The transcontinental soul/blues duo of Pittsburgh's Billy Price and France's Fred Chapellier took their show on the road (in Europe) to support the release of the duo's Night Work debut. The results are contained on this CD/DVD package, a logical and energetic follow-up to the studio recording that reprises some – but not all – of those tunes, adds logical covers, and generally ratchets up the sparks, as live albums typically do. The 11-song audio CD runs about half the time of the far more extensive two-hour DVD, but both nail the vibe of shows that featured tough, resilient backing musicians augmented by two horn players.
Fronted by former model Doro Pesch, the German metal band Warlock consisted of guitarists Rudy Graf and Peter Szigeti, bassist Frank Rittel, and drummer Michael "Micha" Eurich. Originally formed in 1983, the group was heavily influenced by such fellow European metal outfits as Iron Maiden, Judas Priest, and Accept, both musically and with their lyric/subject matter. The quintet issued their debut album in 1984, Burning the Witches, following it up with 1985's Hellbound, 1986's True As Steel (the same year Warlock played at England's annual mammoth metal festival, Castle Donnington), and 1987's Triumph and Agony. Warlock called it quits by 1988, as Pesch launched a solo career.
Bernard Haitink conducts the Royal Concertgebouw Orchestra in Brahms’s great orchestral works, including the complete symphonies. The concertos feature three great soloists: pianist Claudio Arrau, violinist Henryk Szeryng, and cellist Janos Starker. "No one, I trust, will deny that Arrau has lived with, wrestled with, and in a truly terribly way ’known’ the D minor Concerto for more years than most of us can consciously recall. Where contemporary pianists have often tended to refine or domesticate the concerto, withdrawing it from the world of heroic endeavour, Arrau has always done the reverse. No pianist, apart possibly from Serkin in his several recordings, has communicated so formidably the work’s scope: its seriousness and its anxious, tragic mood. Often Arrau makes free with the text. But the vision is huge, the technique astonishing. Haitink is a worthy accompanist."
Cristóbal Galán was born in Madrid (Spain) around 1625; nothing is known about his musical education or the early stages of his career. Between 1653 and 1664 he acted as "maestro de capilla" in various churches. From 1664 to 1667 he was director of the choir at Segovia Cathedral, and then he was appointed director of music at the convent of the Descalzas Reales. The queen regent wanted him to become director of music at the royal chapel, but this met strong resistance. It was only in 1680 that he obtained this position. It didn't bring him much luck, as he felt that he wasn't appreciated enough. Payments were also often delayed, mainly because of the bad economic state of Spain in the last decades of the 17th century. Not only Galán, but all musicians suffered from this situation.
It's intriguing to compare this recording of Brahms' first two symphonies by Vladimir Jurowski and the London Philharmonic Orchestra from 2008 with recordings of the same works and the same orchestra by Wolfgang Sawallisch in the 1980s, Eugen Jochum in the 1970s, and Adrian Boult in the 1960s. Jurowski's tempos are generally much quicker, his textures much leaner, and his attacks much more incisive than any of the earlier recordings.
Good news! Five of Italian trumpeter Enrico Rava's Black Saint and Soul Note recordings have been reissued by CAM Jazz in one of those pretty white box sets with each LP reproduced as a separate CD tucked into a miniature record jacket. Born at Trieste in 1939, Rava later attributed his lifelong pursuit of modern jazz to the influence of Miles Davis. One might add Don Cherry and Freddie Hubbard to that equation, along with maybe Richard Williams and Lee Morgan. In order to fully comprehend what he was up to from the '70s onward, it is important to consider the artistic company that Rava kept during the ‘60s. Take a moment, for example, to ponder the blended influences of Chet Baker and Gato Barbieri.
Wasting no time in the wake of the Gallagher brothers sudden 2009 implosion, Sony released the deluxe Time Flies 1994-2009 retrospective in the summer of 2010, just in time for the 15th anniversary of (What’s the Story) Morning Glory? The driving idea behind Time Flies is to collect all 27 of Oasis’ British A-sides, a simple idea that would seem to fit one of the great singles band, but sticking to the singles winds up leaving many great songs behind, including their manifesto “Rock & Roll Star,” “Champagne Supernova,” the lovely “Talk Tonight,” and Noel and Liam’s duet “Acquiesce,” among many tremendous B-sides, “(What’s the Story) Morning Glory” and “Champagne Supernova,” to name a few…