An attractive and intelligently annotated set, devoted to Fauré’s chamber music with piano; the sole drawback concerns generally astringent sound quality in these 1969/70 recordings. Pianist Jean Hubeau features in all but one of these performances. An uncommonly perceptive, adroit, and lucidly compelling artist, his readings of the large-scale piano quintets, Opp. 89 and 115, are superb. He is partnered by the Quatuor Via Nova, who contribute their own serenely idiomatic account of Fauré’s three-movement string quartet, Op. 121. Hubeau’s impressively understated pianism adds distinction to refined performances of the piano quartets, Opp. 15 and 45, and the particularly fine D minor Trio, Op. 120.
The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations – John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture.
The Show Must Go On offers a definitive collection of Sayer's 1970s bubbly dance-pop hits like "You Make Me Feel Like Dancing," "When I Need You," and "More Than I Can Say." A number of rare singles are also included, as is the unreleased cut "Tonight the Sky's About to Cry".
Depeche Mode returned in February with the snarling single "Where's The Revolution," which feels pretty important in this political climate. The song's chorus is a call to arms: “Where’s the revolution / Come on people you’re letting me down.” The group is releasing a remix EP of the single on March 3, which will include a rework of the track by shoegaze rockers Autolux, which is premiering on The FADER today.
Depeche Mode's Martin Gore told the FAD
The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here – all but one of these tracks were recorded for the Vocalion label – features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material – check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting. This collection puts to shame almost all others with the exception of the multi-volume complete recordings on Document.