Aaron James

"Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity."

Aaron Copland may well be the best-known, the most loved, and the all-around greatest of twentieth century American composers, but his music from the '20s and '30s is still relatively unknown, still relatively unloved, and of still questionable greatness. Was Copland the Modernist too far out to connect to a big audience so he re-created himself as Copland the Populist to become the best-known, most loved, and greatest American composer? But was his Piano Concerto from 1926 really too jazzy and vulgar, his Symphonic Ode from 1928 really too cerebral and severe, his Piano Variations from 1930 really too harsh and austere, and his Short Symphony from 1934 really too rhythmic and complex or was it lack of familiarity made them seem so? From this 1996 recording by Michael Tilson Thomas and the San Francisco Symphony, one would have to vote for the latter because Copland the Modernist is every bit as great a composer as Copland the Populist.

If you want a good sampling of Copland's orchestral works, then this 2-CD compilation comes highly recommended, with excellent performances of works such as Appalachian Spring, Quiet City, El Salón México and others. (Presto Classical)

As the title suggests, this is the definitive edition of Etta James' Tell Mama long-player. For this single-disc release the original album is augmented with five previously unissued tracks – documented during James' four Muscle Shoals sessions circa '67-'68. The question of why a rural Alabama town became a conduit for some of the most memorable and instantly identifiable grooves may still be up for debate. The evidence exists in droves and Tell Mama could certainly be considered exhibit A. These sessions feature the same impact that would redirect several first ladies of soul. Notable among them are Dusty Springfield's Dusty in Memphis, Aretha Franklin's I Never Loved a Man (The Way I Love You) and to somewhat lesser acclaim, Jackie DeShannon's Jackie. Tell Mama showcases some of the unique and admittedly darker qualities of what might best be described as R&B noir. "I'd Rather Go Blind," "Steal Away," "I'm Gonna Take What He's Got" all exemplify the essence of the blues – making the best of a bad situation.