Firebird Ensemble Plot in Fiction Italian Music For Ensemble (2002)

Remember Shakti - Saturday Night In Bombay (ft. John McLaughlin) (2001) {Verve}
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© 2001 Verve / Universal | 014 164-2
Jazz / Post Bop / Fusion / World Fusion

SATURDAY NIGHT IN BOMBAY was nominated for the 2002 Grammy Award for Best World Music Album.
John McLaughlin brought his revived Indo-jazz project Shakti to Bombay (Mumbai) in late 2000, and the result is this live disc, which features ly four compositions but runs over an hour in length. (The title is a deliberate play on 1980's Friday Night in San Francisco.) McLaughlin's electric guitar and Zakir Hussain's tabla remain at the core of the group's sound. U. Shrinivas (on mandolin) and V. Selvaganesh (on kanjira, ghatam, and mridangam, all Indian percussion instruments) remain from the previous album, but there are also a number of Indian guest musicians, giving the music many added dimensions.

At the end of the 17th century, the violin is on the point of achieving artistic supremacy all over Europe. England remains the last stronghold of the viola, the quintessential aristocratic instrument, carrying the values of nobility and emotion which music is supposed to incarnate and taking at the time French style as a model. It was a musician hailing from Naples who was to introduce London to the delights of the violin and the spice of Italian music, for which the British would become passionate.

Founder of the Creative Music Studio and a close collaborator of Don Cherry, Ornette Coleman, Gato Barbieri, Anthony Braxton and so many more, Karl Berger is a master musician and one of the pioneers of creative music. The third and final CD in his trilogy for Tzadik features fourteen tracks spanning a wide variety of moods. Karl’s gorgeous string arrangements are highlighted here in this beautiful and soulful suite of music for piano and strings.

Verses in praise of music for St Cecilia's Day were fashionable in the seventeenth century but in poetic inspiration none equalled Dryden's two poems in which he attempts to imitate the effects of music in language. He wrote this one, his Song for St Cecilia's Day, in 1687; it was set to music during the poet's lifetime but not, of course, by Handel whose setting dates from 1739… The highlight of Handel's score for me is, without question, his hauntingly beautiful setting of Dryden's second stanza, ''What Passion cannot Musick raise and quell!''. Here, especially, Handel matches a text which Dr Johnson regarded as exhibiting the highest flights of fancy with a tenderly expressive cello obbligato.