasper is one of the forgotten folk prog bands from the early to mid '90's from british scene. Looking for their albums for years , only last year I was able to put my hands on two albums , this one A midsummer's night's dream and the next ine Winter's tale. Biggining their career in late '80's as a folk bad but with a special neo prog elements added here and there. This album was released in 1993 and far as I know draw little attention in prog scene. Red Jasper's music has a celtic atmosphere on some pieces, some folk moments but combined very well with neo prog arrangements.
A Midsummer Night's Dream, Steve Hackett's first orchestral album, featured the London Symphony Orchestra, and revolved around Shakespeare's classic play about the tale of Oberon and Titania. While Hackett had done classical projects in the past as a guitarist, this was certainly among the more complex endeavors he had done to this period of his career. Of course, this album would serve as the catalyst for future inspirations like the Metamorpheus album, which is clearly influenced by Hackett's work on this ambitious project. The 18-studio tracks that make up this release flow beautifully, and Hackett is in top-form on this release. This is without question among Hackett's finest moments as a classical guitarist.
At a glance, this 35-track, two-CD set looks like it's combining two 1960s albums by the Ministry of Sound with bonus tracks. It's not; the Ministry of Sound issued just one single, and this is a witty facsimile of how their discography might have played out if things had turned out differently, complete with mock artwork for two LPs, one from 1966 and one from 1968. So almost all of these 35 cuts, all recorded between 1966-1968, were previously unreleased; the only two that actually came out in the 1960s were on the 1966 single "White Collar Worker"/"Back Seat Driver." The group did deserve better than just one official single, but nor was its output particularly deserving of deluxe treatment.
After 30 years, this is the reissue of the classic Columbia Masterworks recording from January 1969. It was one of the first commercially produced tapes of a Harry Partch tape performance, and the first opportunity most listeners ever had to hear a large-scale Partch music drama in fine sound.
When he announced in 2004 that he was stepping down as music director from the Royal Concertgebouw, easily one of the best orchestras in the world, it would have been easy for anyone to brand Riccardo Chailly as clinically insane. His announcement stunned the music world. The young, passionate Chailly had succeeded in bringing a new energy and vitality to the Concertgebouw during his impressive 16-year tenure.