Thanks to the dedicated effort of the folks at Real Gone, this often bootlegged date by the Paul Butterfield Blues Band gets its first official release. These 13 tracks come from a smoking date at the Unicorn Coffee House in Boston. Nobody's sure of the exact date, but estimates put it somewhere during a two-week run in May, two months before the band's classic East-West was released. There's over an hour of music on what amounts to the first recorded document from this sextet: hard-grooving Chicago drummer Billy Davenport (Sam Lay left after the band's debut album) joined vocalist/harmonicist Butterfield, guitarists Mike Bloomfield and Elvin Bishop, organist Mark Naftalin, and bassist Jerome Arnold.
The first solo David Gates's album.
Götz Friedrich’s 1981 Elektra film sets Richard Strauss’ opera in a dark and dingy abandoned 20th-century factory populated by grungy denizens in psuedo-Greek garb. Elektra herself appears like some deranged homeless woman reeking with sweat and slime (in the rain). And the depravity doesn’t stop there. Friedrich plays up the work’s sado-masochistic elements, with bloody whippings and an orgy sequence involving nude lesbians bathing themselves in the blood of a sacrificial ram. Now you might think that all of this detracts from the score, but on the contrary, the production matches image to music so brilliantly that anyone seeing this opera for the first time would think they were created for each other (which allows you to ignore the occasional useless, almost silly gesture, such as the frequent and prolonged shots of Agamemnon’s bloodied visage during Elektra’s opening monologue).
This is a splendid recording, featuring three of Shostakovich's major works involving his own instrument, the piano. They display all the mercurial, contradictory aspects of his style, from dance-hall banality to sophisticated counterpoint and inspired melodic inventiveness, from mournful desolation and bleak hopelessness to the wild, obsessive, sardonic humor of desperation…The resulting performances are brilliant, moving, and exciting; Bronfman's virtuosity is stunning and the solo trumpeter in the first concerto is terrific. The string playing is wonderful–rich and colorful in sound, rhythmically incisive, deeply expressive; the first violinist's tone soars radiantly in the many stratospheric passages. –Edith Eisler; Editorial Reviews; Amazon.com
In the ultimate battle between good and evil stands a warrior who makes the choice that tips the balance.
As demonstrated by the four works on this disc, the music of Anders Hillborg couples complexity with directness, sensuality with humour, hypnotic meditation with pulsating rhythms, and all is combined with an original sense of form and unfaltering craftsmanship.