Forrester

One of the greatest albums of Hammond jazz ever recorded! Bobby Forrester may not look like a hipster on the cover, but this set grooves like some of the best early 70s work by Jack McDuff, Jimmy McGriff, and Groove Holmes - hitting hard with some really funky tracks that have made the album a must-have with collectors for years. The sound here a lean, mean revision of the Prestige Hammond jazz groove of the 60s - Bobby grooving on organ with just drums by Johnny Kirkwood and guitar by Elijah Williams Jr - all coming together in a totally solid sound that has plenty of funky riffs, nice drums, and soaring organ lines! Given the lean, compact approach to the groove, we might compare Forrester most with Charles Earland at his best - although the album's got a voice and depth that's certainly all its own…

There are a bewildering number of versions of Gluck's opera. Gluck first composed the work in Vienna in 1762 with a libretto in Italian and the title role sung by a castrato. This initial version, in its austerity, was the work that changed the course of opera. In 1774, Gluck rewrote Orfeo to meet the tastes of Paris audiences. The work became longer and lost some of its harder edges. In the late 1830s, Gluck's great admirer and follower, Hector Berlioz, prepared his own version of Gluck's score. Performances of Orfeo tend to draw from several versions, with the cuts or changes that the conductor deems appropriate. There is no definitive score for Gluck's opera.

Deutsche Grammophon has delved into its vaults to reissue the very first "complete" studio recording of Handel's Serse. (Absent are one recitative and the B section of Serse's aria "Più che penso," crossed out in Handel's autograph score.) Recorded in 1965 and originally issued on the Westminster label, this fine performance has never been available on CD, nor has it previously been issued complete on LP outside of the United States.

This is a wonderful performance, certainly without the digital fidelity, given the record date (1969), but for the same reason, with the warmth that many miss in the digital coldness. But the greater excellence of this version lies in the marvelous and powerful female voices: Helen Watts (Dame of the British Empire), the African-Amerincan Reri Grist (Bohm choice for Mozart and Strauss), and above all the huge canadian contralto Maureen Forrester. Simply marvelous, for those that love real music.