All Things Strings

Hymn Binding has a musty scent that rises up from its ink-stained pages (or inky bars of music) once opened, but it has an inner strength, and an inner resolve, in spite of its age-old music. Solemn strings openly roam through its shadowy tracks, searching for something lost – they have known heartache and the desperate tug of despair – but the ill-light only deepens their disappointment as the unfulfilled strings return home with empty hands. Aged piano melodies perform a melodic ballet beside the strings, and occasionally a clearer electric guitar will cut through the low, overcast clouds. From The Mouth of the Sun’s third album – and their first for the excellent American label, Lost Tribe Sound – has a gloomy, mournful air to it, but its music weakly stands up to the slow freefall of gradual decline. Systems are failing. Everything looks to be crumbling, fencing the music in, but its rust still darkly gleams. The piano is dusty and creaking, but wise, and the strings seek them out.

Septura head homeward with a recording of British music from the first half of the twentieth century- a golden age in England’s otherwise checkered compositional history, and a period in which brass instruments, in the form of the brass band, established their place at the very heart of British musical culture. From the many composers of the period whose music endures we have chosen four of the finest: iconic works by Elgar, Parry, Finzi and Walton, reimagined for the unique sound of the brass septet. Septura brings together London’s leading players to redefine brass chamber music through the uniquely expressive sound of the brass septet. By creating a canon of transcriptions, arrangements and new commissions for this brand new classical configuration, Septura aims to recast the brass ensemble as a serious artistic medium. Currently ensemble-in-residence at the Royal Academy of Music in London, the group is recording a series of albums for Naxos, each focused on a particular period, genre and set of composers, creating a ‘counter-factual history’ of brass chamber music.

Lennie Niehaus - Vol. 4: The Quintets & Strings (1955) {Contemporary OJCCD-1858-2 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 216 Mb | MP3 @320 -> 98 Mb
Full Artwork @ 300 dpi (jpg) -> 9 Mb | 5% repair rar
© 1955, 1995 Contemporary Records / Fantasy / OJC | OJCCD-1858-2
Jazz / Cool / Bop / Saxophone

This CD reissue brings back one of Lennie Niehaus' finest recordings of the 1950s. His alto is featured throughout the dozen selections and the varied settings (Niehaus is backed by a string quartet, a standard rhythm section, and sometimes two other saxophonists in addition to performing four numbers with a standard quintet) give him an opportunity to show off his writing abilities. Niehaus varies tempos a lot (the strings are often heard on faster material), there is solo space for the tenor of Bill Perkins, baritonist Bob Gordon, and Stu Williamson on trumpet and valve trombone, and the leader's boppish alto is heard at the peak of his playing powers. Bop collectors can consider this disc to be essential.

The Cinematic Orchestra are back with a definitive new album that explores a timeless question of vital importance in 2019 - what to believe? Founding member Jason Swinscoe and longtime partner Dominic Smith have enlisted album contributions from collaborators old and new: Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend (vocalist on Bonobo’s 'First Fires’), Dorian Concept and Tawiah (Mark Ronson, Kindness), Miguel Atwood-Ferguson (Flying Lotus, Anderson Paak, Thundercat, Hiatus Kaiyote) features on strings and photographer and visual artist Brian “B+” Cross collaborated with Swinscoe and Smith on the album’s concept. The record was mixed by multiple Grammy winner Tom Elmhirst (David Bowie, Frank Ocean, Adele) in Jimi Hendrix’s legendary Electric Lady studios. The album artwork comes courtesy of The Designers Republic™ (Aphex Twin).

Always eager to record in new situations, on this CD Lee Konitz is showcased with a string sextet (two violins, violas and cellos), bassist Michael Formanek and drummer Matt Wilson. The cool-toned altoist pays tribute during a dozen songs to both Billie Holiday and (in a more subtle fashion) tenor great Lester Young, two of his early idols. Daniel Schnyder contributed all of the arrangements for the set. Rather than weighing down the proceedings, Schnyder has the strings adding rich harmonies and phrases that seem to anticipate the leader's phrases, and they even swing. Lee Konitz, who added a vibrato to his sound for the project so he could recreate some of Billie Holiday's feeling, handles the ballads and medium-tempo material beautifully. Highlights include "The Man I Love," "I Cried For You," "All Of Me" and "Easy Living." A memorable and heartfelt effort by all concerned.