If the great players who stamped out Chicago's West Side as their cutting fields in the 1960's - Magic Sam, Freddie King, Otis Rush, Buddy Guy, Albert King - had pushed their command blues melodies into new harmonic territory, one result may have been Barry Levenson's The Late Show. Interestingly, ten of the fifteen tracks here are instrumentals, although as befitting a 21st century roots stylist, Levenson has a broader, all-encompassing approach than your average blues album. In this way, The Late Show is a concept album that mines all facets of the blues and blues-based guitar. From the Meters-like groove of Meters Runnin' to the Bill Frisell-shaped twang of Steel Life to the Bobby Womack and Curtis Mayfield church-derived Whole Lotta Blues and the Les Paul sweep of Charlie's Ride, Levenson lays down line after line of single notes whose harmonic backdrop is Grant Green and Kenny Burrell's boplicity.
…Thanks to the unprocessed and fully natural audio signal, all of the nuances of Schleiermacher's touch are captured, yet there is also a slight background sound that apparently comes from the performance space, not from any defect in the all-digital recording. Listeners may find that this is only a mild distraction and easy to get past once the music takes hold. This important series is recommended for all Feldman aficionados and anyone interested in the sublime expressions of his late period.
Recording exclusively for Sanctuary Classics, the Lindsays’ extensive discography includes complete cycles of Beethoven and Bartók, and a series devoted to Haydn, Schubert and to 'The Bohemians'. In 1984 they received the Gramophone Award for their recording of the Beethoven ‘Late’ Quartets. As an enthusiast of the Lindsays, I have long admired their special affinity for the string quartets of Schubert. This four disc box set from Sanctuary Classics on their Resonance label uses previously released material and proves a fitting tribute to the ensemble’s art.
The late works of Elliott Carter (1908 2012) are so numerous as to constitute an output on their own. Just where the composer’s ‘late period’ begins is itself a matter of conjecture, yet no one hearing the pieces on this disc is likely to doubt their technical finesse or expressive refinement: qualities that go a long way towards the defining of ‘lateness’ in artistic terms.
One of the characteristics of Morton Feldman's music is the way silences are thrown into stark relief. Each silence - freighted with memory, charged with expectation - becomes a unique presence in the music more than merely an absence of it. Though his silences are measured in units of time, they also contain an intimation of infinity. The music of the "classical" tradition slows down, speeds up, layers and otherwise manipulates time. Of the other arts, only cinema plays with our temporal perception to a greater degree.
Leonard Bernstein's Late Mozart Symphony recordings come from the 1980s when the market was deluged with "authentic" and "period" style offerings from the likes of Trevor Pinnock and Christopher Hogwood. Bernstein, never a slave to fashion, conjured up some wonderfully "old fashioned" performances, full of rich orchestral sonorities, generous helpings of vibrato, and unabashedly romantic pacing, phrasing, and rubato… Even with the pile of Mozart symphony discs on the market, Bernstein's compelling renditions easily command your attention and warrant your purchase. - Victor Carr Jr, classicstoday.com
Manifold Records present Late Night Grooves Vol. 4 - Cosmopolitan Lounge Music. Vladi Strecker, Island Sun, DJ Maretimo, Bar Blue, The Man Behind C, Sky Sergeant and more.
Includes continuous mix by DJ Maretimo.