Lawrence Van Vlack

Azar Lawrence is an American jazz saxophonist. By the time Azar Lawrence released "Bridge Into the New Age" in 1974 - his first recording as a bandleader - he had already built himself an enviable reputation as a saxophone player alongside the likes of McCoy Tyner, Miles Davis, Freddie Hubbard and Woody Shaw. Lawrence's vigorous and emotionally multifaceted playing shines on this album which was a truly forward-looking release in the mid-1970s, presented here as a remastered hi-res release to be enjoyed anew.

With calm and pervasive confidence, Josh Lawrence picks up his trumpet for Posi-Tone, and steps boldly back into the spotlight with steadfast determination and emotional earnestness on his aptly entitled fifth release "And That Too.” Expect the unexpected when Lawrence unveils a powerful musical program of brilliant performances with the able assistance of talented newcomer Willie Morris on tenor sax, and the omnipresent powerhouse combination of pianist Art Hirahara and bassist Boris Kozlov alongside the bombastic metrics of Rudy Royston and Jason Tiemann on drums.

GRAMOPHONE RECORDING OF THE YEAR 1996. Scharwenka was one of the most beloved of musical figures during the late nineteenth and early twentieth centuries. His Concerto No 4 in F minor, written in 1908, was greeted at its premiere with astonishing enthusiasm from an audience ‘which may, without exaggeration, be said to have included almost every pianist – virtuoso, teacher and student – in Berlin’. Two years later Scharwenka was to give his first performance of the work at a concert in New York. The conductor was Gustav Mahler. Emil Von Sauer’s compositions have suffered from an even greater neglect, wholly unjustifiable, than Scharwenka’s. The E minor Concerto had already gone through eight printings by 1908 when he performed it in Chicago: “It was no matter for astonishment that when the pianist-composer had brought the work to its conclusion a storm of genuine enthusiasm should seep the house from gallery to floor … Mr Sauer represents a school of piano-playing that has all but vanished. The pianists who are now moulding the taste of the public are, one and all, engaged in the questionable task of reproducing with their instruments effects that are orchestral … but in the meantime we are in danger of forgetting the joys of pure pianism. To such joys Mr Sauer has awakened us.” Two first recordings, played by one of the greatest virtuoso pianists today.