In this extensive 50-disc set, Brilliant Classics presents 500 years of organ music. The pieces presented here offer a survey of diversity, value, and historical importance. The first portion of the set is devoted to pieces from the early period. Groundbreaking organ composers such as Cavazzoni and De Macque, who developed the capriccio and canzon forms and composed complex counterparts to the periods vocal music, are featured here. The Baroque and Classical eras are represented in this set by the likes of powerhouse composers Mozart, J.S. Bach, C.P.E. Bach, Handel, Telemann, and Haydn.
Recorded when she was at the peak of popularity, a result of her stint with Chick Corea's Return to Forever, 500 Miles High presents Flora Purim in concert at the 1974 Montreux Jazz Festival. Accompanied by an all-star band including guitarist David Amaro, flutist Herbie Mann, keyboardist Pat Rebillot, bass legend Ron Carter, and husband (and star in his own right) Airto Moreira on drums, vocals, and various percussion, the Brazilian songstress delivers a fiery performance that must have been a joy to behold. Strictly speaking, this is really more of a band album than a Flora Purim album, as Airto and the guys are featured for extended instrumental romps.
That said, Anner Bylsma's disc gets a great deal more playing time. The timbre of the piccolo cello is ideally matched with the organ. While purists may balk at such unusual instrumentation, I cannot help but think such an experiment is quite in keeping with the spirit of Baroque era practices. In general, I try not to judge the success of a recording by a preconceived idea of what a musical elite would or would not approve of.
A strong follow-up to Mariah Carey's self-titled debut album, Emotions puts to rest any concern of a "sophomore slump." The same mix of dance/R&B/ballads that gave Carey's debut such tremendous auditory appeal can be found with equal strength on this release, indicating that placing firm belief in the notion of "Why fool with success?" may, in fact, have its merits. Most notably, the gospel influences of "If It's Over" (with music co-written by Carole King), the yearning cries for a lost love in "Can't Let Go," and the catchy, upbeat title track all serve to send the listener on a musical journey filled with varying emotions. However, the one emotion that prevails upon completion of the album is definitely a positive one: satisfaction.