Songs of Praise

Not very many reggae albums acknowledge Alan Lomax in the credits. But then, African Head Charge (a band with a constantly changing membership led by percussionist Bonjo Iyabinghi Noah) doesn't really make typical reggae albums. Although the one-drop beat (provided on this album by Lincoln "Style" Scott) influences everything and the basslines have a typical tidal undertow, the stuff that Noah layers on top of the mix has more to do with ethnomusicology than the dancehall. The song titles say it all: "Cattle Herders Chant," a field recording of call-and-response chanting overlaid with Nyahbinghi drums and highlife guitar; "My God," eerie, minor-key African-American church singing supported by a chugging reggae bassline, bare-bones drumming, and the sound of running water; "Deer Spirit Song," an unidentifiable indigenous song in 9/8 meter with a gently driving rockers beat and occasional sound effects thrown in. This is an exceptionally beautiful album, but in a deeply strange way.

Dave Brubeck - Sacred Choral Works: Songs of Praise - Pacific Mozart Ensemble (2010) {Dorian–Sono Luminus ‎DSL-92101}
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© 2010 Dorian Recordings / Sono Luminus ‎| DSL-92101
Classical / Choral / Jazz / Sacred Music

Dave Brubeck is one of the most well-known jazz pianists of all time. Mr. Brubeck is also a fluent, developed musician, exploring new avenues in composition and performance including his many choral compositions. Lauded around the world, Mr. Brubeck just received the prestigious Kennedy Center Honor in December 2009. This album, featuring premiere recordings of the Sacred Choral music (less "Sleep Holy Infant, Sleep") of Mr. Brubeck, performed by the GRAMMY nominated group The Pacific Mozart Ensemble for whom some of the pieces were written and Mr. Brubeck has worked closely with. The album also features the Multi-GRAMMY nominated ensemble Quartet San Francisco who most recently has received 2 nominatioins for the 52nd Annual GRAMMY awards.

Recorded in 1995, this Esther was first issued as Collins Classics 7040-2 early the following year. Like Hogwood, Harry Christophers recorded the original 1718 version of what has gone down in history as Handel’s first English oratorio.
In point of fact, the complex and still largely unresolved history of Esther suggests that it was not originally composed as an oratorio at all, but rather as a staged work that would have formed a companion to the near-contemporary Acis and Galatea.