If you have any doubt that the fipple flute is an acceptable substitute for the specified transverse one in these works, this recording could allay it. What is lost is the warm, intimate, breathy, pitch-bending sound of the minimally-keyed wooden instrument, but what is gained is the luculent clarity and (in Petri's hands) spot-on accuracy of the recorder. Instruments at period pitch (which for her own good reasons Petri does not use) would restore some of the warmth, but rarely can you have everything—and here you have so much to be grateful for.
Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive.
When this recording of Handel's Recorder Suites was first released in 1991, it was greeted with warmth and affection by those who already loved Danish recorder player Michala Petri's flawless technique and breathy tone and American jazz pianist Keith Jarrett's energetic and excited forays into classical repertoire. And why not? The qualities that distinguished Petri's playing of Albinoni and Vivaldi and the qualities that distinguished Jarrett's playing of Bach are equally present in their joint Handel.
Two of vibraphonist Gary Burton's albums from 1969-1970 are reissued in full on this single CD. Burton teams up with pianist Keith Jarrett for five numbers (including four of Jarrett's originals) in 1970, using a quintet that also features guitarist Sam Brown, bassist Steve Swallow, and drummer Bill Goodwin. The other session has more of an avant-country flavor, with Burton, Swallow, and Goodwin joined by guitarist Jerry Hahn and violinist Richard Greene; Michael Gibbs and Swallow contributed most of the obscurities. Burton was at his most explorative during this period, which is why he can be considered one of the pioneers of fusion (although his music never really fit into a tight category). This is excellent music that mostly still sounds fresh.
There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances – their luminous colors, complete clarity, utter lucidity, and structural integrity – that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces – so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor – that his performances seem very, very great indeed.(James Leonard)
Blandine Verlet, the noted French harpsichordist, studied with Ruggiero Gerlin and Ralph Kirkpatrick. She began recording in the late 1970s for Philips, switching to the Astree label in the 1990s. Her recordings range from J.S. Bach's keyboard works to Froberger to lesser known composers such as Louis Couperin and Elisabeth-Claude Jacquet de la Guerre. This, her second recording of the Goldbergs, has been called "one of the finest harpsichord versions in the catalogue.