The Vienna Art Orchestra is a 15-member jazz orchestra that features the avant-garde arrangements and compositions of its leader, pianist Mathias Ruegg. This is a reissue of their 1980 debut, an important document in the post-modern jazz movement. The opening, title track is a joyous, folkish tango that's been cartoonishly toyed with, featuring three solo sections. The marimba section is also ornamented with vocalese from Lauren Newton, followed by an extremely playful horn lead that sounds like a toy instrument. The solo offering from violinist Rudi Berger has an electronically effected fusion sound. A tight, alto sax solo by Wolfgang Puschnig ties everything together neatly with a lengthy, unaccompanied performance.
As iconic in 2014 for her timeless beauty and stage appeal as she is for her artistic versatility, Freda Payne remains among music’s and show business’ brightest shining star survivors. Her latest album, Come Back To Me Love (her first for the Artistry Music imprint) marks not only a return to the big band and stringsladen classics from her mid-`60s beginnings with Impulse! but also marks a return to her hometown of Detroit. That makes this 14-song album featuring Grammy® award-winner Bill Cunliffe’s musical arrangements—from the vibes-kissed Kenny Rankin waltz “Haven’t We Met” to the lonely evening fireplace musings of “Lately”—a beautiful homecoming.
For her third album, Chely Wright switched record labels and teamed up with producer Tony Brown, who helmed the boards for records by George Strait and Reba McEntire, among others. Brown stripped Wright's music down to the core – for much of Let Me In, she's singing over clean acoustic arrangements; only a few cuts are adorned with pop/rock instrumentation. Wright benefits from the spare arrangements, which only emphasize her lovely voice and charisma. The result is her most accomplished and arguably best album to date.