34 songs from the famous Songs of the Hebrides collection by Marjory Kennedy-Fraser published in the early years of this century. There are some extraordinarily beautiful songs here (Ernest Newman wrote of them that Schubert and Hugo Wolf would have knelt and kissed the hands of their unknown composers). The most famous song in the collection is the Eriskay Love Lilt but several of the others will be familiar to anybody who has bought our Bantock recordings: Sea Longing was the inspiration for the slow movement of the Celtic Symphony, and Kishmul's Galley is the tune blazed out by the Royal Philharmonic horns at the end of the Hebridean Symphony.
This program includes some of the least known masterpieces from Ernest Bloch’s nearly 30 works for orchestra. Macbeth: Two Symphonic Interludes is an intoxicating and passionate distillation of Shakespeare’s powerful drama. In Memoriam is a brief elegy dedicated to the pianist Ada Clement, while the Three Jewish Poems were written when Bloch was mourning the death of his father. Originally conceived as a third concerto grosso, Bloch’s last Symphony, in E flat major, is at times emotionally turbulent and deeply spiritual work containing passages of harmonic acerbity.
I wanna back to the islands
Where the shrimp boats tie up to the pilin'
Gimme oysters and beer For dinner every day of the year
and I'll feel fine I'll feel fine
Rocksteady is officially Monty Alexander's recording. His deal with Telarc, now being realized, was that he record a straight jazz recording and then one of his own choosing. This is the latter. Mr. Alexander, along with his Jamaican brother Ernest Ranglin, turns his attention to the ska music of their young adulthood. And this music absolutely smacks of the islands. Few musical styles can conjure temporal images the way ska and reggae do for salty sea air, rum, and smoke. Honored here is the ska heyday of the late 1960s and early 1970s, the music of Toots and the Maytals, The Blues Blasters, Theophilous Beckford, and Derrick Harriott.
For those listeners expecting reggae, modify your expectations. This music is a humid mixture of island music, American R&B and Soul, and Afro-Cuban jazz, and pop shined through the distinctly Jamaican cultural prism, producing this rich, sexual music. Little of Monty Alexander?s jazz chops are present, as I am sure was his design. Instead the pianist becomes a groove merchant establishing commerce with his partner in crime, guitarist Ernest Ranglin, whose role is to play funk master to Alexander?s relentless groove.
The disc was recorded live in the studio with no overdubs, providing this music with the necessary “live” feel. This is serious music that will make one smile and hope that Mr. Alexander provides us more.
Julia Fischer follows her extraordinary Grammy-nominated recording of the Paganini Caprices with a contrasting album - a lyrical and poetic set of impressionistic works for violin and orchestra.