Virginia Biano Mathis

Johnny Mathis was billed on his very first album as “A New Sound in Popular Song.” In the decades since that 1956 debut, the vocalist has always explored new avenues in pop from Latin music to Philly soul. But the most adventurous of Mathis’ 60-plus albums may be the one that got away…until now. In late 1980, Johnny teamed up with the white-hot CHIC production team of Nile Rodgers and Bernard Edwards, fresh off triumphant collaborations with artists including Sister Sledge and Diana Ross, for I Love My Lady. Mathis took his voice into new, uncharted territory on eight anthemic, club-ready tracks that pushed the envelope of rhythm and blues as they incorporated funk, jazz, disco, and dance rhythms.

Born in 1994, bassoonist Mathis Stier not only won second prize at the 2019 ARD Competition, but was also awarded the coveted Audience Prize. Mathis Stier has a natural affinity with the music of the 18th century and the three works which he has chosen for his ALPHA debut demonstrate its principal characteristics: Baroque, Empfindsamkeit / Sturm und Drang and Viennese Classicism. The composers J.S. Bach, Johann Wilhelm Hertel and W.A. Mozart represent three generations: father, son and grandson. The conventions of each previous generation are questioned, musical boundaries are broken down and new paths are taken, until the generational revolt finds its way back to more conventional channels. This is how Mathis Stier describes the phenomenon: "Musically, the Mozart Concerto represents the classical bassoon and is probably the best-known work in the original literature. Hertel's concerto, on the other hand, is unusual and fairly unknown even among bassoonists. It deserves to be more widely known, however, because it is an exceedingly remarkable and idiosyncratic piece.

Few crooners can claim that name with as much authority as Johnny Mathis. Although his style may seem rather old fashioned to those who grew up on rock & roll, Mathis’s rich, vibrato-heavy voice and interpretative knack made him remarkably popular in the 1950s and ‘60s. This disc, which spreads 10 tracks, features “Chances Are,” “Wonderful! Wonderful!,” “(Where Do I Begin) Love Story,” and a slew of other Mathis classics. Longtime fans are sure to find many of their favorites, and newcomers to Mathis will find this a fine place to start.

The early 1970s was a tough time for established ballad singers, but Johnny Mathis, who was younger than his peers and Columbia Records labelmates like Tony Bennett and Andy Williams, weathered the lean times better than most. Some of the reasons why are suggested in this 1973 album. It wasn't a big seller by any means, but this enjoyable, contemporary-sounding set made the charts. Basically, all Mathis did was turn on the radio and cut a bunch of soft rock and easy listening hits of the time the title song, a chart-topper for Roberta Flack, Bread's "Aubrey," Perry Como's "And I Love You So," the Stylistics' "Break Up to Make Up," Gladys Knight & the Pips' "Neither One of Us (Wants to Be the First to Say Goodbye)," Skylark's "Wildflower," Stevie Wonder's "You Are the Sunshine of My Life," the Carpenters' "Sing," and Diana Ross' "Good Morning Heartache."