Neil Davis

The title of this latest release from bassist Neil Swainson is fitting: HERE FOR A WHILE. Amen to that. At 68, he’s had not just a long career, but a most distinguished and impactful one. In Canada and internationally, a world-class musician.

The title of this latest release from bassist Neil Swainson is fitting: HERE FOR A WHILE. Amen to that. At 68, he’s had not just a long career, but a most distinguished and impactful one. In Canada and internationally, a world-class musician.

If you’re a Neil Diamond fan, the latest entry in our songwriter series is a no-brainer must-have. For starters, it collects 11 of the songs Neil wrote during the 1963-1969 timeframe that is its purview, but has never himself recorded. Among the numbers he gave away are the Monkees’ ‘Look Out (Here Comes Tomorrow)’ (heard here in the unique mix used on the original television broadcast) and Jay & the Americans’ ‘Sunday And Me’.

In the sweepstakes for longest time between albums, bassist Neil Swainson finally follows up his 1987 debut 49th Parallel with this year’s Fire in the West. With a love for Miles Davis’ fifties combos and experience playing in the bands of George Shearing and Woody Shaw, it’s no surprise that Swainson goes right for the hard bop jugular here. He lays it down right out of the gate with the opening title track: trumpeter Brad Turner (evoking Shaw) and saxophonist Kelly Jefferson share riffs and solos, pianist Renee Rosnes supports them with beautifully melodic comping (and fiery solos of her own), and Swainson and drummer Lewis Nash keep the rhythm swinging. Standards thus set, Swainson and company uphold them, whether on high energy boppers like “Cascades” and “Kyushu,” relaxed swingers like “Standing Back” and “Near North,” or creamy ballads like “Fool’s Gold” and the gorgeous “Gone Away.”

This is Colin Davis' third recording of Hector Berlioz's great oratorio and it may be the best. Under his baton, the music flows without undue haste or stodgy piety. Berlioz was a consummate dramatist, even in this uncharacteristic work that often hearkens back to archaic musical forms to evoke the Biblical story. The singers are all outstanding, especially tenor Yann Beuron as the Narrator, whose pure tones and sincere delivery bring continuity to the tripartite structure. Karen Cargill as Mary and William Dazeley as Joseph bring welcome interpretive simplicity to their roles, while Matthew Rose and Peter Rose bring their ample bass instruments to such key roles such as Herod and the Householder. The LSO always plays at its best for Davis, and here it is a major attraction given the extensive orchestral sections of L'enfance du Christ.

Despite giving titles to the majority of his symphonies, Danish composer Carl Nielsen was often vague about what influenced each work. Nevertheless he was a master symphonist and his music is mesmerising, combining propulsive energy with lyrical invention. These recordings, made during Sir Colin Davis’ ‘Indian summer’ with the orchestra, are acknowledged to be amongst the finest recordings ever made of this repertoire, receiving numerous awards.

Despite giving titles to the majority of his symphonies, Danish composer Carl Nielsen was often vague about what influenced each work. Nevertheless he was a master symphonist and his music is mesmerising, combining propulsive energy with lyrical invention. These recordings, made during Sir Colin Davis’ ‘Indian summer’ with the orchestra, are acknowledged to be amongst the finest recordings ever made of this repertoire, receiving numerous awards.