Richard Hill

Who would not wish to perform Verdi's Requiem in the composer's masterful original orchestration! The astonishing range of orchestral colour, from the moments of high drama to the most tender, give Verdi's masterpiece it's unique power and aura. When David Hill suggested that I create a new orchestration for two pianos, organ and percussion for The Bach Choir, I immediately saw the potential of an orchestration that would have a distinctive sound world of it's own, not a watered-down reduction of Verdi's original. Such an orchestration would also make the work accessible to choirs who either could not afford the full orchestra, or would not have the space to accommodate it.

"Point Of Departure" is not only one of the greatest jazz recordings of 1964, but of all time. The stellar lineup (Eric Dolphy, Kenny Dorham, Joe Henderson, Richard Davis and a teen aged Tony Williams) was given a set of challenging compositions by the brilliant pianist and composer Andrew Hill. This group created the album known as Point of Departure, an acknowledged modern day classic and one of Blue Notes most extraordinary recordings. Andrew Hill was a quiet revolutionary, but he was every bit as original in his conception as Thelonious Monk. Hill extended, twisted and turned hard bop into his own very fresh and personal music. Like Eric Dolphy, Hill spawned few imitators. His conception was so pure, and so unique, both as a player and as an arranger-composer that nearly a half century later, Point Of Departure remains a brilliant touchstone of modern jazz.

Jazz pianist Andrew Hill wasn't a household name but his music had a far-reaching influence on jazz music of the 1960s. "Black Fire", his debut for Blue Note, was produced by Alfred Lion who called the pianist his "last great discovery." Hill is joined on this album of all-original material by a superb group of studio musicians including Joe Henderson on tenor saxophone, bassist Richard Davis and drummer Roy Haynes, performing in various trio and quartet combinations.

Antoni Gaudí’s monumental temple La Sagrada Familia is a universe within a building. Its mass of stone and metal is bathed in coloured light diffused from dazzling stained glass windows. The colossal structure is supported by great pillars inspired by the shapes of tree trunks that re-inforce the impression of a spiritual forest. Around the main access points to the basilica are three great facades; Nativity, Passion and Glory. Each is a visual world unto itself, stylistically apart yet united by Gaudí’s grandiose vision. These three facades are the inspiration of my three-movement La Sagrada Familia Symphony.

"I'm No Hero" is a 1980 album by Cliff Richard. The album features three hit singles, including "Dreamin'" and "A Little in Love", which were top 20 hits in both the UK and the US. The album received positive reviews and kept Richard high in the charts during this, his revival period. It was also the last time he would appear in the US top 20. Album track "Give a Little Bit More", which was co-written by Andy Hill, who was about to become famous as writer and producer for Bucks Fizz, was released in some countries as a single, as was "In the Night" - although this wasn't the same as the Barbara Dickson song which was released around the time (and was also produced by Tarney). "Give a Little Bit More" gave Richard a third hit from the album in the US, peaking at #41.

This album of some of the 20th century’s most captivating songs and standards are heard here in dazzling new arrangements by Richard Balcombe. With a perfect marriage of words and music, these classic songs have a timeless appeal. Whether written for movies, revues or musicals, or specifically for the most renowned singers of the day, all the greatest composers and lyricists of the time are represented in this outstanding new collection.

SOMM RECORDINGS announces the release of I Vow to Thee, My Country, believed to be the first recording to feature all of Gustav Holst’s sacred choral music, by the Chapel Choir of the Royal Hospital Chelsea directed by William Vann, with organist Joshua Ryan and Richard Horne on tubular and bass bells.

Such an unimaginative title for such a imaginative boxful. Across four discs and 105 songs, Cliff Richard's earliest catalog comes in for precisely the kind of treatment every rock & roll star should have: an all-encompassing study of his most important period. Even more impressively, though the song titles all sound familiar, the performances rarely are. Thirty-seven tracks are bona fide unreleased (South African 78s notwithstanding), but several dozen more are culled from scarce EP-only mixes, rarely resurfacing B-sides, and unusual mixes. One cut, an undubbed take of "Willie and the Hand Jive," was hitherto available only on a mid-'80s budget-priced single disc, covering much the same period as this. It wasn't aimed at collectors, it wasn't heavily advertised, and it probably didn't sell many copies. Of such things do completists dream, but when you have a beakful of hen's teeth to sort through, do such things really matter? Discs one through three are the conventional ones.