Renaissance Turn of

Here's a wonderful live set from the current incarnation of Renaissance, that lovely '70s prog band who so successfully merged classical with symphonic rock and medieval themes. Recorded at The Keswick Theatre in Glenside, Pennsylvania on September 23rd, 2011, the band thrilled the audience with a performance of both their classic albums, Turn of the Cards and Sheherazade and Other Stories in their entirety. Joining the 'classic line-up' members Annie Haslam and Michael Dunford are keyboard players Rave Cesar & Jason Hart, bassist David Keyes, and drummer Frank Pagano. If you got a chance to see Renaissance on either the 2011 tour or previously in 2009, you know that this line-up is red hot and does their vintage material justice.

Esoteric Recordings America is pleased to announce the release of a newly re-mastered and expanded clamshell box edition of the classic album, Turn of the Cards by Renaissance. Released in 1974, the album was an artistic triumph and heralded the band’s commercial breakthrough in the United States.
Featuring highly gifted vocalist Annie Haslam, Michael Dunford (acoustic guitars), John Tout (keyboards, vocals), Jon Camp (bass, vocals) and Terry Sullivan (drums, percussion), Turn of the Cards was recorded in March 1974 at De Lane Lea studios in Wembley, North London and featured the band incorporating symphonic orchestral arrangements into their material extensively on classic pieces such as ‘Running Hard’, ‘Things I Don’t Understand’ and ‘Mother Russia’…

The third album by this incarnation of Renaissance was a match for their previous success, Ashes Are Burning, with equally impressive performances and songwriting and a few new musical twists added. The songs here fit more easily into a rock vein, and the prior album's folk influences are gone…

Essential: a masterpiece of progressive rock music
Hooray! Another outstanding Renaissance album! Compared to the previous album “Ashes are burning”, the bass is more timid, but it still sounds as loud and bottom as Yes and Rush of the 70’s.

Classical rock ensemble formed as an outlet for a pair of ex-Yardbirds, but later driven by Annie Haslam's three-octave voice and John Tout's piano.
The history of Renaissance is essentially the history of two separate groups, rather similar to the two phases of the Moody Blues or the Drifters. The original group was founded in 1969 by ex-Yardbirds members Keith Relf and Jim McCarty as a sort of progressive folk-rock band, who recorded two albums (of which only the first, self-titled LP came out in America, on Elektra Records) but never quite made it, despite some success on England's campus circuit…

This is the first Renaissance album: the singer is Jane Relf, not Annie Haslam. A completely different bunch of musicians, compared to the Renaissance of the 70's. Jane Relf's vocals are not really always in the foreground: other musicians also sing on this album. Considering the year (1969), the sound is very progressive and ambitions, comparing to the other major progressive bands such as Genesis and Yes, that are starting and doing a proto progressive sound. Although the line-up is completely different from the classic Renaissance albums, this is as good as the others.

Agricola was praised by his contemporaries for the bizarre turn of his inspiration, and his music likened to quicksilver. By the standards of the period this is a highly unusual turn of phrase, but remains spot-on. The Ferrara Ensemble anthology, the first ever devoted to the composer, focused on the secular music, both instrumental and vocal, precisely the area covered by Michael Posch and Ensemble Unicorn in this most satisfying disc. Where there's duplication (surprisingly little, in fact) the performances compare with those of the Ferrara Ensemble, although the style of singing is very different. The voices are more up front and less inflected, perhaps the better to match the high instruments with which they're sometimes doubled. But the tensile quality of Agricola's lines comes through none the less, as does the miraculous inventiveness and charm of his music. Further, much of what's new to the catalogue really is indispensible, for example Agricola's most famous song, Allez, regretz. Unicorn keeps its improvisations and excursions to a minimum, and the music is the better for it. It really is a must-have.