LATEST ADDITIONS

Steve Harris  |  Dec 10, 2010
No matter how deeply it’s been mined before, the Blue Note vault is still a rich source of reissue gold. In what amounts to a relaunch of the XRCD audiophile format, Audio Wave has begun with a clutch of soul jazz classics. Soul Station has Mobley’s old Jazz Messengers boss Art Blakey on drums, with Paul Chambers on bass and bluesy pianist Wynton Kelly. This seemingly carefree album marked a turning-point for the light-toned tenor player, as 1961 would see him briefly and not very happily joining Miles Davis.
Ken Kessler  |  Dec 10, 2010
Although you may have seen this ‘making of’ documentary on TV, as with all the DVDs from the Classic Albums series, this features substantial amounts of added material (a TV promo, detailed studies of the instruments’ sounds, and more). When the subject is one of rock’s most intelligent practitioners, a second viewing with extras is worth every second. This chronicles the band’s third release, from 1979, which cleared any lingering mislabelling from the punk era, ‘Refugee’ and ‘Here Comes My Girl’ being enough to establish Petty’s rep. This was their first release after Shelter Records folded, with Petty in recovery mode from the aggravation.
Ken Kessler  |  Dec 10, 2010
Practitioners of Zydeco – the black, bluesy, more rocking cousin to swampy Cajun music – serve a select audience, for the genre rarely produces crossover hits. But if you get bitten by the bug, it’s irresistible. Major Handy is one of Zydeco’s younger, more active performers, born in the heart of the Louisiana region that gave birth to the sound, and a veteran who played with Rockin’ Dopsie. Chad Kassem’s crew has captured the swing and the feel of the genre, while showcasing an instrument that’s key to Zydeco but hardly an audiophile staple: the accordion.
Christopher Breunig  |  Dec 10, 2010
A stirring (although not properly level-matched) Kingdom Prelude prefaces a midpriced version of the Violin Concerto altogether superior to the recent Znaider/Sony [HFN June]. Sir Mark Elder is flexible in the introduction and exposes unfamiliar details; the Hallé reveals a natural affinity with Elgar’s writing escaping their Dresden rivals; and Thomas Zehetmair has a searching command of the solo part. Competition here for the earlier, less indulgent Kennedy recording! As fillers we have the Gerontius Prelude and, sung by mezzo Alice Coote, ‘The Angel’s Farewell’ in a 1900 arrangement without chorus. Sound Quality: 85% .
Steve Harris  |  Dec 10, 2010
Revisiting favourite old songs, the late great composer’s singer daughter has the luxury of Phil Ramone as producer, as well as some special guest stars. Stevie Wonder does a fabulous harmonica obbligato on ‘Blame It On The Sun’, while Brian Wilson and Take 6 vocalize amazingly behind her on ‘God Only Knows’. One of the best realisations, if not a jazzy one, is the opener ‘These Days’, with the unmistakeable liquid voice and soft guitar of composer Jackson Browne. This isn’t to be confused with the title track, the Billy Joel song, more wistful than ironic in Mancini’s hands.
Ken Kessler  |  Dec 10, 2010
Of all the ‘lost’ rock films, this should never have landed in the vaults. A multi-artist concert from ’64, it may be the most important ‘rockumentary’ of the era, in the Top 5 of any rock-flick list. Viewed only in fragments for 46 years, it’s now available in clean 16:9 black & white, with a mono soundtrack. What you get are magical performances from (deep breath) the Barbarians, the Beach Boys, Chuck Berry, James Brown & the Famous Flames, Marvin Gaye, Gerry & The Pacemakers, Lesley Gore, Jan and Dean, Billy J.
Ken Kessler  |  Dec 10, 2010
Although most would credit Sly & the Family Stone or Funkadelic’s empire for inventing acid-dripping, hard funk, back in ’69, the super-smooth Temptations were getting spacey, too. Sharp suits metamorphosed into the kind of garb that Elvis Presley would copy for his Vegas era, and track times would extend beyond the AM-friendly norm of Motown. While fans may have been taken aback by the wicked title track, the Temps had already shown an experimental streak with ‘I Know I’m Losing You’. And we certainly owe thanks to this LP for the later ‘Psychedelic Shack’, and of course, the immortal ‘Papa Was A Rollin’ Stone’.
Christopher Breunig  |  Dec 10, 2010
In 1988/9 former HFN writer Andrew Keener produced the Peter Donohoe recordings for EMI – Nigel Kennedy/Steven Isserlis, no less, in 2(ii). He’s worked with Stephen Hough since his Virgin Classics debut and these Minnesota recordings form Hyperion’s 50th set in its ‘Romantic Piano Concerto’ series. We have the full length slow movement for No. 2, but also the disparaged Siloti cut edition and another of the pianist’s own devising.
Christopher Breunig  |  Dec 10, 2010
The Bach playing of Tatiana Nikoleyeva was the inspiration in 1950 for Shostakovich’s 24 Preludes and Fugues, and her two recordings inevitably are seen as definitive. (Nikoleyeva endeared herself to London audiences late in life; she also made several Hyperion discs. ) The young Moscow pianist provides a booklet overview of exceptional thoroughness, although the accompanying 23m DVD interview with a stubbly Andreas Staier gets us practically nowhere. Melnikov’s pianistic range, though, is something else.
Johnny Black  |  Dec 10, 2010
Highly-touted New York City duo MGMT return with a second helping of goodies, tending more towards retro-psych-pop than their singles-oriented debut. This one switches eclectically from the Van Dyke Parks-like delirium of the opening track, ‘It’s Working’, to the nuggetsy garage-pop assault of ‘Song For Dan Treacy’, to the more expansive mind-blown dream-pop approach of the epic ‘Siberian Breaks’ and the bizarre faux-baroque horrorscape of the instrumental ‘Lady Dada’s Nightmare’. Twee and wimpy, yes; but it’s also loads of fun. The band has said no singles will be released from this album but it attracted so much attention when it ‘leaked’ onto the net in advance of release that maybe it doesn’t need them.

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