Optimize With Brian Johnson

In the summer of 1968, Julie Driscoll, Brian Auger And The Trinity were delighting audiences the world over. Their performance at the Montreux Jazz Festival, released for the very first time, was sourced from the original tapes, and contains a never-recorded Brian Auger original, ‘Along Came Zizzi.’ The booklet includes an interview with Brian Auger recalling his memories of the festival show, as well as live photos.

On the cover of this album you can see a picture of New York taken in Hoboken, New Jersey where we recorded these tracks. To me it represents the beauty of a familiar place seen from a different perspective. I come from a small town in Austria called Judenburg. If my family when I moved to the next bigger city, Graz, it felt like the navel of the world. Graz is considered provincial for the Viennese.

The Cenci (1951–52) is Havergal Brian’s operatic realisation of Shelley’s gruesome tale of incest and parricide in Renaissance Italy. The score calls it simply ‘Opera in Eight Scenes’, but it rarely goes in for grand tunes; instead, its dark colours reflect Shelley’s fascination with the struggle between good and evil. Stylistically, it is an unusual but highly effective hybrid: a music-drama focused on the intense delivery of Shelley’s text, with the declamatory style of the vocal lines echoing such recent oratorios as Stravinsky’s Oedipus Rex and Honegger’s Jeanne d’Arc au bûcher, and the freewheeling orchestral writing producing something of a vocal symphony.

At 3:30 a.m. on April 11, 1933, neighbors and firefighters arrived at the farmhouse of Albin and Alvira Johnson to find a smoldering heap where a seemingly happy home once stood. Beneath the ruins, investigators found the bodies of Alvira and her seven children, but Albin's remains were nowhere to be seen. The authorities determined that Alvira and the children were dead before the fire, and fingers immediately pointed to Albin.