Seven (1995)

Does this five-CD box set feature an abundance of essential material? Certainly. It has all four of the studio albums released by the Lou Reed-led lineup, and a wealth of previously unreleased goodies. Is it an essential purchase? That depends on your level of fanaticism. Most serious Velvet fans have all four of the core studio albums already (although the third, self-titled LP is presented in its muffled, so-called "closet" mix), and will be most interested in the previously unavailable recordings, which do hold considerable fascination…

Ronald Brautigam's piano playing throughout the concertos for piano and orchestra has all the vitality, expression and nimble finger work you would want. Conductor Lev Markiz keeps his players in check during the soloist's star-turns yet responds with verve when required.

Esa-Pekka Salonen’s restless innovation drives him constantly to reposition classical music in the 21st century. He is currently the Principal Conductor and Artistic Advisor for London’s Philharmonia Orchestra and the Conductor Laureate for the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009. This season is his second of three as the Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, and his first of five years as Artist in Association at the Finnish National Opera and Ballet.

Purcell’s fifteen Fantazias have come down to us as a manuscript kept at the British Museum, most of whose pieces are dated. As they would not have aroused any interest at the time, the young composer did not even attempt to have them published, and they only appeared in print, edited by Peter Warlock, in 1927! This unique collection of pieces of from three to seven parts, a true “sum” of polyphonic thinking, to which only Bach’s Musical Offering and Art of Fugue may be compared, are the product, incredible as it may seem, of a very young composer of twenty-one at the beginning of his all too-short career. Written during the summer of 1680, they bring two centuries of uninterrupted instrumental tradition in England to a crowning conclusion.

After the strong success of the band, not only in Europe but also overseas, the band opted this time for English lyrics. Also, young Polish singer/guitarist Robert Amirian was chosen to join the new lineup (a new bass player was also added). The baptism in fire for this new lineup was a charity gig with Uriah Heep. So the idea of new arrangements of John Lennon songs was chosen and the band entered Wilanów Studio and registered several songs. Nine were chosen: seven by Lennon and two by Lennon and Paul McCartney. The band profoundly changes the songs to a progressive rock style (listeners can trace some Pink Floyd influences in some arrangements) and the results were the best possible. Not only progressive rock lovers but also Beatles fans will highly appreciate this CD, full of melodic, symphonic, and vigorous tunes.

There isn't exactly a shortage of Rossini overture recordings on the market, but there are surprisingly few of them done on period instruments in historically informed performances. For the past couple of decades the two leading contenders in this specialized field have been Roy Goodman's recording with the Hanover Band, reissued here by Newton Classics, and Roger Norrington's renditions with the London Classical Players on EMI (now Warner Classics). Of the two, Norrington is probably the more refined, more cultured, but I've never been entirely sure that was what every prospective buyer of a period-instruments recording wanted. Goodman's accounts appear just as well played but a bit more rustic and bucolic. It's good to have them back in this mid-priced release.

The disc Astrée E 8544 accommodates four sacred cantatas none of which commence with the customary choral movement. Cantata Ich bin ein guter Hirt (I am the Good Shepherd), BWV 85 is in six movements and is intended for Misericordias Domini (the second Sunday after Easter). It was first heard in 1725. All four soloists are deployed with a four-part chorus that appears in the very short last movement chorale. Bach chose to use a pair of oboes and a piccolo cello in addition to the strings and basso continuo.

These recordings with the exception of tracks 8, 9, 10, and 11 were originally released on LP in 1983 by Murray Brothers Records under the title "Johnny Dyer and the L.A. Jukes". Untill now, they have never been available on compact disc. This reissue is Johnny's debut album. Produced by Rod Piazza. "Breezy jump rhythms, clear-toned guitar solos, playful breaks and novelty melody lines…is pure West Coast, as are Dyer's smooth vocals." "Characteristic style and a cut-loose approach to playing."