Alex Bugnon exhibits a high level of creativity and playfulness throughout this work, plenty of suggestive and smooth pieces, but signed with a very personal style. 107 in the shade, for instance, initiates with an exotic melody played in accordion. His French roots are shown in the first two tracks. Elegance and brightness would be the most appropriate terms to describe this notorious CD. Generally more substantial than most of the other albums that smooth jazz stations play, the uneven, erratic 107 in the Shade is far from a gem, but has its moments. Bugnon gets into a pleasant, Joe Sample-ish groove on "Paris and May" and "When I Think About Home," whereas the much too brief "Fly, Spirit, Fly" hints at Pat Metheny. It was obvious that Sample was a major influence on Bugnon, although there were also traces of Ahmad Jamal in his playing.
Precious few countries can boast of a Christmas repertoire as ample and colourful as that possessed by the Czech Republic. The Baroque era imbued the texts of songs with enchanting, tender poetics with awestruck yet perplexed shepherds enthusing about the beautiful infant Jesus. Later on, a growing number of formally more complex pieces (pastorales) were written, most of them taking the form of arias or duets with instrumental accompaniment. A notable composer in this respect was Josef Antonín Sehling. Although still anchored in the Baroque world, he paved the way for the accession of a new musical style. He studied in Vienna and subsequently worked in Prague as a member of Count Václav Morzins renowned orchestra and as second violin at Saint Vitus Cathedral, although standing in as Kapellmeister over the long term (an interesting parallel can be drawn with Zelenka, the counter-bassist at the court orchestra in Dresden). Sehling was Kapellmeister of several Prague churches, including the Church of Our Lady under the Chain, where the present world premiere recording was made.