Tobias Henz, Gerald Langhanke

Tobias Hume (c.1570-1645) was a professional soldier and a ‘gentleman’ (read amateur) composer, and virtuoso of the bass viol. His Musicall Humors (1605), a large collection of solo pieces, is the first publication devoted to the lyra viol, a style of playing that treated the instrument polyphonically, like a lute. Hume reveals himself as a distinct, even eccentric, personality, and an inventive composer, expanding the viol’s normal range with such unusual devices as col legno (‘Drum this with the backe of your Bow’). Jordi Savall’s cultivated, elegant style is very appropriate for much of the music; occasionally he adopts a more earthy manner to great effect – for example in A Souldiers Resolution, with its trumpet and drum imitations.

The first five chronologically sequenced tracks of this compilation mirror the rise of the smooth-jazz radio phenomenon. "So Amazing," "Bermuda Nights," "In the Mood," "My, My, My," and "Anniversary" are all still staples of the format. Released between 1987 and 1990, all (except the second one) are covers of popular R&B tunes, and they still sound fresh. These songs alone make this an excellent collection for smooth-jazz fans. Starting with his fifth album, Live at Birdland West, the exciting tenor saxophonist became a little more adventurous, often completely crossing that broad line that separates smooth jazz from contemporary electric jazz. Two duets–one with Lee Ritenour, "G & Lee," and "Boss of Nova," with Joe Sample–are two examples of his playing that sets Albright apart from most saxophonists who are tagged with the smooth-jazz label. Serious Albright fans may not appreciate the absence of his popular duets with his frequent partner, vocalist Will Downing, but that aside, this is a worthy summation of Albright's successful tenure at Atlantic Records.

The works for viola da gamba of Elizabethan soldier and composer Tobias Hume are wonderfully eccentric, highly entertaining, and often deeply moving, but not often recorded, so new recordings are always welcome. This 2009 Hyperion disc by German gambist Susanne Heinrich may not be the most poetic, soulful Hume recording ever made – that honor would go to the incomparable Jordi Savall – but it is nevertheless a fine addition to the composer's catalog. With her warm but penetrating tone, polished but passionate technique, and acute sensitivity, Heinrich is a first-class player and interpreter, and her performances are wholly sympathetic to the music. Her account of the bleak "I am Melancholy" is as effective as that of the droll "Tickell, tickell," and her reading of the cheerful "Life" is as moving as that of the grim "Deth." Recorded in transparent and present digital sound, this disc deserves to be heard by all admirers of music for viola da gamba.

Gioachino Rossini was summoned to Paris in 1824 to breathe new life into its opera culture, and one of his most exciting innovations in this period was the creation of an entirely new genre of opera comedy. The risqué tale of Le Comte Ory had its origins in vaudeville theatre and is based on the story of a villainous Count who attempts the seduction of Countess Adele as she awaits the return of her husband from the Crusades. Le Comte Ory is the last of Rossini s comic operas, making full use of the libretto s farcical disguises and humor in one of his most colorfully orchestrated scores. This production, staged by Linda Mallik, features the Malmo Opera Orchestra and Chorus with world renowned soloists Leonardo Ferrando as Count Ory and Erika Miklosa as Countess Adele.