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Tin Hat Trio - The Rodeo Eroded (2002) {Ropeadope–Rykodisc RCD 16016}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 303 Mb | MP3 @320 -> 127 Mb
Full Artwork @ 300 dpi (png) -> 132 Mb | 5% repair rar
© 2002 Ropeadope / Rykodisc | RCD 16016
Jazz / Chamber Jazz / Jazz Folk / Jazz Blues / Creative Music / Classical

San Francisco's nearly un-catagorizable Tin Hat Trio deliver another set of improvisational accordion-fueled Eastern European spaghetti western epics on their third album, The Rodeo Eroded. Mixing a Tom Waits-esque broken carnival feel and quietly sweet melodies, the trio waltzes their way through 15 tracks, occasionally augmenting their standard guitar-accordion-violin lineup with tuba, harmonica, celeste, banjo, and any number of instruments.

This CPO issue of Johann Georg Conradi's 1691 opera Ariadne is based out of a revival of this obscure work produced in 2003 as part of the Boston Early Music Festival. One might be surprised to see the name of Conradi above the title of such a large opera set – has anybody really heard of this guy? What is up with this opera?
German Baroque opera has spent centuries in the shadows. At one time this entire historical genre was considered of only marginal value when held up to the shining example of George Frideric Handel. Closer examination of the topic reveals that this was one man's opinion, namely that of nineteenth century musicologist Friedrich Chrysander.

The prizewinning Boston Early Music Festival, joined by the choicest soloists, once again presents a spectacular Baroque opera discovery with Christoph Graupner’s Antiochus and Stratonica. Graupner composed the musical play L’Amore Ammalato, Die kranckende Liebe, oder: Antiochus und Stratonica during his time as the harpsichordist at the Gänsemarkt Opera in Hamburg. The core subject of the opera is the love of the Seleucid prince Antiochus for his stepmother Stratonica. This match brings with it highly dramatic moments as well as deeply sad ones inasmuch as Antiochus is supposed to have an incurable illness – but then at the end three old and new romantic couples appear on the stage and everything comes to a happy ending.

The Boston Early Music Festival has recorded George Frideric Handel’s very first opera, Almira, Queen of Castile, with a superlatively sumptuous ensemble. For its previous recordings of Baroque operas this successful ensemble has won prizes such as the Grammy, the German Record Critics Annual Prize, and the Echo Klassik. The Hungarian soprano Emõke Baráth sings the role of Almira with a choice ensemble of singers, all of whom have performed in the world’s most renowned concert halls and opera houses. Handel’s Almira is based on a freely invented plot featuring fine entertainment in the form of love and marriage schemes among the nobility, infidelity and mistaken identities, and a happy ending brought about by a court servant’s negotiations. This work was presented at the Hamburg Opera House in 1705 about twenty times and with great success.

Sonny Stitt - At The Hi-Hat, Volume 2 (1954) {Roulette Official Digital Download rel 2002}
FLAC (tracks) - 16bit/44kHz - Official Digital Download (qobuz.com) -> 208 Mb | MP3 @320 -> 139 Mb | Artwork | 5% repair rar
© 1954, 2002 Roulette Jazz / Parlophone UK / EMI Digital | 0724383720057
Jazz / Bop / Bebop / Saxophone

Sonny Stitt spent most of his career touring as a single, picking up rhythm sections wherever he appeared. On February 11, 1954, he was booked at the Hi-Hat in Boston and the local sidemen he came up with (pianist Dean Earl, bassist Bernie Griggs, and drummer Marquis Foster) were competent but undistinguished. That didn't matter much, though, because they were able to state basic chord changes, allowing Stitt to stretch out on standards and his riffing originals. Most unusual about this typical bebop jam is that in addition to his alto and tenor, Stitt triples on baritone (an instrument he otherwise only utilized on two songs for a Prestige date during this period).

Christian Ludwig Boxberg (1670-1729) belongs to the 'lost' generation of composers between Schütz and Bach. For decades, the revival of baroque music has concentrated on these two poles of German Baroque music to such an extent that everything between them can appear imperfect by comparison. Boxberg's 'Sardanapalus', however, is by no means imperfect. On the contrary, we experience here a remarkable synthesis of the various European national styles. Alongside German influences, those of both French and Italian opera are unmistakeable. The very witty libretto was written by Boxberg himself, and retells Diodorus's history of the profligate Assyrian King Sardanapalus who, far from being interested in ruling the land, liked to put on makeup, parade about in women's clothing and give in to acts of salaciousness with both women and men.