This spontaneous chamber music establishes further advances in the development of improvisation as compositional process. Recorded in the prestigious Arte Suono Studios, Udine." "As you taste this dish, you'll be perhaps so engaged to query about the ingredients. At any given time you could lay this musical output equally at the feet of jazz, classical, or 20th century composed music. But the ingredients won't explain why it's so delicious – it's the spices, seasoning, and flair of the chefs.
Alexander O'Neal almost achieved the breakout he needed for crossover success with his second album. It cracked the Top 30 on the pop album chart, earned a gold record, and included O'Neal's two strongest uptempo tunes, "Fake" and "Criticize." Jam and Lewis linked the material with "party" dialogue and patter, providing their finest and tightest production for any O'Neal record. The beats were catchy, the songs hook-laden, and O'Neal's voice alternately explosive, sensitive and bemused.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Trumpeter Steve Gut's on the frontline here alongside the legendary Clark Terry and the great Dusko Goykovich – and the younger musician really manages to hold his own, and work well with the two master trumpeters! The setting is a larger group – the RTB Big Band – and all three players get a chance to solo – and the mighty Alvin Queen is in the group on drums, providing a soulful kick that maybe makes the album sparkle a bit more than usual for the RTB – although they've always had a great legacy of work with bigger name players, especially American ones. Titles include "Mr CT", "Black Triangle", "Stemi", "Summer Afternoon", "On The Road", "Some Memories", and "Blues To Clark".
Based on Gogol’s fantastical and comic story of the Devil’s antics on Christmas Eve, this magical blend of opera and ballet is brought to vivid life in Francesca Zambello’s colourful production. Magnificent set designs (Mikhail Mokrov) and costumes (Tatiana Noginova), and an excellent, largely Russian cast provide authenticity. Splendid dancing by The Royal Ballet and Cossack dancers completes the spectacle.
Grechaninov was born in Moscow a year before Sibelius and also died in New York a year before Sibelius. He was taught by Rimsky-Korsakov. His music did not migrate far from his roots and continued to write in that style well after the 1917 revolution had led to exile first in France and then in the USA. A prolific composer in all the usual genres, his reputation seems to rest mainly on choral music and to be rather tainted by suggestions of lack of originality. Certainly, by comparison with his near contemporary Sibelius, his style did not develop much, meaning it is rather hard to believe the fourth quartet was written as late as 1929. But, listening to this disc, I sometimes found the music hard to place and was not continually reminded of other composers, surely one sign of an original voice. There are four Grechaninov string quartets and this offering completes the Utrecht Quartet’s cycle. The previous disc was well-received by Michael Cookson three years ago (see review). Both works are in four movements with the slow movement placed second. They are fairly conventional but well-crafted and pleasant listening.