Sarah Brightmann

On September 24th 1973, Sarah Vaughan climaxed a tour of Japan with a concert at Sun Plaza Hall in Tokyo. Fortunately this is not one of these extraordinary musical events that endure only in the memories of those in attendance. The concert was recorded and the result ranks among the most durably rewarding of all of Sarah Vaughan's albums. In my own view, this two-volume triumph is matched only by a Gershwin set Sarah recorded some years ago under the aegis of Bobby Shad who also produced this album. Sarah's transmutation of Gershwin songs is no longer available according to the Schwann catalogue and therefore this Tokyo revelation of the full range of Sarah's prowess is all the more valuable.

Following the phenomenal success of the first Mozart y Mambo album, Sarah Willis returns to Cuba not only to record two more Mozart horn concertos but also to create a landmark original work that takes its place in Cuban music history. In Mozart y Mambo - Cuban Dances , Sarah commissions the very first Cuban horn concerto – calling on six young talented Cuban composers to each write an original dance for solo horn, strings, and percussion inspired by the most famous dance rhythms from across different regions of Cuba. Together with her beloved Havana Lyceum Orchestra conducted by José Antonio Méndez Padrón, Sarah takes us on a cross country musical road trip in this spectacular showcase of the roots and traditions of Cuba’s music and dance. Cuban Dances is Cuban music as it has never been heard before and a huge challenge for the horn player, not only technically but physically – “if you can’t dance it you can’t play it” she was told. So dance it she did! Mozart y Mambo - Cuban Dances is full of magic, energy, and passion, and Sarah’s love for Cuban music is evident in every track.