The Jazz in Paris: Jazz and Cinema series of Verve CD reissues examines jazz recorded for French film soundtracks in the late '50s and early '60s. This third compilation is the least successful of the first three, as few of the tracks stand on their own merit away from the movies they accompanied. Written for the film Les Loups Dans la Bergerie, the compositions of Serge Gainsbourg might be labeled cool, though they are rarely given time to develop and feature no major soloists in Alan Gouraguer's arrangements. Less successful are Andre Hodeir's somewhat boppish charts for Les Tripe au Soleil, which have extremely distracting scat vocals by Christiane Legrand that frequently seem off-key. The best of the lot is a remake of four songs composed by Freddie Redd for The Connection, which began life as a play…
This third volume of Erik Satie's complete solo piano music using Satie scholar Robert Orledge's new Salabert Edition focusses on music composed between 1892–97, including theatrical scores such as the revolutionary uspud, and the Danses Gothiques and famous Vexations written while the composer was hiding from a tempestuous love affair. The period closes with Satie composing in what he called 'a more flexible and accessible way with the final Gnossienne and the six Pieces froides'.
Never have I heard the extraordinary and even 'strange' or 'otherworldly' character of the late Beethoven string quartets better than in the performance of the Julliard Quartet. They perfectly caption what could not be better described then as the revolution in the writing of string quartets that these late quartets represent. One could even say that some passages lay a bomb under the expectations of contemporary listereners and even now could almost shock you. So powerful and profound is this music while only using the modest means of four string instruments. Away with civilised chitchat, away with certainty! Here comes Beethoven!
The third of four Sarah Vaughan Mercury box sets (this one has six CDs) traces her career during the last two and a half years of the 1950s. There are several very interesting sessions (expanded greatly by the inclusion of many previously unissued performances) on this box including 21 numbers from a gig at Mister Kelly's in Chicago with her trio (led by pianist Jimmy Jones), a meeting with the Count Basie Orchestra that resulted in the album No Count Sarah, and a live set with a septet (which includes cornetist Thad Jones and the tenor of Frank Wess) at the London House in Chicago. In addition, there are quite a few commercial sides with large orchestras (including some sessions arranged by Quincy Jones), so overall this box lets one hear the many sides of Sarah Vaughan; a special highlight is her first recorded version of "Misty." The reissue (and the other three volumes) is a must for Sarah Vaughan's greatest fans although more general listeners may want to acquire one of the less expensive single CDs instead.