Lalo Schifrin:the Legendary Paris Concert

The second of two sets that document a Paris concert by trumpeter Donald Byrd, Parisian Thoroughfare features Bobby Jaspar on tenor and flute, pianist Walter Davis, Jr., bassist Doug Watkins, and drummer Art Taylor. Other than Byrd's "At This Time" and Davis' "Formidable," the quintet sticks to bop standards, many of which are quite concise and clock in at around three minutes. Longer versions of the title track (a high point) and "52nd Street Theme" are exceptions. This spirited, bop-oriented music is the equal of the first volume.

The Legendary Pink Dots exist in the fields of experimental and psychedelic music. The band is fronted by Edward Ka-Spel, who doubles as singer and chief lyric writer. Phil Knight (The Silverman), Erik Drost, and Raymond Steeg make up the current lineup of the band…

The second half of the February, 1972 Paris concert is much more aggressive than the first. Starting with Evans' challenging "Twelve Tone Tune," the trio (with Eddie Gomez and Marty Morell) plays a much more varied set that better demonstrated their abilities. Also excellent are the especially subdued arrangement of Denny Zeitlin's "Quiet Now" (a favorite of Evans throughout his career) and Evans' "Very Early," which is a great feature for Eddie Gomez. The bittersweet interpretation of another original, "Time Remembered," is a prime example of why Bill Evans was widely admired, both as a composer and as a pianist.

This DVD is the first release of this legendary performance by a legendary artist. "Rubinstein's superb form is matched by the incredible musical sensitivity of Haitink and the orchestra… Sounds and images are expertly cued to the split second… Rubinstein's face, body and hands are captured in a smooth flow of shots and reflectionsThe Beethoven takes on an almost Mozartean delicacy, the Brahms is infused with all the power it requires." -The New York Times

Marais's Alcione is the last great 'tragedy' in music from the reign of Louis XIV. It is a total spectacle at the crossroads of the 17th and 18th centuries, from which it takes the mythological source, it's praise of the sovereign's glory and the literary requirement to combine choreography and stage movements. Jordi Savall rediscovered this work and brought it back to life for the first stage production in Paris since 1771.