M. Ward's latest is a rough-cut Americana diamond, one crafted not simply from folk and bluegrass but also 50s AM radio, the saloon cabaret of studio-era Hollywood, and good old-fashioned indie rock. It's artists like M. Ward who make me contemplate why I write about music. I get my skin tingling to the acoustic guitars and I'm just thinking "Jesus, is this what it's about?" I'm trying to put the feeling this music gives me into words in an attempt to understand it, to convey how great it is and why, and maybe convince you that it's worth your cash or your bandwidth, and it occurs to me that I'm unsure why I do it– why I need to do it– and that, in the end, it's because I'm enjoying this and I want you to enjoy it, too.
In June this year (2004), Riccardo Chailly stepped down as music director of the Royal Concertgebouw Orchestra, to be succeeded by Mariss Jansons. Chailly's last appearances in Amsterdam exemplified his range as a conductor - there was a new production of Verdi's Don Carlo for Netherlands Opera, running in parallel with performances of Mahler's Ninth Symphony in the orchestra's home at the Concertgebouw itself.
Largely lacking co-leader Chris Bell, Big Star's second album also lacked something of the pop sweetness (especially the harmonies) of #1 Record. What it possessed was Alex Chilton's urgency (sometimes desperation) on songs that made his case as a genuine rock & roll eccentric. If #1 Record had a certain pop perfection that brought everything together, Radio City was the sound of everything falling apart, which proved at least as compelling.
Here is fascinating set "issued by Radio Nederland and realized with the generous cooperation of the Royal Concertgebouw Orchestra, the AVRO broadcasting corporation house and the publishing house of Cultuur en Media Hilversum ….released to commemorate the fiftieth anniversary, March 22, 2001 of Willem Mengelberg's death." Many of these performances were issued previously on CD, particularly in the Archive Documents "Mengelberg Edition," the Japanese King Record "Mengelberg Legacy" series or on Music & Arts, mostly premium-priced CDs. Now right from the source we have many of these in the best possible sound, and it is a collection to treasure, especially for the invaluable DVD of Mengelberg conducting the Concertgebouw.
Chet Baker was often not at his best in later years, taking nearly every live gig or recording date regardless of whether he was physically and mentally up to it (due to his longtime drug habit) or the musicians were truly compatible. Happily, Baker is in top form during these live broadcasts from the Sesjun radio shows (which aired from 1973 to 2004) in The Netherlands. The first four songs feature Baker with his regular pianist Harold Danko, bassist Cameron Brown, and flutist Jacques Pelzer. The breezy rendition of "There Will Never Be Another You" comes across effortlessly, with fine solos all around and the leader offering a strong vocal and intricate trumpet in the ensembles.