A massive live set from Cannonball Adderley – and a record that really shows the growth he'd undergone in just a few short years! The album's done in close collaboration with David Axelrod – who'd handled Cannon's big live dates for Capitol in the 60s – but this record is much more freewheeling, open-ended, fuzz, funky, and electric overall! Tracks are all nice and long, and really trip out in the best way – with keyboards from George Duke in the core group, plus some heavy basslines from Walter Booker, drums from Roy McCurdy, and guitar from Mike Deasy on a number of key tracks.
Fifth full-length from this German Viking/pagan/folk metal band, featuring the four-song 'Naglfar Saga' plus a cool tribute to Candlemass with "Into the Unfathomed Tower," and more Black Messiah original compositions throughout this 55-minute work. Heroic choruses, variable speeds, folk instrumentation and bitterly cold atmosphere…everything you want from this style is right here!
Music and history are combined in this compact disc that celebrates G.F. Handel’s original “Messiah, an Oratorio for Four-Part Chorus of Mixed Voices, Soprano, Alto Tenor and Bass Soli and Piano.” Mr. Warren combines the black R & B tradition, heavily steeped in gospel and “making a joyful noise” – gospel based religious overtones – and foists them on a European musical masterpiece. He called it Handel’s Messiah: A Soulful Celebration.”
The Beecham Messiah of 1959 is another early stereo recording that polarizes listeners, with understandable cause. Like the Ormandy Messiah (with its liberal cuts) or the Bernstein Messiah (which changes the order around), The Beecham recording incites friction on a couple of counts, the most egregious being the re-orchestration arranged by Sir Eugene Goossens.