New York Voices

"Four voices in perfect harmony: The New York Voices are rightly considered one of the world's best vocal jazz ensembles. The quartet, decorated with two Grammys, exists since thirty years but does not show any sign of fatigue. The vocal group has refined vocal jazz to high art. They are known for inspired arrangements, amazing precision, skilful tempo changes, dynamic sensitivity, razor-sharp timing, unprecedented vocal mixing, incredible stylistic versatility and perfect sound.

The New York City Guitar Orchestra, conducted by Jason Sagebiel and Nicoletta Todesco in collaboration with artistic direction by John Olson, releases Spectra, a collection of newly composed works for multiple guitars by such luminaries of the plucked string world as David Leisner, Frederic Hand, David Loeb, William Anderson, and João Luiz. Music for multiple players on the same instrument has grown in recent years, perhaps inspired by the success of percussion ensembles. Works by prominent composers for several bassoons, or flutes, or pianos have made their mark on concert programs. The guitar is a natural fit for similar ventures, inhabiting its own space in the concert music world, increasingly integrated with other instruments but retaining its unique profile. The music and spirited collaboration on this recording reflect the sense of community that is only further enhanced by projects of this sort.

After a decade of collaborative, and superlative, releases with large ensembles such as the WDR and Bob Mintzer Big Bands, the New York Voices return to their roots and mark their 30th Anniversary with one of the most ambitious, accomplished undertakings in their esteemed catalog.

The New York Community Choir began in the early 1970s as an offshoot of the Isaac Douglas Singers, initially including some 100 members under the direction of Benny Diggs. Definitely a gospel ensemble, NYCC developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

The New York Community Choir began in the early 1970s as an offshoot of the Isaac Douglas Singers, initially including some 100 members under the direction of Benny Diggs. Definitely a gospel ensemble, NYCC developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

Unfortunately, this fine live recording will always be remembered for the cover art. Released on September 11, 2001, the original cover displayed a flaming apple wrapped in barbed wire with the skyline of New York engulfed in flames. The band's trademark logo had always been a flaming heart wrapped in barbed wired, but for this recording the apple and skyline were added to reflect that the live concert was held in New York (Roseland Ballroom). The dreadful coincidence was a shock to both the band and record company, prompting an immediate recall. Tragically, this made the original pressings an instant collector's item to those who engage in such feckless activities. The issue received national media attention and the band, mostly comprised of native New Yorkers, issued a sympathetic statement that the recording would be re-released with a new cover. The recording itself is a live version of their prog rock masterpiece, Metropolis Part II: Scenes From a Memory, plus additional live material performed the same evening. The production and sound quality are good and the band's energy is fittingly captured. This same live concert can be seen on the DVD Metropolis 2000: Scenes From New York.

Here is the third release in the collaboration between the Ensemble Intercontemporain and Alpha.

Paul Conway writes: “One of Musgrave’s most powerfully expressive and lavishly intricate vocal works, Rorate Coeli (1973) is scored for unaccompanied SATB choir. There are also five soloists (SSATB), who sing both as a quintet and as individuals. This dramatic and virtuosic piece shows an inventive approach to text-setting in its use of quasi-improvised musical effects. The Voices of our Ancestors (2014) is scored for brass quintet (horn, two trumpets, trombone and tuba), organ and SATB choir.

Anlässlich des 400. Todestags von William Byrd im Jahr 2023 stellt der Saint Thomas Choir of Men & Boys, Fifth Avenue, New York eine Messe zu Fronleichnam so nach, wie Byrd sie Ende des 16. Jahrhunderts erlebt haben könnte. Diese neue Aufnahme enthält verschiedene lateinische Motetten, die der Komponist für das Fest geschrieben hat, sowie dessen vierstimmige Messe. Mit enthalten ist zudem eine Aufnahme von Byrds Great Service für die reformierte anglikanische Liturgie (die Kehrseite seiner katholischen Persönlichkeit), die 1981 nur auf Langspielplatte veröffentlicht wurde.