Just Klimt 1918

Saint Just was a seventies Italian progressive group but not really reminiscent of the typical Italian sound. Influences from folk, psychedelic and classical can be heard in their music. The most remarkable instrument in their music is the vocals of Jane Sorrenti that float above the music. Her vocal delivery is definitely an acquired taste. The group released only two albums and the line-up is very different in these two albums. In the 1st album there were only three official members of which the saxophonist Robert Fix was not included in the 2nd album. For their 2nd album the remaining members Jane Sorrenti and Antonio Verde (classical guitar, bass) added electric guitarists Tito Rinesi and Andrea Faccenda as well as a drummer Fulvio Maras.

An uncomparable Italian band indeed, Saint Just played a weird mix of Ethnic music and Folk Rock with plenty of Classical passages, where folk atmospheres alternate with organ themes and piano passages all the time but occasionally supported by light electric tunes. The music is soft but rather dark with plenty of acoustic guitars and characterized by Jenny's Sorrenti poetic and haunting vocal lines. While the whole album flows in a relaxed mood,there are surprisingly lots of breaks and alternating ideas in almost every track,which makes ''Saint just'' a demanding release. Organs, pianos and saxes have a major role leading the way and the few electric parts are well-played yet quite smooth. Surprisingly the self-titled number of the album is entirely sung in French by Sorrenti in a theatrical way with a definite beauty surrounding this delicate track.

Heart Under, Just Mustard's second album, asks you to forget what you know. At every turn, this remarkable record reconfigures and stretches the ideas and ambition of a rock band, and turns a year of lockdown and personal struggles into a breathtaking artistic statement. The music the five friends from Dundalk, Ireland make is strikingly untraditional. Though to look at them, it appears that the band are a five-piece with uniform make-up of a vocalist, two guitarists, a bassist and a drummer, not a single one of them utilizes their instrument in a confined or regular fashion. Guitarists David Noonan and Mete Kalyoncuoglu make their six-strings shriek and wail, the sounds produced sounding like everything from whirring machinery to horror movie monsters.

Rosa Ponselle - The Columbia Acoustic Recordings (1992) {2CD Set Pearl GEMM CDS 9964 rec 1918-1923}
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© 1918-23, 1992 Pearl / Pavilion Records | GEMM CDS 9964
Classical / Vocal / Opera / Historical

Those early Ponselle records have unique qualities. She was at the age of the characters she was portraying, in her impulsiveness (incredibly controlled by technique and taste) singing every note and emotion with the freshness of youth in life's spring. This with the most glorious voice that ever came from any woman's throat in the Italian repertory, with a precocious sense of line, style, and emotional honesty…

In the late '50s trumpeter Roy Eldridge and tenor-saxophonist Coleman Hawkins teamed up on a fairly regular basis. Since they always brought out the best in each other (their solos could be quite competitive and fiery), all of their joint recordings are recommended. Two LPs from their gig at Washington D.C.'s Bayou Club in 1959 were previously released on the Honeysuckle Rose label. Five of those selections plus four previously unissued cuts are included on this Stash CD. Most of the tunes are medium-tempo jams such as "Just You, Just Me," "Rifftide," and "How High the Moon," but there is also an excellent ballad medley. Backed by a local rhythm section, Eldridge and Hawk are both in superior form, making this a highly recommended disc even for those listeners who already have the earlier LPs.

Matteo da Perugia - Chansons - Tetraktys (2016) {Olive-Et'cetera KTC 1918}
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© 2016 Olive Music / Et'cetera | KTC 1918
Classical / Medieval / Early Renaissance / Early Music

Matteo da Perugia is one of the outstanding composer personalities in Italy at the transition between the late Middle Ages and the early Renaissance. Yet we know little about his life. We do not know the date of his birth, not even the year, nor is it certain whether the suffix “da Perugia” really means that Matteo came from this city. Relatively well documented, however, is his compositional work: all the compositions that are attributable with certainty to Matteo have survived in the same Codex.

"Some time ago Dorothee Mields asked me if we could perhaps performsome songs by Friedrich Hollaender. A glance at the fragile manuscript of his Lieder eines armen Mädchens (1921–24) revealed many similarities with the songs of the seventeenth century. The printed editions and manu- script scores that have come down to us from the early Baroque contain very little information and yet they conceal within them whole worlds of musical expression. And then the year 2018 arrived, with its linking lines going back to 1618 and the outbreak of the Thirty Years War and to 1918, the end of the First World War. We have placed the First World War with in the context of the period from 1914 to 1945, resulting in a further Thirty Years War. Both of these periods ended in extensive changes to existing political systems."