If you're looking for the roots of alternative rock or obscure college playlist fodder, look elsewhere; this is prime-time '80s pop chart glory, as seen on MTV (over and over and over). Though the songs here cover a breadth of style and genre (if not necessarily substance), there's a remarkable unity of purpose and hook-laden musical accomplishment that's sorely missed. If this collection woefully shortchanges hip-hop, it still underscores a distinctly irony-free era where style admittedly triumphed over substance, as opposed to the '90s, where style caricatured substance.
This collection of the late Italian composer Giacinto Scelsi marks the recorded debut of many of his smaller works. Ranging from 1954-1966, Scelsi's elongated tonal studies are given a rapt performance here by a nameless Dutch ensemble that carries off the task without flaw or unnecessary adornment (a constant temptation, it seems, with Scelsi's work). Included here are three fragments of I Riti, the ritual march from the composer's Funeral for Achilles.
Playing a melodious synthesis of symphonic hard rock that has occcasionally been compared to Pink Floyd, Hanover Krautrockers Jane can trace their origins back to the late sixties psychedelic band Justice Of Peace. Releasing a single Save Me/War, the band featured future Jane members Peter Panka on vocals, Klaus Hess on bass and Werner Nadolny on saxophone…
By the time of the Antibes Jazz Festival in mid-1965, A Love Supreme was years from general recognition as a masteripiece. A French musician and record company executive, Jeff Gilson, had heard an advance copy and asked Coltrane to play the piece. Radio France broadcast the concert and recorded it. this is that performance of all four parts believed to be the only time the quartet played it for a live audience.
This gargantuan package – a ten-LP set now compressed into a chunky six-CD box – once was derided as the ultimate ego trip, probably by many who didn't take the time to hear it all. You have to go back to Art Tatum's solo records for Norman Granz in the '50s to find another large single outpouring of solo jazz piano like this, all of it improvised on the wing before five Japanese audiences in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo. Yet the miracle is how consistently good much of this giant box is.
This disc is a perfect demonstration of what treasures might be waiting to be rediscovered among Charles Koechlin's huge and still drastically undervalued output. Both the Piano Quintet and the Third String Quartet were begun during the first world war, and the bulk of work on them was completed soon after hostilities ended; the Quartet was first performed in 1924, but Koechlin continued to revise the Quintet for another 10 years before it received its premiere.