Bull S04e11

The portrait of John Bull on the cover of this two-CD U.S. release gives an idea for the uninitiated of what to expect from the composer's music: it's intense, single-minded, and even a bit demonic (although the hourglass topped with a skull with a bone in its mouth is apparently an alchemical symbol). Bull was, in the words of an unidentified writer quoted by harpsichordist Mahan Esfahani, "the Liszt of the virginals." The most immediately apparent feature of his music is extreme virtuosity, on display especially in the mind-boggling set of variations entitled Walsingham (CD 1, track 8) and in the galliards of the pavan-galliard pairs. But the opposite pole in Bull's style exerts just as strong a pull: he is fascinated by strict polyphony by what would be called harmonic progressions, and by the close study of the implications contained within small musical units. As spectacular in their way as the keyboard fireworks are, the three separate settings of a tune called Why Ask You? on CD 2 are marvelous explorations of compressed musical gestures.

Not a bad compilation - 13 songs cut by Bull City Red over a four-year stretch, which include gospel-tinged songs as well as country blues in the Blind Boy Fuller mode. The sound is reasonably good throughout, given the rarity of some of the records, and the analog-to-digital transfer fairly clean given the age of the source material - Red's guitar comes through in startling clarity, and surface noise is generally held in check, or at least to manageable levels. Among the highlights here is Red's version of "I Saw the Light," and which, in another form, entered the repertory of Hank Williams, among others…

The band Sitting Bull was formed by Bernd Zamulo (member of the 60's the Lords) at the beginning of the 70's. Their released their debut LP "trip away" for CBS. The album known a certain success that enable the band to reach the charts…

Mishka Rushdie Momen makes a highly enjoyable Hyperion debut, playing Renaissance keyboard music on a modern Steinway grand piano, with subtlety of tone and phrasing that brings new perspective to the music of Byrd, Sweelinck, Gibbons and Bull.

American pianist and composer Kit Armstrong steps back in time to revive the spirit of Elizabethan England. For his first album on Deutsche Grammophon, Kit Armstrong presents works by two composers who elevated instrumental music to new heights of refinement in the Golden Age of Elizabeth I and her successor James I.

Multi-instrumentalist Sandy Bull’s debut, Fantasias for Guitar and Banjo, was for all intents and purposes the beginning of the “world music” movement. And if that seems like a bold claim, keep in mind that while many classical composers had borrowed folk motifs throughout the centuries, the mélange of folk, jazz, blues, classical, gospel, and even rock ‘n’ roll that this record offered—back in 1963!—was simply unprecedented. It all comes together on the album’s first track, a 21 minute and 51 second stylistic odyssey appropriately entitled “Blend.” Backed by jazz drummer Billy Higgins, Bull improvises in a fashion akin to jazz, but his guitar style displays elements of folk, and the droning quality and raga-like climax echo aspects of Middle Eastern and Indian music.