Itaipu (1989) is something of a cantata-cum-symphony-cum-oratorio with no clear text. Its topic is the world's largest hydroelectric dam, built on the Rarana River between Paraguay and Brazil, and the piece–in Glass's trademark punctuating minimalism–is filled with distinct South American instrumentation, particularly in the percussion. The music itself is noble, conjuring the human endeavor to build the five-mile-wide dam near the town of Itaipu. The Canyon (1988) is about no canyon in particular but tonally suggests the mystery of canyons in general. Both these compositions are among Glass's better works.
Marlena Shaw has been a consistently popular soul and jazz artist wordwide for over four decades thanks to anthems like "Woman Of The Ghetto" and "California Soul ". Originally released in 1979, "Take A Bite" was her third and final album for Columbia Records but unlike its predecessors, the first part of the original LP had a specific musical concept and construct. Working with highly successful disco producers Meco Menardo and Tony Bongiovi (with hits by Gloria Gaynor, etc.) and respected musical arranger/producer Harold Wheeler, the first six tracks were created as a non-stop dance music extravaganza, "Suite Seventeen," strung together with a disco reading of Frank Sinatra's "It Was A Very Good Year" and one of Marlena's famous monologues ("I'm A Foster Child").
Outstanding Collection of the hottest numbes in the Golden Age of Big Bands: Artie Shaw & His Orchestra, Art Tatum All Stars with Tommy Dorsey, Tommy & Jimmy Dorsey Orchestra, Stan Kenton & His Orchestra, Jimmy Dorsey Orchestra & others.
Artie Shaw - One of jazz's finest clarinetists, Artie Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands and running away from success.
Recorded in 1966, Robert Shaw's Grammy Award-winning performance of Handel's Messiah marks an important turning-point in this work's interpretation, clearly moving away from the ponderous, overly reverential style of early twentieth century renditions and pointing toward the leaner versions of the 1970s onwards, which follow Baroque-period practices. (…) Evenly divided between two discs, this recording of Messiah is complete, and it is preferred over RCA's 1992 excerpt album The Great Choruses from Messiah.
Under the heading of "old business," someone a while back asked for opinion on the B Minor Mass of Robert Shaw. It is a performance I like a lot. Actually I prefer HIP treatment for Bach, but I think that Shaw goes a long way to give a dynamic life to this music. He has fine singers…..One of my favorites in the mass is the "Laudamus te" and you will go a long way to hear it sung any better than Delores Ziegler sings it….and the opening long phrase in one breath…..in a tempo more relaxed than one hears in other readings. Julianne Banse (Rilling) can also do it in one breath, but at a faster tempo. Veronica Gens (Herreweghe) can make you think that she does it in one breath, but she doesn't quite. She is very clever in this.