Western, 1997

This recording presents a liturgical reconstruction of the Vigil for the Feast of St Joseph, the monastery founder. The music on this disc consists of 17th century chant originating from a collection of manuscripts originating from the library of the Volokolamsk Monastery, with other early manuscripts from between 1540 to 1560 and one from around 1670 being used to aid with the reconstruction. The Volokolamsk monastery library originally contained a collection of 48 chant manuscripts which provide crucial documentation of Russian chant from between the 15th to 17th centuries.

On this continually interesting CD, the Manhattan Transfer revisits tunes from the swing era, in some cases re-creating (through vocalese) specific recordings. Benny Goodman's 1935 version of "King Porter Stomp," Bennie Moten's 1932 recording of "Moten's Swing," Glenn Miller's "I Know Why," Charlie Barnet's "Skyliner," and Fletcher Henderson's exciting arrangement of "Down South Camp Meetin'" are among the many highlights. The vocals are superb (particularly Janis Siegel and Cheryl Bentyne), although one wishes that the individual members had more of a chance to improvise within the style. The backup groups are different than one would expect, including the Western swing band Asleep at the Wheel, violinist Mark O'Connor (Stéphane Grappelli makes a special appearance on "Clouds"), and steel guitarist Buddy Emmons. Recommended.

Swiss harpist Andreas Vollenweider continues his exploration of world fusion on this ambitious, genre-blending release. In addition to the usual presence of Vollenweider's electrified harp, on which he manages to combine the instrument's lush, classical sound with unusual rhythmic effects and uncharacteristic tones, Kryptos boasts a range of other instruments, including flutes, synthesizer, human choruses, and a variety of percussion.
Stylistically Vollenweider draws on African influences, Greek folk songs, Celtic airs, contemporary Western classical, and dramatic film music. Vollenweider also has a soft spot for mythological themes, as on "Hermes' Wedding" and "Circulus Finalis," which recounts the travels of a hero in musical terms. Vollenweider is clearly building on his successful albums of the early 1980s with Kryptos, expanding the reach of his music to encompass the globe.

Grechaninov’s long life (1864-1956) covered much, from birth in Moscow and training with Rimsky-Korsakov to exile when he was already old, and death in New York. His quiet Russian lyricism never left him, and his idiom did not range as wide as his experience. The Missa festiva is one of several attempts at reconciling Eastern and Western traditions, and to this Orthodox composer’s surprise it won a prize in 1937 for a setting of the Catholic liturgy. As in his subsequent Missa oecumenica, he tries to bring together different styles, making use of Gregorian-influenced melodies but avoiding the use of polyphony in favour of a more chordal, Russian manner; however, there is an important part for the organ. The most successful movements are the closing “Benedictus” and Agnus Dei, where his essential gentleness finds touching expression.

Swiss harpist Andreas Vollenweider continues his exploration of world fusion on this ambitious, genre-blending release. In addition to the usual presence of Vollenweider's electrified harp, on which he manages to combine the instrument's lush, classical sound with unusual rhythmic effects and uncharacteristic tones, Kryptos boasts a range of other instruments, including flutes, synthesizer, human choruses, and a variety of percussion.
Stylistically Vollenweider draws on African influences, Greek folk songs, Celtic airs, contemporary Western classical, and dramatic film music. Vollenweider also has a soft spot for mythological themes, as on "Hermes' Wedding" and "Circulus Finalis," which recounts the travels of a hero in musical terms. Vollenweider is clearly building on his successful albums of the early 1980s with Kryptos, expanding the reach of his music to encompass the globe.