Musical Toys

Philips's collection of major works that have propelled Gavin Bryars to New Music stardom is an effective overview of his music. The longest work is his Cello Concerto, handsomely played by Julian Lloyd Webber with a big, colorful tone and sustained intensity throughout its contemplative half-hour. A comparable mood pervades the bright tintinnabulating textures of the whimsically titled One Last Bar, Then Joe Can Sing. Similar as well, in their attractive serenity and suppressed sadness, are many of the other works here, prime among them the viola concerto in all but name, The North Shore, a tone painting of the rugged cliffs of northeast England. Adnan Songbook, settings of six poems by Lebanese poet Etel Adnan, are beautifully sung by soprano Valerie Anderson and delicately scored for a small ensemble. Bryars's biggest hits, The Sinking of the Titanic and Jesus' Blood Never Failed Me Yet, have inspired him to numerous reworkings and capsuled fragments. They're represented by Titanic Lament, depicting a hymn tune dissolving into gray, watery textures, and two very different four-minute versions of Jesus' Blood, both with Tom Waits.

Turina's take on Spanish folk idioms is unmatched, and showcased quite nicely on this CD. The "Danzas fantasticas" are the highlight, but the romantic flair of all the works on this recording is not to be missed. The orchestra is brilliant throughout, and the technical aspects of the recording are lacking nothing. Absolutely no complaints, only pure enjoyment. You can't go wrong with this one.

The past decade has seen the birth and evolution of so many progressive rock bands that it can be more than a little challenging to keep track of them all. And let’s face it, at this stage in the game it isn’t easy to come up with a band name that hasn’t been taken already. But occasionally a name is able to strike a blend of originality and absurdity such that it also sticks in one’s head and stands out from the rest…

A quirky detour of late-'60s British progressive/blues rock, Blodwyn Pig was founded by former Jethro Tull guitarist Mick Abrahams, who left Tull after the This Was album. Abrahams was joined by bassist Andy Pyle, drummer Ron Berg, and Jack Lancaster, who gave the outfit their most distinctive colorings via his saxophone and flute. On their two albums, they explored a jazz/blues/progressive style somewhat in the mold of (unsurprisingly) Jethro Tull, but with a lighter feel. They also bore some similarities to John Mayall's jazzy late-'60s versions of the Bluesbreakers, or perhaps Colosseum, but with more eclectic material. Both of their LPs made the British Top Ten, though the players' instrumental skills were handicapped by thin vocals and erratic (though oft-imaginative) material. The group were effectively finished by Abrahams' departure after 1970's Getting to This. They briefly reunited in the mid-'70s, and Abrahams was part of a different lineup that reformed in the late '80s; they have since issued a couple of albums in the 1990s.

Vertú is a jazz fusion band consisting of bassist Stanley Clarke and drummer Lenny White (both of Return to Forever fame), keyboardist Rachel Z, violinist Karen Briggs and guitarist Richie Kotzen. The band released one eponymous album in 1999.