Martyn Radi

Following an inauspicious first release for Island, John Martyn's unique brand of acoustic music began to take some sort of shape with the Al Stewart-produced The Tumbler. Martyn, whose debut was a solo acoustic offering, here employs a second guitar, bass and, most notably, jazz flautist Harold McNair to create his blend of folk, blues and jazz…

John Martyn's On the Cobbles is the warmest of folky blues, consistently impressive despite being recorded in eight different studios across England, Ireland and the USA. Occasionally, as with the sparse and haunted Ghosts, he even reaches the atmospheric peaks of his classic Solid Air. As is the fashion, there are several auspicious guests–Mavis Staples, Paul Weller and the Verve's Nick McCabe–but, really, none of them add much to a set that's alternately tortured, spacey and hugely romantic. Martyn is unarguably the star of this show, excelling both as the gruff blues moaner and soft balladeer, but also testing different ground with the Pink Floyd ambience of "Go Down Easy", the spiritual jazz of "My Creator" and the dark, rootsy "Cobbles", the latter's mournful backing vocals recalling those of Nick Cave and his Bad Seeds.

Compiled, with John Martyn's blessing, by John Hillarby from the official John Martyn website and with sleeve notes by Record Collector's Daryl Easlea, John's landmark album from 1973 has now been digitally remastered and expanded into a 2CD set. Disc One contains the original album, considered by many to be his best album, digitally remastered and sounding better than ever. Disc Two contains 12 previously unreleased out-takes, 3 live tracks and the 7-inch single version of May You Never.

Alongside his celebrated performances of the classical repertory, HåkanHardenbergeris also renowned as a pioneer of significant new trumpet works. The three works on this disc were all composed with him in mind, and illustrate his many-facetted musical persona. The most recent of them, ‘True Stories’ by Betsy Jolas, was written in order to give Hardenberger and Roger Murarooccasion to perform together. Its title springs from the fact that the work forms the composer’s first attempt to work with sounds selected from daily life and either ‘tamed’ through stylization or left quasi crude.

Compelling performances of two very different symphonies, the complex visionary pantheism of the ‘Pastoral’ an ideal foil for the unbridled ferocity of No 4. An added incentive, Martyn Brabbins’s idiomatic realization of Vaughan Williams’s choral Saraband 'Helen' (a first recording) is a real discovery.

The music and personality of Wolfgang Amadeus Mozart have always been very close to my heart. I could not have predicted, however, that the late 18th century would become alive to me beyond his music and his life.