Official 2016 remastered collection of 5 albums recorded for Prestige, housed in replica card sleeves with full original artwork. Includes 'Worktime', 'With The Modern Jazz Quartet', 'Tenor Madness', 'Moving Out', & 'Saxaphone Colossus'. The quality of the music collected here needs no comment, really. But what I like about this series of box sets is that the original LP covers are faithfully reproduced on the small paper sleeves, front and back, just like the Japanese do it with their ridiculously expensive miniature CD paper sleeves. All relevant discographic data, like musicians, recording dates etc., are listed on the CD labels, which is unique for this kind of box sets and a great service if you ask me.
Sonny Rollins must have liked hearing Billy Holiday with two of her absolute classic numbers included and a composition he composed himself which has no familarity with Billy Holiday's classic "Loverman" but the title "Love Man" sandwiched in between the two Billy Holiday numbers does make one think. Anyway recorded in 1973 and this album "Horn Culture" is Sonny's second album after his last absence from the Jazz scene in the late sixties and early seventies doing yoga and the Eastern thing but he sure came back vibrant and as usual he played beautifully with this album being no exception.
Penderecki's international recognition began in 1959 at the Warsaw Autumn with the premieres of the works Strophen, Psalms of David, and Emanations, but the piece that truly brought him to international attention was Threnody to the Victims of Hiroshima, written for 52 string instruments. Penderecki's compositions include operas, symphonies, choral works, as well as chamber and instrumental music. He has won many prestigious awards including Grammy Awards in 1987 and 1998 and 2001, and the Grawemeyer Award for Music Composition in 1992.
Widely regarded as one of today's most important composers of orchestral music, Kalevi Aho has written fifteen symphonies as well as over twenty concertos. The horn concerto is a one-movement work with a 'ritualistic' element: the horn’s first entries are heard from backstage, after which the soloist enters the stage, moving gradually from left to right before leaving the stage again towards the end.