The 1996 concert video A Tribute to Stevie Ray Vaughan gathers Eric Clapton, Buddy Guy, Robert Cray, B.B. King, Art Neville, Dr. John, and brother Jimmie Vaughan to celebrate the talent and life of the modern electric blues guitar virtuoso. Double Trouble and the Tilt-a-Whirl Band support these stars as they interpret Vaughan's songbook in an 80-minute concert; brief interviews with the featured artists enrich the proceedings with even more respect and affection. Highlights of Vaughan's performance on the PBS series Austin City Limits hit home just how great a talent was lost when he was killed in 1990. Ultimately, though, A Tribute to Stevie Ray Vaughan focuses on the uplifting memory of his warmth and musical gifts, keeping them alive with the help of his very able friends.
To celebrate what would have been the 60th birthday of Stevie Ray Vaughan (1954-1990), Epic Records/Legacy Recordings will issue Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection, collecting the trailblazing blues guitarist s most scintillating studio and live works. Stevie Ray Vaughan and Double Trouble: The Complete Epic Recordings Collection includes the group s original four studio albums, five electrifying live releases (including the commercial debut of A Legend In The Making Live At The El Mocambo, a rare Canadian radio promo album) and a double-disc set of killer studio outtakes from throughout Stevie Ray Vaughan s incredible career, including recordings from previous reissues, box sets and posthumous compilations.
Sarah Vaughan recorded frequently during her three years with Roulette, and all 16 albums she completed for them plus five previously unissued tracks are included in this comprehensive eight-CD boxed set from Mosaic. The gifted singer is heard in a variety of settings, from superb small-group sessions to big-band settings and various dates bordering on easy listening; the sessions omitting the often syrupy string sections are the cream of this bumper crop.
Legacy's second reissue of Texas Flood, the 1983 debut from Stevie Ray Vaughan and Double Trouble, now expands the album to two CDs, adding a complete concert given at Ripley's Music Hall in Philadelphia on October 20, 1983, four months after the record was released. On the first disc, an early version of "Tin Pan Alley (aka Roughest Place in Town)" is added to the original album but that is the only carry-over from the 1999 expansion. That disc also had three live cuts, but those were taken from a different 1983 concert, so this 2013 30th Anniversary Edition offers something completely new: an entire radio broadcast featuring SRV and Double Trouble at the peak of their power. The set has few surprises…
John McCabe's recording of Herbert Howells' clavichord music is a chance to hear some twentieth century music inspired by C.P.E. Bach's favorite instrument. While other composers were re-discovering the harpsichord, Howells' love for early English music and the instruments of two modern clavichord makers led to the composition of the three sets of miniatures: Lambert's Clavichord and Howells' Clavichord Books One and Two. Howells dedicated every piece in each set to a friend, and in the last two sets he even sometimes attempted to put something of the dedicatee into the music, whether it was a description of that person's character or an imitation of a fellow composer's style. Howells' titles, and in many instances the style of the piece, is a reference to the keyboard compositions of the English virginalists of the late sixteenth/early seventeenth centuries. On the one hand, "Lambert's Fireside" and "Goff's Fireside," named after Herbert Lambert and Thomas Goff, the two clavichord makers, are almost completely idiomatic of virginal music. On the other, the meandering tonality of "Rubbra's Soliloquy" and "E.B.'s Fanfarando" marks them as twentieth century compositions.
The pairing of Vaughan Williams' Job and his Symphony No. 9 is a logical one, not least because of the prominent role given to saxophones in both works. Vaughan Williams called Job a "masque," following old English usage, but it's a ballet in all but name, and like many of them it succeeds as a standalone orchestral work. The idea of a ballet based on the Book of Job seems slightly odd until you learn that it was inspired by William Blake's illustrations for the story, which would have been very familiar to Vaughan Williams' audiences in 1930.
Ernest John Moeran was born in London but grew up in Norfolk and had strong ties with Ireland. While still a student at the Royal College of Music he was inspired by a performance of Vaughan Williams’s Norfolk Rhapsody that seemed “to breathe the very spirit of the English countryside”, and was soon collecting folksongs for himself. Moeran’s transcriptions were taken from English and Irish traditional singers with both rural and seafaring backgrounds, rescuing music and words both entertainingly earthy and sublimely beautiful which would otherwise have died with the artists who performed them.