Nino Bravo – Duetos (2) (1997)

This two-CD set is that odd musical griffin: a live disc plus a studio disc. While the live material is rendered well, it's dispiriting that two of Yes' three live albums of the '90s rehash material adequately covered in Yessongs and Yesshows. While the appearance of Steve Howe's classical guitar on the lovely "Turn of the Century" is a pleasant surprise, the rest of the live album is nothing that you haven't heard before…

The music on this 1997 two-CD set was originally on two LPs and already previously reissued as a pair of CDs. Guitarist Kenny Burrell leads a very coherent jam session in the studio with a particularly strong cast that also includes trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, either Duke Jordan or Bobby Timmons on piano, bassist Sam Jones, and drummer Art Blakey. The material consists of basic originals and standards and has excellent playing all around; six of the nine tunes are over nine minutes long. At that point in time, Cook and Brooks had similar sounds, but, fortunately, the soloists are identified in the liner notes for each song.

Lenny Ibizarre is a Danish producer and musician from Copenhagen. He broke into Ibiza's music scene in 1997 with his debut album The Ambient Collection: "An amalgamation of slow-burning funked-up retro-grooves clad in subliminal soundscapes of tender melancholy and inner peace", as the press put it at the time. The album received great reviews from both the critics and chill-out DJs such as Jose Padilla from Cafe Del Mar with whom Lenny remixed and co-produced for a period of time. Within a year Lenny was remixing artists such as the Doors, Bob Dylan and Bob Marley. His Remix of Riders on the Storm made its mark and Lenny was called to produce his first movie soundtracks. Since 1997, Lenny Ibizarre has produced 12 albums and is a multi-platinum selling artist. His Chilled Ibiza Compilations sold over 1.5 million copies in the UK. The Ambient Collection reached its 7th edition in 2007…

The macabre irony of The Widow’s Party is ghoulishly cheery – the first of six Kipling tracks. They’re not all vocal either. Try the soulful The Running of Shindand and Tiger-Tiger each for five cellos. The sequence concludes with the caramel orient sunset of The Love Song of Har Dyal. Country Gardens plays touchball with Schoenberg in the delightfully grating and ringing Barry Peter Ould-realised version. Scotch Strathspey and Reel is one of Grainger’s most treasurable pieces – about as far away as one could get from the fatuities of tartan culture and pretty sea-shanties. It makes connections far more often with the idiom of The Warriors and of whirlingly possessed dances from the Caledonian highlands.

Maxim Vengerov's splendiferous Strad pours reedy-rich tones from its lower register and sings the sweetest high notes this side of Jascha Heifetz, without the least hint of an undesirable sound or mistuned note. Vengerov's impeccable technique and mature musicianship consistently place him at the top of today's young generation of violinists. Here he plumbs Prokofiev's emotionally charged concerto and finds its unadorned essence–especially memorable in the sensuous slow movement and the exuberant finale.

Hermann Max keeps on impressing me with his interpretations (I've heard his Bach Matthew passion and liked it very much). In this case he brings together a reverent but emotionally filled production of just a few of the many, many, many Telemann choral pieces that have been neglected over the years. Special praise goes to the counter-tenor Cordier, the tenor Wilfried Jochens, and the two basses Wimmer and Shreckenberg.