Pont Neuf

Rabih Abou-Khalil's ninth Enja release features one of his most expansive lineups to date - 8 pieces in all, including oud, brass, woodwinds, cello, and percussion. It's quite a departure from 1999's austere Yara. Here the tempos are bright, the unison lines darting and difficult, the improv heated, the tonal combinations ever-changing. Heavy-hitting jazzers dominate the band roster, including Dave Ballou and Eddie Allen on trumpets, Tom Varner on French horn, Dave Bargeron on euphonium, Antonio Hart on alto sax, and Ellery Eskelin on tenor sax. Gabriele Mirabassi's clarinet gives the music an almost klezmer-like sound at times (a tantalizing instance of Jewish-Arab reconciliation).

In the turmoil of our times, "Earth" is a musical inspiration towards a realm of light and hope. Full of inviting warmth, the 14 songs allow a return to what is essential and unifying in life. Carefully crafted from the enormous wide-ranging collection of previous works, the 20th Lemongrass album blossoms as an organic fusion with great lightness and elasticity. Roland Voss aka Lemongrass is drawing inspiration from what surrounds him, forming a weightless amalgamation of organic sounds, garbed in shimmering electronica. Stylistic influences range from Jazz-tinged rhythms, profound Ambience up to Modern Classical.

Nino Rota’s reputation outside Italy as, at best, a civilised purveyor of minor theatre music is turning out to be hardly even a half-truth. BIS’s series of his symphonic and chamber works, and Chandos’s of the concertos, reveals a composer of incisive gifts and technical brilliance. Civilised the music certainly is, but often far more than that, its pervasive wit enhancing rather than detracting from the elegant suggestions of deep feeling. The wise and wily ‘neo-classicism’ of the Third Symphony sets out like an exercise in updated Mozart, but though Prokofiev’s Classical Symphony is brought to mind it soon becomes evident that a strain of acid melancholy undercuts the dapper phraseology. The model here, if there is one, seems more likely to be late Busoni, with disturbing cross-currents just beneath the surface. The Concerto festivo, more obviously a display piece, takes Italian opera genres (aria, cabaletta, etc) and reinterprets them in fairly irreverent orchestral terms, while the ballet music that Rota produced for the tercentenary of the death of Molière – almost his last work –insouciantly mixes Baroque, modern and popular styles, just as it mixes merriment and melancholy, with constant technical brilliance and utter lack of pomposity. The Swedish performers take to the Italianate gaiety as to the manner born. A delightful disc.