Remastered in 24-bit from the original master tapes. Part of our Keepnews Collection, which spotlights classic albums originally produced by the legendary and arguably the most respected of all jazz producers, Orrin Keepnews. A new phase in Sonny Rollins' career began in 1957. He started what was at the time an almost blasphemous trend of recording for a number of different labels. His pioneering spirit yielded a few genre-defining albums, including this disc. His performances were also at a peak during 1957 as Down Beat magazine proclaimed him the Critics' Poll winner under the category of "New Star" of the tenor saxophone.
This is the second recording by BIS of Sally Beamish’s music, and the four pieces it contains confirm utterly her high standing. Her work is thoughtfully lyrical, intense, individual, instinctively dramatic, in ways that remind me somewhat of Nicholas Mawmusic. Like him she has a particular gift for expressive harmony and timbre. The earliest piece here is No, I’m not afraid (1989), six poignant poems written from prison by Irina Ratushinskaya spoken – by Beamish herself – against sparse but hugely effective instrumental backgrounds and interspersed with five purely instrumental interludes. The disc opens with The Caledonian Road of 1997. The name of this piece refers not just to the north London thoroughfare remembered by Beamish from childhood but to her own pilgrimage northward to Scotland, where she now lives. The music resonates with a sense of ritual, of something inevitable. By contrast, the work that follows, the unabashedly poetic The Day Dawn (written for a summer school organised by Contemporary Music-making for Amateurs in 1997, and revised in 2000) derives from a Shetland fiddle tune, and is all about new beginnings. And finally there’s the saxophone concerto The Imagined Sound of Sun on Stone (1999), whose starting point is a Swedish herding call – used as a kind of ritornello – but which is drenched in a plethora of references primeval, religious, mystical and contemporary, music at once hard and soft edged. Fine playing from the soloist, John Harle, in this work and throughout the disc by the Swedish Chamber Orchestra under Ola Rudner.
Originally reached no.13 in the UK charts in 1996 – taken from the top 30 album DEAD CITIES and loosely based on “Rachael’s song” from BLADERUNNER by Vangelis. Now 22 years later the group have recreated the track in 10 new compositions, seamlessly flowing together the journey, it travels from ambient rock to a land of electronica.