Le Donne Curiose premiered in Munich in 1903, numbered among the greatest and earliest successes of the German-Italian composer Ermanno Wolf-Ferrari. Based on a comedy by Carlo Goldoni, this merry opera tells the story of the inquisitive wives who investigate the mysterious behaviour of their husbands and discover little more than their love of food! Typical figures of the Italian comedy appear in the score, here beautifully performed and recorded under the baton of Ulf Schirmer.
Don't expect Telemann's Violin Concertos to match the Viola Concerto in lyric generosity or sheer memorability. He composed at least twenty violin concertos for his own use (he was a noted multi-instrumentalist), the earliest dating from c. 1707-08. They adhere to his usual Franco-Italian models, though are constructed with such cleverness and authority, and technical understanding, that the Corellian, Vivaldian and French elements are, if not absorbed into the bloodstream, at least present without sounding to be pastiche.
An unusual sort of setting for tenor saxophonist Paul Jeffrey – an overlooked player from the east coast scene of the early 70s, and one who only cut a handful of records at the time! The date features Jack Wilkins on guitar, playing with these bright chromatic hues next to Jeffrey's sharper horn – a pairing that makes for an unusual sound, despite a familiar quartet setting – one that's even different from other matches of this nature, such as the work between Sonny Rollins and Jim Hall! Jeffrey's clearly got some bop roots here, but also opens up in other directions too – and the group features Thelonious Monk Jr on drums and Richard Davis on bass.
As he delved deeper into commercial soul-jazz and jazz-funk, Lou Donaldson became better at it. While lacking the bite of his hard bop improvisations or the hard-swinging funk of Alligator Bogaloo, Midnight Creeper succeeds where its predecessor, Mr. Shing-A-Ling failed: it offers a thoroughly enjoyable set of grooving, funky soul-jazz. The five songs – including two originals by Donaldson and one each by Lonnie Smith (who also plays organ on the record), Teddy Vann, and Harold Ousley – aren't particularly distinguished, but the vibe is important, not the material. And the band – Donaldson, Smith, trumpeter Blue Mitchell, guitarist George Benson, and drummer Leo Morris – strikes the right note, turning in a fluid, friendly collection of bluesy funk vamps. Donaldson could frequently sound stilted on his commercial soul-jazz dates, but that's not the case with Midnight Creeper.
Here's where it all started! Made all the way back in 2005 and released in '06, The Only Constant is a snapshot of the band in its infancy as students at the University of North Texas. It features 5 very, very different tracks by Michael League and has a more open and acoustic sound than any other of Snarky Puppy's albums.
I cannot for the life of me find a thing wrong or amiss with this cd. I've been playing it for years and always love it. I know all about Canned Heat's tragic and illustrious past, and I'm not knocking those old records (most of them were great); but, it should be said by someone - the Canned Heat albums beginning with "Reheated" straight to the present - leave the old ones in the dust. Leaving behind the excessive reverence for the past (if you can, and you know who you are), there's one thing that has never changed about this band.