The hype machine wants us to love the stars it promotes, which has a backlash effect. I'm not sure many serious listeners would rank Joshua Bell as a first-class musician, given his glamorous popular image. But he's up to everything Prokofiev throws at the soloist in his two violin concertos and two sonatas. This bargain two-fer can stand up to any rival, including Oistrakh and Perlman. I'm only sorry I overlooked it for so long.
Buddy Rich, the most remarkable drummer to ever play jazz, can easily have his career divided into three. During 1937-1945 he was a notable sideman with big bands including those of Bunny Berigan, Artie Shaw, and Tommy Dorsey. In 1966 he formed his own successful orchestra that capitulated him to his greatest fame. During the 20 years in between, Rich led short-lived bebop big bands, a variety of combos, toured with Jazz at the Philharmonic, recorded with all-star groups, and had stints with the orchestras of Dorsey and Harry James. This seven-CD set draws its material from Rich's second period and it can also be divided into two. The first half has Rich recording for producer Norman Granz in a variety of combos.
With the flood of recordings devoted to the freethinking Salzburg Baroque composer Heinrich Ignaz Franz Biber, it is not surprising that his predecessor as Salzburg music director, Andreas Hofer, has been resurrected. There is nothing here to rival Biber's outlandish and fascinating programmatic ideas; Hofer's sacred music, as represented on this disc, falls much closer to the Venetian-derived German mainstream inherited from Schütz. That said, this is an ideal purchase for anyone who likes Schütz, Biber, or the south German Baroque in general. The album reproduces a hypothetical Vespers service of the area, featuring the music Hofer, as kapellmeister, might have drawn together for a festive event – mostly his own, but also including works by Biber, Giovanni Valentini, and Johann Baptist Dolar.
Plunkett is one of the few artists on the natural trumpet who understand the concept of uneven articulation, so necessary to the performance of music of the seventeenth and eighteenth centuries. [His] style and articulation are the most elegant and artistic this reviewer has heard. (International Trumpet Guild Journal, 24: 4, June 2000)