LATEST ADDITIONS

Ken Kessler  |  Dec 10, 2010
A renowned gig with Satchmo celebrating his 60th birthday at one of the world’s greatest jazzfests, backed by Billy Kyle (piano), Barney Bigard (clarinet), Trummy Young (trombone), Mort Herbert (bass), Danny Barcelona (drums) and Velma Middleton sharing the vocals – if you can’t locate the CD, the silky, wider-than-Rhode Island stereo will qualify this download the best $10 you ever spent on New Orleans sizzle. Classic material – ‘Tiger Rag’, ‘Mack The Knife’, ‘St. Louis Blues’, a brace of tunes from High Society, ‘Stompin’ At The Savoy’, culminating in ‘The Star-Spangled Banner’ and ‘Happy Birthday, Louis!’. ‘Utterly joyous’ is the only way to describe it.
Ken Kessler  |  Dec 10, 2010
For some purists, especially those blessed enough to have seen The Band in concert, this live album, recorded on New Year’s Eve 1971-2, exposes more of the group’s heart and soul than any of their studio albums. Although consisting of material culled from their four studio efforts, the live experience (and a horn section with arrangements courtesy of New Orleans R&B hero Allen Toussaint) reveals an outfit so perfectly hewn by the road, and with such a deep love for rock ’n’ roll and R&B, that it seems to contradict their almost po-faced, scholarly image. January ’72 must’ve been a helluva month in NYC, with James Taylor’s gig recorded there three weeks later! Sound Quality: 90% . .
Christopher Breunig  |  Dec 10, 2010
Founded by Czech refugee musicians in 1946, the Bamberg Orchestra has been working with its English conductor for a decade now, and they are part-way through a Mahler cycle. More akin to Bruno Walter’s than Georg Solti’s, Jonathan Notts’ ‘Resurrection’ proves more than the sum of its parts and is fascinatingly detailed. Climaxes sound huge, although the recording perhaps exaggerates the rawness of brass and the tenor voices. Lioba Braun’s ‘Urlicht’ suffices, but that’s all.
Christopher Breunig  |  Dec 10, 2010
Playing a Steinway, Nelson Freire completed these mid-Dec ’09 recordings in the as yet unfamiliar acoustic of The Friary, Liverpool. He made his debut in the Chopin Preludes, aged 28 (CBS, 1972). ‘A hurricane of pianistic power’ then suggested the Saturday Review. The words that spring to mind now are ‘pianistic wisdom’ – Freire unfalteringly negotiates the often tortuous, enigmatically conceived paths of the Nocturnes, balancing their elements and attuned to the contrasts between them.
Ken Kessler  |  Dec 10, 2010
Talk about a breakthrough: by 1973 with this, album number three, the Doobies had metamorphosed from a quasi-boogie/rock outfit, looking like Allman Brothers wannabees, into a slick Left Coast outfit able to segue country rock into blue-eyed soul. This particular set, possibly a career best, alternated hard rockers with rootsy ballads, handing us enough AOR masterpieces to ensure permanent rotation on American FM wavebands: ‘Natural Thing’, ‘Long Train Runnin’’, the immortal ‘China Grove’ and the lush title track… Most bands would kill to produce something this accomplished. And this SACD let’s you hear just how gorgeous it all was. Sound Quality: 88% .
Ken Kessler  |  Dec 10, 2010
Since I saw JT on this particular tour, maybe I’m prejudiced, but, damn! this performance is a textbook example of how to charm an audience. Despite the size of the venue, and the clearly stoned crowd, it could have been an intimate coffee shop gig. The sound is clear as a bell, and every one of the 14 tracks is so familiar (to elder baby boomers) that they’re bound to bring tear to eye. Taylor remains the pinnacle of singer-songwriter bliss, particularly for those who favour the unplugged, not-entirely-maudlin sort, as far removed from Leonard Cohen or Nick Drake as the range of human emotions allows.
Christopher Breunig  |  Dec 10, 2010
Anyone present at either of the June 2008 Barbican performances edited here will not hesitate, yet a certain paradox might present itself to the disinterested listener. Haitink’s fastidious control and self-effacement, coupled with excellent orchestral playing, make for a fine presentation – of symphonic seriousness. But somehow it exposes Strauss’s lazy reliance on his motifs, the inherent schmalz, the ‘effects’ such as the water droplets: better placed in his Don Quixote capsized boat Variation. Somehow the Karajan Berlin or Dresden Luisi recordings mask the less attractive Straussian traits.
Christopher Breunig  |  Dec 10, 2010
These concert recordings supplement rather than displace Curzon, Gilels, Kempff, Serkin, et al, yet the opening bars of the Fourth Concerto immediately reveal Fellner’s very beautiful piano sound – which we already know from his Bach on ECM – and subsequently that he completely understands the imperatives of Beethoven’s expressive writing: in dynamic gradations, the function of trills and turns, etc. Furthermore he is very sympathetically accompanied by Nagano – the unfolding of the dramatic dialogue in 4(ii) has rarely sounded so interesting. Alas the ‘Emperor’ falls well below its companion here. Sound Quality: 65% .
Johnny Black  |  Dec 10, 2010
Despite my instinct to reject Valerie Anne Poxleitner, aka Lights, because of the overtly religious content of so many of her songs, this Canuck electro-singer-songwriter has won me over on purely musical grounds. Her synth structures are gorgeous, if derivative, and her voice has hints of Kate Bush that make even her frequent use of auto-tuned vocals acceptable. (Actually, if I’m honest, I have no problem at all with auto-tune, so long as it’s used as a musical tool rather than as a repair kit). What I like most about The Listening is its fresh, innocent and disarming simplicity, like the very earliest electro-pop albums back in the late ’70s and early ’80s.
Ken Kessler  |  Dec 09, 2010
Yes, an LP of the CD I’ve been boring you with for six years. While probably a digital original, the album lends itself beautifully to the analogue medium because it’s just so damned rich: perfectly-recorded piano; fluid guitar, Dobro and bass; Keb’ Mo’s textured vocals. This was his ‘covers album’, the bluesman choosing nine peace ’n’ love folk and rock classics, mainly from the 1960s, like ‘Get Together’, ‘Imagine’ and ‘For What It’s Worth’. They serve as a statement that’s as relevant in 2010 as when the songs were new.

Pages

X