"Another Mother Further" is the third full-length studio album by Atlanta funk-rock group Mother's Finest. It was released in 1977 on Epic Records and co-produced by Tom Werman. It managed to chart one single, "Piece of the Rock". "Truth'll Set You Free" was covered by R&B group Labelle on their 2008 album, Back to Now, after Nona Hendryx and Joyce Kennedy performed it on the international Daughters Of Soul tour in 2004.
It is all too easy to take Gustav Mahler's symphonies and orchestral songs for granted in the 21st century's first decade. More than ever before, concert performances and recordings of these works abound, and at a level of proficiency that reveals the remarkable extent to which musicians worldwide have assimilated the composer's idiom. Given the music's primacy in today's central orchestral repertoire, we forget how the great Mahler advocates of the past had to champion his music in the face of adversity. "Who can bear those monstrous symphonies, those over-blown, out-of-date horrors," asked one leading music critic when the New York Philharmonic launched a Mahler Festival to celebrate the composer's 1960 centenary.
Rafael Kubelik's highly chromatic, poetic Mahler recordings have been staples in Deutsche Grammophon's catalogue since their inception. Tempos overall tend to be quicker than the norm, yet never at the expense of glossing over the composers renowned wealth of inner details. Many Mahler aficionados still regard Kubelik's readings here of the Symphonies No. 1 and No. 7 as reference recordings. Distinguished soloists include Dietrich Fischer-Dieskau, Edith Mathis, Norma Proctor, Franz Crass, and Julia Hamari. The Bavarian Radio Symphony Orchestra as well as the various outstanding choirs employed throughout the cycle couldn't be more in sync with Kubelik's inspired visionary interpretations.
My first reaction was to wonder whether we had not passed saturation-point for recordings of Mahler's Fifth Symphony. Over a dozen are currently available, of which any one of those mentioned above should satisfy the needs of even an insatiable Mahlerian. All are performances on insight, executed in majestic style, and several are available on CD. Now comes Sinopoli to add to the pile. Remembering colleagues' reviews of his London performances of Mahler, I put this recording on the turntable with misgivings. But I have to report that I now gladly make room for this remarkable performance alongside my other favourites. It does not displace them, but it complements them.
Part of the art of conducting seems to me to lie in the ability to make the listener attend afresh to familiar music, to reveal new or different facets. This is what Sinopoli does here, and whatever may go on in the concert hall (I have not heard him there), in the recording studio, judging by this release, the most certainly does not miss or misjudge the spirit of the music.
For Tony Fruscella fans, it would be difficult to improve upon this four-CD set, for it includes every single recording that the short-lived trumpeter made in his career! Fruscella, who lived to be 42 in 1969, largely finished his career in 1955 (at 28) due to his drug problems. Before he totally lost it, he was a fine cool-toned trumpeter a little reminiscent of Chet Baker (who he actually preceded) although able to play with fire at times. This perfectly-done box from the European Jazz Factory label has two CDs apiece of Fruscella playing in the studios and in clubs.