Comp.int.market 1992 Transport S.1 1993

Brit vocalist Tasmin Archer maps out some interesting terrain somewhere between Seal and Tracy Chapman on her debut Great Expectations – a layered, well-produced mix of acoustic and synthetic instrumentation overlaid with committed, soulful vocals. Lead track "Sleeping Satellite" was a hit in several parts of Europe, and it's a hypnotic, fashionably retro-psych-soul beauty. That track is backstopped by several more solid contenders, including a sombre-yet-vibrant "In Your Care," an emotionally honest "Ripped Inside," and the uncharacteristically forceful "Somebody's Daughter." While perhaps not living up to the album title, there are enough good ones (and one great one) here to make Great Expectations well worth investigating.

Brit vocalist Tasmin Archer maps out some interesting terrain somewhere between Seal and Tracy Chapman on her debut Great Expectations – a layered, well-produced mix of acoustic and synthetic instrumentation overlaid with committed, soulful vocals. Lead track "Sleeping Satellite" was a hit in several parts of Europe, and it's a hypnotic, fashionably retro-psych-soul beauty. That track is backstopped by several more solid contenders, including a sombre-yet-vibrant "In Your Care," an emotionally honest "Ripped Inside," and the uncharacteristically forceful "Somebody's Daughter." While perhaps not living up to the album title, there are enough good ones (and one great one) here to make Great Expectations well worth investigating.

In May 1990 Roy Ayers made his firsl appearance al Ronnie Scott's club in London's Frith Street, and a very sucessful debut it was. The sound of his band on that two week stay can be heard on JHCD 013 "Searchin", which was one of the first releases on the Ronnie Scott's Jazz House label in May 1991. At the beginning of the 90's Roy was, and indeed still is, a heavily featured artist in London's jazz dance clubs, where his own 'classics' from the 70's and 80's are constantly on the turntables as well as his earlier recordings being sampled on releases by a number of other artists.

Corelli's Op. 6 contains two types of concerto, one termed da chiesa, the other da camera. The first eight concertos of the set belong to the former category, while the remaining four, of a less ostensibly serious character, belong to the second. Sometimes the differences are little more than terminological since there are, for instance, several clearly dance-orientated movements among the da chiesa concertos. The Brandenburg Consort give an affectionate and stylish account of these works…The playing is full of vitality and also responsive to the satisfying sounds inherent in Corelli's rich ripieno textures. The concertino group of two violins and cello also comes over effectively, providing that balanced contrast between small and larger units of sound.

Show featured mostly hit singles; Paris features the songs that built their cult, including "Close to Me" and "Letter to Elise." Consequently, most fans will find this the more interesting of the two live albums, and, out of the two records, it is the more consistent and satisfying. ~ Stephen Thomas Erlewine