Stanley Turrentine was just beginning to turn heads in jazz circles in the early '60s when he made an appearance at Minton's with guitarist Grant Green, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood. The group mixes hard bop with funk and soul jazz; Turrentine's tone, sound, and pacing are good, although he wasn't yet the master at ballads he would be later in his career. Standards and a couple of blues make up the repertoire, giving listeners a definitive look at the soulful Mr. T. near the beginning of his productive musical life.
Vol. 2 in BIS' complete Sibelius Edition is given over the Finnish master's chamber music for strings and for strings and piano. Fifty years earlier, this release would've included only the "Voces intimae" string quartet. But BIS' 2007 release includes all four quartets and all four piano trios, plus 35 other works or substantial fragments lasting between 13 seconds to 32 minutes. One thing is instantly clear: Sibelius scholarship has made enormous strides since the mid-twentieth century.
The Collector's Edition - Celebrating a groundbreaking label - The true legacy of a legendary label. Long hailed as an audiophile's label, Mercury represents an important milestone in the history of classical recordings. A s The New York Times described, 'One feels oneself in the living presence of the orchestra'. 60 years after the landmark first recording, Mercury Living Presence: The Collector's Edition celebrates this special anniversary.
Musica Alta Ripa was founded in 1984. The recorder player Danya Segal, two violinists Anne Röhrig and Ursula Bundies, cellist Juris Teichmanis, and harpsichordist Bernward Lohr, all outstanding, sought-after musicians in their fields, joined forces to form an ensemble that owes its special aura to the commingling of their individual personalities.
During the 70s, the Japanese jazz scene was in an incredibly intense phase - one that had players breaking out of older modes that were often strict copies of American jazz, and working in newer styles that often blended soul, modal, and spiritual jazz with freer-thinking ideas and more Eastern-inspired modes. The result was an incredible batch of music that was probably more strongly recorded by the Three Blind Mice label than any other Japanese imprint - because unlike some of their contemporaries, TBM didn't fill their catalog with work by American players, and often focused exclusively on Japanese artists.
30 years after his death, DG commemorates the quintessential Kapellmeister with a 42-CD set of Complete DG Orchestral Recordings presented in original jackets. In addition to the complete symphonic cycles of Bruckner (the first ever complete recorded cycle), Beethoven and Brahms, this set offers the entire Jochum orchestral recordings for DG for the first time. Several recordings appear on CD for the first time including recordings of Weber, Mozart and Beethoven.
Some impressive pianism may be found here, both from Piers Lane and prior to that from Eugen d’Albert. The latter was a virtuoso pianist and transcriber, also a composer whose opera Tiefland (1903) has remained popular in Germany. He was, however, born in Glasgow of French and English parents and began his career in England. Eventually he publicly renounced all things Anglo-Saxon, much to the annoyance of his mentor, Sir Arthur Sullivan, and settled in Berlin to concertize, performing the great masters: Bach, interwoven with Spohr and Beethoven.
SEON (Studio Erichson) is a period music label by the legendary producer Wolf Erichson. Erichson founded the label in 1969 as one of the first labels dedicated only to authentic music. The recordings were made with the best available recording techniques of the time and still deliver a high quality product in line with today's standards. This special boxset offers all SEON CD reissues from the late 90s on 85 CDs in a limited edition boxset.
We sometimes forget how closely the didactic aspect of The Well-Tempered Clavier is bound up with the various upheavals of the 1720s which refocused Johann Sebastian Bach on his roles as father and teacher. His ambitious scheme for associating a prelude and a fugue with each of the major and minor keys could easily have become something of a tedious chore. But, on the contrary, it reveals Bach’s highly personal genius for constant creative renewal within the framework of two fixed forms. Richard Egarr presents the complete First Book on a copy by Joel Katzman of a 1638 Ruckers, using the temperament which recent research suggests Bach himself advocated.