If one reviews her earlier CD programmes and not least her last, very successful album “Grenzgänge”, it is striking that the works of Johann Sebastian Bach form a fixed point of reference for the pianist Alexandra Sostmann. Bach is almost always there. Therefore, it was only logical that she went into the studio to record a complete recording of one of his major works, the first part of the “Well-Tempered Clavier”, after an extensive and intensive study of the music.
Cream was a band born to the stage, a fact that the band and their record label realized the public fully understood by the number one U.S. chart placement for Wheels of Fire, with its entire live disc, and the number two chart peak for Goodbye, the posthumous release that was dominated by concert recordings…
Six piano concertos in a mere twelve months: in no other year was Mozart as productive in this genre as he was in 1784. Christian Zacharias and his Lausanne Chamber Orchestra have taken considerably more time with their interpretations of Mozart’s piano concertos – and with sensational results. This complete recording even now promises to occupy one of the top ranks on international lists: Zacharias is able perfectly and seamlessly to transfer his inimitable touch and sound culture to the orchestra.
Ute Lemper Sings Kurt Weill, Volumes 1 and 2' released in 1988 and 1993, plus the third album of Weill's two most important song cycles in German, `The Seven Deadly Sins' (`Die sieben Todsunden') and `Mahagonny Songspiel' released in 1990 unequivocally established Ms. Lemper as the leading Kurt Weill interpreter since Lotte Lenya, Weill's wife and the singer for whom many of his vocal pieces were written. These three disks, sample pieces from most major Weill works written in German, including his most famous musical play, `The Threepenny Opera' (`Die Dreigroschenoper').
The man who invented free-jazz drumming some five decades ago remains as committed and uncompromising-and as ineffably great-as ever. These two releases are culled from live performances by Murray and saxophonist Sabir Mateen from 2002 and 2004. Joining them on various tracks are pianists Dave Burrell and John Blum, saxophonists Oluyemi Thomas and Louis Belogenis and bassist Alan Silva. Mateen has long been one of my favorites. Few saxophonists are better able to act and react in the moment. He can create with only the slightest input; give Mateen a cymbal ping and he'll use it as inspiration to construct a riveting 20-minute solo. Murray gives him a great deal more than a ping.