Vetta Borne

Three CD clamshell box conaining all the Jade Warrior albums issued on the legendary Vertigo label in 1971 and 1972. Formed in 1970, JADE WARRIOR were one of the most original British bands to emerge during the Progressive Rock era. Signing to Philips' progressive Vertigo label, the band recorded their self-titled debut album in March 1971. A remarkable work, 'JADE WARRIOR' would be the template upon which the band would build their unique sound - venturing stylistically between ethnic music, melodic, gentle ethereal and ambient sounds and heavier guitar driven rock. Upon it's release the album was acclaimed by critics and has since acquired legendary status for it's sheer inventiveness. In November 1971, the band's second album, 'RELEASED', was issued. For the sessions the band had now expanded to a quartet with drummer ALLAN PRICE adding a new character to the band's sound. The sessions also featured a guest appearance from saxophonist DAVE CONNORS. 'RELEASED' was a huge progression from the band's debut and featured such classic tracks as 'THREE-HORNED DRAGION KING', 'EYES ON YOU' and the epic 14-minute piece 'BARAZINBAR'. 'LAST AUTUMN'S DREAM' was the band's third and last album for Vertigo and was arguably the most fully realised album by Jade Warrior during their tenure with the label, featuring such classic tracks as 'A WINTER'S TALE', 'SNAKE', 'DARK RIVER' and 'BORNE ON THE SOLAR WIND'. This Esoteric Recordings celebrates the early years of one of Britain's most unique progressive bands and features an illustrated booklet with essay.

In 2017 MAZE gave a stunning interpretation of Jitterbug at the Tactile Paths Festival in Berlin, full of subtle detail and fluid energy. That they have returned to the work now - and have also created this beautiful realization of bayou-borne, for Pauline - is something for which I am deeply grateful.

Exploration, the brand new album by Noémi Győri and Suzana Bartal is out next week. In Noémi’s own words this record “strives to celebrate the act of ‘playing’ both in composition and in performance, through this versatile collection of romantic works for flute and piano, which together capture the essence of expressive music-making through the playful act of variation in works by Schubert, Blahetka, Beethoven and Borne.”

Boston born composer Sid Richardson releases his debut recording, shaping the program around literary influences that have had a strong impact on his work.

Puccini’s Manon Lescaut with Ana María Martínez, Orquestra de la Comunitat Valenciana, Coro de la Generalitat Valenciana and conductor Plácido Domingo is the dark story of love, betrayal, jealousy and death. Manon calls for dramatic, forceful performances and gets the full treatment here in this new studio recording.

Russian soprano Anna Netrebko made a well-publicized debut at New York's Metropolitan Opera in 2016, and this live concert performance from the Salzburg Festival, recorded the same year with many of the same forces, was perhaps intended to capitalize on the event.

It's hard to imagine another orchestra and chorus coming as close to perfection as the LSO do on this disc. With even tempo, clear articulation and well-mannered dynamics throughout, like Handel himself would have felt his composition was given as fine a treatment as any. The piece itself needs no introduction. If the climax on this recording of the Hallelujah chorus doesn't send chills down your spine while simultaneously uplifting your soul, well, I don't know what will! Absolutely magnificent.

One of the most welcome releases of the year is Nikolaus Harnoncourt's new "Messiah" with the Concentus Musicus Wien… what makes this recording so satisfying is the warmth, serenity and pliant lyricism of the performance. We have come to expect fleet tempos from the early-music movement. If anything, Mr. Harnoncourt's tempos, over all, are spacious. The sweet-voiced tenor Michael Schade is given such freedom to shape the phrases of the accompanied recitative "Comfort ye my people," that you listen to these words as if you had never heard them before…The soprano Christine Schäfer and the alto Anna Larsson also do radiant and affecting work. The chorus sings with impressive clarity and full-bodied yet unforced sound…Mr. Harnoncourt adheres to the manuscripts and editions of the work he deems the most reliable, especially with regard to the size of the string ensembles in the various movements. But you will not be thinking about scholarly matters while listening to this revelatory recording.