Match of The Day 23 April 2019

"Fin de nuit" invites you to a profusion of notes intended for the orchestra, by the magician of sound, Philippe Boesmans. The three pieces of this CD (Concerto for violin, Capriccio for two pianos and orchestra and Fin de nuit for piano and orchestra that gives its title to this album) – commissioned by the Orchestre Philharmonique Royal de Liège – underline the solidity of the bond between the composer and the orchestra. This album is released on the occasion of Gergely Madaras taking up his position as musical director of the orchestra, as if a new day were beginning.

This release provides a unique overview of Deep Purple's development, from little known material to the truly legendary Smoke On The Water, which is added as a bonus to original Singles album for the very first time, along with the blazing Space Truckin'.

This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices…

Catch Up With The Blues is an album by Johnny Copeland released in 1994 on Verve Records. It was recorded April 27–30 and May 1–3, 1993 at Kiva Recording Studios in Memphis, Tennessee. The album was produced by John Snyder (Producer), and Jay Newland (Associate Producer). The album features Copeland on Rhythm and Lead Guitar and Vocals, along with Richard Ford (Steel Guitar), "Sonny Boy" Terry (Harmonica), Floyd Phillips (Piano), Bobby Kyle (Rhythm and Lead Guitar), Mabon "Teenie" Hodges (Rhythm Guitar), Randy Lee Lippincott (Bass), Barry Harrison (Drums), Robert Hall (Tambourine), Jaqueline Johnson and Jacquelyn Reddick (Background Vocals), and The Memphis Horns (Wayne Jackson on Trumpet and Trombone, and Andrew Love on Tenor Saxophone).

Blue Note's handy roundup series moves on to chronicle the '60s label stint of a bebop veteran. Returning to the States from Europe to cut several dates, Dexter Gordon managed to produce some of his best stuff for Alfred Lion's venerable jazz company. This fine disc features many of the highlights, including both breezy swingers and dusky ballads. Ranging from an incredible bop long-player with trumpeter Donald Byrd ("Tanya") to one of his patented after-hours smoothies ("Don't Explain"), Gordon reveals his large store of talent with solos that are both intricate and beguiling, and that's his mode for a set that also takes in bossa nova ("Soy Califa") and some fetching originals ("Cheese Cake"). Gordon novices should start here.

There was a time in the 1960s when US Top 40 radio and record sales were dominated by British invasion bands like The Beatles, The Rolling Stone, The Kinks and The Who. The US had a few answers, but none more potent, or competent, than The Byrds, who had a string of incredible singles and classic albums, and were able to evolve with the times, from folk rock, through psychedelic rock before finally settling into the country rock genre…

Welcome to Long Beach 1971, the latest album in earMUSIC's Deep Purple reissue series that, over the last two years, has seen the release of rare live material from the band. It was recorded at Long Beach Arena in Long Beach, California, on July 30, 1971, and was broadcast on radio (KUSE 91.5 FM), a showcase for a support performance to Rod Stewart and The Faces. An official release for a concert that has long been considered a landmark for the band, the set featured tracks ( Speed King and Child in Time ) from their fourth studio album, June 1970's Deep Purple In Rock. This was a transitional release for the Mk II version of the band, being their first hard rock affair as well as their commercial breakthrough as the third leading über rock band of the day along with Black Sabbath and Led Zeppelin.

The Charles Mingus Quintet & Max Roach is an album by Charles Mingus, recorded at the Café Bohemia in December 1955 and released in 1964. Further recordings from the concert were released under the title Mingus at the Bohemia. The Mingus/Roach/Mal Waldron dialogs overcome the ordinary stylings of Eddie Bert and George Barrow.