Harold Davis

It was hard to miss Sammy Davis Jr. during the 1960s, as he was prominent on the radio with a number of hits, as well as singing, dancing, and doing comedy on TV and acting in films. Yet the contributions of this talented entertainer have been overlooked since his death in 1990. Harold Mabern has long thought of paying tribute to him and this 2012 release conveys the joy of Davis on-stage, even without vocals. The pianist is joined by tenor saxophonist Eric Alexander, bassist John Webber, and drummer Joe Farnsworth, with a mix of songs from musicals, movies and Davis' hit records. The quartet's swinging take of "Mr. Lucky" features strong solos by Mabern and Alexander, a working relationship that dates back to the dawn of the tenor saxophonist's career two decades earlier.

…There are some thrilling moments in a well-paced interpretation, it’s Colin Davis who takes top honours with a brilliant account of Harold in Italy, probably Berlioz at his most eccentric in those sudden outbursts - something he started back in 1830 with the Symphonie fantastique, and there are many points in the first movement when one could seamlessly pass into that work. The fine violist Nobuko Imai is a wistful Harold.

Colin Davis is arguably the finest Berlioz conductor in the world; both of his recordings of Les Troyens are magnificent and elsewhere he's rarely bettered. His winning streak continues with this live performance with the LSO of Harold in Italy and the ballet music from Troyens. Tabea Zimmermann's solo viola is as grand, brilliantly flavorful, and picturesque as the LSO's playing; and the entire performance swift and rhythmically propulsive is simply fantastic.

Legendary composer, arranger, pianist, educator, and leader Harold Mabern returns with another Smoke Sessions recording, the engaging album “To Love and Be Loved”. He brings a sextet of exceptional musicians featuring the fabulous tenor saxophonist Eric Alexander, legendary drummer Jimmy Cobb of Miles Davis “Kind of Blue” fame, protean trumpet master Freddie Hendrix, and the facile double bassist Nat Reeves, with percussionist Cyro Baptista, in his only appearance, enlivening the song, “To Love and Be Loved”. Mixing up the musicians, Mabern uses quartet, quintet, and sextet sized configurations, and plus a mesmerizing solo piano performance. This recording also especially provides more examples of the power, invention, and empathy that is shown by the long-term Harold Mabern and Eric Alexander association which has enlivened so many wonderful recordings.

Gardiner here follows up his previous Philips Berlioz recordings with the Orchestre Revolutionnaire et Romantique – the Symphonie fantastique (6/93) and the rediscovered Messe solennelle (4/94) – with a searingly dramatic account of the later programme symphony, Harold in Italy. If anything this performance is even more biting in its impact, with textures transparent yet with plenty of weight, not least in the heavy brass. In a commentary on Berlioz and the conductor – shown recently on television – Gardiner puts as the first two of the conductor’s functions “to set the emotional temperature of the piece” and “to indicate the kaleidoscopic changes of mood that so characterize the music of Berlioz”.