Malcolm Goldwell

The first recordings of choral masterpieces by Britten, performed by the dedicatees and newly reissued in a unique compilation.

The first recordings of choral masterpieces by Britten, performed by the dedicatees and newly reissued in a unique compilation.

Acclaimed North Carolina-based singer-songwriter Malcolm Holcombe, "a troubadour seemingly from another age" (Elmore), released 'Come Hell or High Water'. Featuring collaborations with celebrated roots-music couple Iris DeMent and Greg Brown, the 13-track album is trademark Malcolm. Chiseled out of a life abundant in both hard times and sweet ones, with an ache of loveliness and loneliness, of torment and hope, woven throughout, his songs paint vivid portraits, turning them into haunting, brooding, moving affairs. Recorded at Dagotown Recorders in Boston, MA, 'Come Hell or High Water' was produced by Marco Giovino and Jared Tyler. Holcombe was joined in studio by Jared Tyler (mandola, dobro, classical guitar, harmony vocals), Marco Giovino (drums, percussion), Iris DeMent (harmony vocals) and Greg Brown (harmony vocals).

The fourth and final installment in a complete edition of Debussy songs might not seem to be a chartbuster, but that's just what this release by British soprano Lucy Crowe has become, and it deserves every bit of its success. In fact, you might even pick this one over the other three if you're looking to sample Crowe's approach: the program is exceptionally well put together, and it begins with Debussy's first published song, Tragédie, of 1881. There are several other early songs, giving insight into the young Debussy's romantic life as well as hints of the musical language to come and some real experiments (you could sample the Rondel chinois). From there, the program proceeds to later music but is not strictly chronological: instead Crowe leads you onto a path of extremely quiet songs wherein Debussy challenges the soprano to reside in her upper register, and Crowe meets the challenges beautifully. The tension is remarkable, with just a single piano solo and a pair of songs to Debussy's own texts (Nuits blanches, or Sleepless Nights) with baritone Christopher Maltman to break it. The music broadens out with some later songs, ending with Debussy's swan song, Noël des enfants qui n'ont plus de maisons, of 1915. The contributions of pianist Malcolm Martineau are substantial; he produces some truly eerie sounds in the quieter pieces. Highly recommended and often haunting.

New York City-based The Dessoff Choirs & Orchestra, with conductor Malcolm J. Merriweather give the world-premiere recording of 20th-century African-American composer Margaret Bonds’ Christmas cantata, The Ballad of the Brown King, alongside a selection of specially arranged songs performed by baritone Merriweather with harpist and Bonds authority Ashley Jackson.

Produced by the team of Brian Brinkerhoff, Dave Roe and Jared Tyler, 'Tricks of the Trade' finds Malcolm's trademark growl and impeccable lyrics surrounded by a great studio band that includes Roe on bass and longtime musical cohort, Tyler on electric guitar, dobro, and background vocals. With Holcombe's uncanny ability to tap into the collective consciousness of a nation that is currently starving for anything that can latch onto and help soothe its soul, these songs are among the best in his illustrious catalog. Adding to the depth and beauty of the album are special guest vocalists, Mary Gauthier and Jaimee Harris.