Iannis Xenakis Pléïades Rebonds (2015) Sacd Iso

This SACD sampler from Master Music Ltd. features compilation of tunes from label's extensive catalog. Artists includes: Nicki Parrott, Lisa Wahlandt, Malene Mortensen, Etta Cameron, and many more. 14 tracks total.

Marilyn Scott takes her love for jazz to new heights on Every Time We Say Goodbye, with a seasoned East Coast quintet led by acclaimed pianist Cyrus Chestnut. The 10-song repertoire is comprised of smoky, wee-hours standards such as the Cole Porter-penned title track, a Rio-kissed samba take on Irving Berlin's "I Got Lost in His Arms", and a blues walk through "Detour Ahead". The arrangements offer fresh nuances to familiar favorites as do Marilyn's artful and articulate vocal interpretations.

Venus Records owner and producer Tetsuo Hara is known for recruiting various American jazz musicians for record dates during his regular trips to New York City, but he is also spending time in Europe, where he recruited the Roma Trio for this excellent album. Unless they gain exposure in the U.S. through appearing on American recordings or performing in New York City, European jazz musicians have a tough time getting recognized in the West. But Hara has long since learned the preferences of the Japanese jazz market, which readily seems to absorb bands he has introduced through his label.

Pianist Eddie Higgins may not be well known in the U.S., but he is hands down the most famous and prolific musician on the Venus Records roster. Since his 1997 Venus debut, Higgins has released more than 20 albums from the label. This release is the first from a pair of solo piano albums that include a collection of standards requested by readers of Swing Journal. Forty of the top requests were given to Higgins and the plan was to record material for only one album. However, after recording 15 tracks on the first day - an extraordinary feat in itself - Higgins wanted to continue. So another recording took place the next day where Higgins recorded another 15 tracks.

Beach Boys' Party! is the tenth studio album by American rock band the Beach Boys, and their third in 1965, consisting mostly of cover songs played with acoustic instruments. The album was recorded in a music studio and presented as an impromptu live recording of a party, with informal chatter by friends and family overdubbed later. The record company, Capitol, wanted an album for the holiday season, but as there was no new material ready, several options were considered, including a greatest hits album and a live album, before the band decided on the party theme. The Beach Boys covered songs by the Beatles, several doo-wop groups, Bob Dylan, and the Everly Brothers.

Venus Records is known to highlight little-known veteran American jazz musicians who play excellent music to this day and merit listening by a wider audience. Some of these musicians include Eddie Higgins, Archie Shepp, Steve Kuhn, and Claude Williamson. The newest member added to this distinguished list is Charles McPherson. Even though McPherson is an alumni of the Charles Mingus Jazz Workshop from the late 60s and early 70s, presently he may be at the top of his game. On this release for Venus Records, McPherson is paired with the first-rate pianist Steve Kuhn. McPherson impresses with his personal tone and shining, emotional playing that is deeply rooted in bebop. This is an astonishing album by an astonishing artist.

Through his numerous albums released from Venus Records, Eddie Higgins has firmly established his position as one of the most celebrated jazz pianists in Japan. For this album, which was released in 2007 in its original form, Higgins was paired with two veteran horn players who share his mature, straight-ahead sensibilities: Scott Hamilton and Ken Peplowski.

“Emil Gilels stands out as giant among giants”, wrote Gramophone when the Odessa-born pianist died in 1985. “In terms of virtuosity he was second to none, yet his leonine power was tempered by a delicacy and poetry that few have matched and none has surpassed”. Ludwig van Beethoven was at the heart of Gilels’ repertoire and in 1968 he recorded this complete cycle of the composer’s piano concerto with the Cleveland Orchestra and its long-standing maestro, another musical titan of the era, George Szell.