In their original incarnation on LP, the sound of Trevor Pinnock and his English Consort's 1981 recording of Vivaldi's famous Four Seasons was clear and bright. In subsequent CD iterations, it was clearer and brighter. But in this 2008 Japanese original bit processing issue, it has passed clearest and brightest and gone all the way to transparent and translucent. One can hear each of the 13 string players bows strike their strings and every pluck of Nigel North's theobro or Pinnock's harpsichord. And soloist Simon Standage sounds so vibrant and present that he may as well be in the room standing between the speakers.
Although a vinyl box set appeared during the early 1980s, and several of the mixes therein were subsequently appended to CD reissues of Soft Cell's regular albums, 1999's three-CD The Twelve Inch Singles represented the first ever corralling of the duo's entire extended remix output, and with it, undying evidence for Soft Cell's claim to immortality. Great 45s and terrific albums told only part of the story, after all. Across their earliest 12" singles, the sequence that led from "Memorabilia" to "Torch," Soft Cell utterly rejuvenated a format that had been growing increasingly stale and uninspired, not only offering purchasers more music for their money, but ensuring that it was music they'd actually want, as opposed to an extra few minutes of beat nailed onto the outro.
Poem for Malcolm is a jazz album by Archie Shepp. Recorded in Paris in August 1969 only two days after Yasmina, a Black Woman, it again features musicians from the Art Ensemble of Chicago. This time, the tone is resolutely set to avant garde and free jazz, with a political edge in the all but explicit tribute to Malcolm X. The Allmusic review by Scott Yanow states: "This LP from the English Affinity LP is a mixed bag. Best is 'Rain Forrest' on which tenor saxophonist Archie Shepp, in a collaboration with trombonist Grachan Moncur III, pianist Vince Benedetti, bassist Malachi Favors, and drummer Philly Joe Jones, perform some stirring jazz; the interplay between Shepp and Jones is particularly exciting.
These 1964 sessions marked jazz violinist Jean-Luc Ponty's recording debut as a leader. In spite of his choice of instrument, he was mainly influenced by bop musicians (especially saxophonists and trumpeters) rather than fellow Frenchmen, swing violinist Stéphane Grappelli. At this stage in his career, he chose mostly compositions by European musicians of his generation, along with tunes American jazz compositions that had stood the test of time.