Thomas Thallis

René Thomas (1927-1975) was considered the best European jazz guitarist of his generation by fellow musicians and critics, but his career was marred by the pervasive skepticism of jazz fans. Despite trying hard to carve his own space, he never obtained the recognition he deserved for his immense talent, perhaps because of his introverted character and prolonged withdrawals from the scene.

Overlapping textures and soft, shifting timbres are the most recognizable features of Morton Feldman's music, and his attractive sonorities draw listeners in ways other avant-garde sound structures may not. This music's appeal is also attributable to its gentle ambience, a static, meditative style that Feldman pioneered long before trance music became commonplace. The three works on this disc are among Feldman's richest creations, yet the material in each piece is subtly layered and integrated so well that many details will escape detection on first hearing. In Piano and Orchestra, the piano is treated as one texture among many, receding to the background and blending with muted brass and woodwinds in a wash of colors. Cello and Orchestra might seem like a conventional concerto movement, especially since the cellist is centrally placed on this recording and plays with a rather lyrical tone. However, Feldman's orchestral clusters are dense and interlocked, which suggests that the cello should be less prominent and blend more into the mass of sounds behind it. No such ambiguity exists in the performance of Coptic Light, which Michael Tilson Thomas and the New World Symphony Orchestra play with even dynamics and careful attention to the work's aggregate effect, which is mesmerizing.

Cellist Camille Thomas’ program of beautiful cello arrangements invites us to find hope amid uncertainty, to see light in the darkness. From Purcell’s grief-stricken “When I Am Laid in Earth” to Bruch’s yearning “Kol Nidrei” and Dvořák’s nostalgic “Songs My Mother Taught Me,” Thomas finds beauty deep within pain. But in Donizetti, she celebrates the power of love, in Wagner gentleness, and in Mozart steadfastness. Fazil Say’s 2017 Concerto for Cello and Orchestra, “Never Give Up”, a musical response to the terrorist attacks in Paris and Istanbul, is searing and often upsetting, cello flowing like tears, orchestra twisted, demented. Birds bring peace, at last, to a modern masterpiece that confronts anguish and distress with strength and optimism.

On this album from 1963, Thomas led a quintet featuring saxophonist and flutist Jacques Pelzer, organist Lou Bennett, bassist Gilbert Rovere and drummer Charles Bellonzi. Thomas' sound in the early 1960s was ambitious, robust and modern, with enormous optimism built in. He employed a spirited technique that never gave hint that a pick was being used on the strings. Imagine a woodpecker hammering away on a rubber tree. Add Bennett's organ, and the group's sound was remarkably cool and distinctly European - swift but never frantic.
The album opens with Meeting, an up-tempo, catchy swinger that today would be perfect for a radio-show opener. If You Were the Only Girl in the World is another swinger that displays Thomas' graceful attack…