Charles Burney, the great English music traveller of the 18th century, was extremely positive about "Herr Kapellmeister Benda". His compositions his "new, masterly, and learned." Mozart, too, never made a secret of his high regard for Georg Anton Benda; he was well aware of how much he was indebted to the creator of the German Singspiel - right up to the "Magic Flute".
In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track - thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively…
Boccherini's style is completely characteristic of the period in which he lived, the period, that is, of Haydn rather than that of Mozart or Beethoven. He enjoyed a reputation for his facility as a composer, leaving some 467 compositions. A great deal of his music is designed to exploit the technical resources of the cello, in concertos, sonatas, and, particularly, in chamber music for various numbers of instruments, including a remarkable series of quintets with two cellos. The twelve quintets for guitar and string quartet, of which eight have survived, are arrangements by the composer of works written for pianoforte quintet in the late 1790s. The set of six quintets were dedicated to the Marquès de Bénavent, an enthusiastic amateur guitarist.