Trip Shakespeare unfortunately went unnoticed in their time and more unfortunately have remained in obscurity, but they were lucky enough to record in a time when major labels took greater chances with music and would more often indulge ambitious projects. Lulu is the group's defining set, a result of inspired and talented musicians with an expense account to afford their aspirations and enough sense to exploit it appropriately. Why then did this record go through the ringer almost completely unnoticed and why did the reviews the album received tend to be overly critical? Part of the answer has to do with the timing of its release. 1991 was the great embrasure of the grunge movement when Nirvana's Nevermind set the decade-long trend for the popular music charts. The release of a melodically complex and romantic pop masterpiece with lush vocals was entertained by neither the critics nor the masses, and no doubt A&M had lost much of the majesty they found in Trip Shakespeare when they were signed two years previous, which is a shame since Shakespeare's leader, Matt Wilson, was at the height of his poetic optimism and the melodic hooks he wrote with his brother Dan Wilson are complex, plentiful, and on par with the classics of pop music's innovation.
Released 18/05/09. First-ever collection of Lulu’s complete recordings for Decca from 1964 to 1967. Includes the Top 10 hits ‘Shout!’ (here in its rarer mono single variation) and ‘Leave A Little Love’, plus other hits ‘Here Comes The Night’ and ‘Try To Understand’. Sleeve-notes include new quotes from Lulu. Includes two rare German language tracks. Great value with 42 tracks taken from two albums, a scarce EP and a raft of singles. Several tracks include session work from the legendary Jimmy Page. ‘Surprise, Surprise’ was an exclusive Jagger/Richards composition.
Avant-garde altoist John Zorn teams up with trombonist George Lewis and guitarist Bill Frisell to form a unique trio. Without the benefit of piano, bass, or drums, they interpret the hard bop compositions of Kenny Dorham, Hank Mobley, Sonny Clark, and Freddie Redd, generally not even the better-known ones. The performances are quite concise (Dorham's "Windmill" is covered in 40 seconds), respectful to the melodies, and unpredictable.
This recording is remarkable in that while Abbado, and the wonderful London Symphony Orchestra's players, are playing mostly atonal music that can seem downright strange, dissonant, and strident, especially to ears that are not used to Berg, they have no trouble conveying the beauty, lusciousness, and excitement of much of this music. This is particularly true in the beginning and end of the "Lulu Suite," the final movement ("Marsch") of Berg's "Three Pieces for Orchestra," and the final selection of the five "Altenberg" lieder.
You can find a repro of an original r&b lp (1962) on King. You also appreciate the marvellous voice of Lula Reed and the great backing of Freddie King (sometimes he sang with her on some tracks like "Do The President Twist" or "You Can't Hide") with Sonny Thompson Orchestra (he ever backed Lulu in her early days). If you like the early days of Soul, this CD is for you
This is the second of two CDs featuring the unusual trio of altoist John Zorn, trombonist George Lewis, and guitarist Bill Frisell. Recorded live in concert, the group interprets fresh renditions of hard bop oriented pieces by Sonny Clark, Hank Mobley, Big John Patton, Kenny Dorham, and Freddie Redd, in addition to one selection from Misha Mengelberg. The music swings in its own fashion and, although it tugs at the boundaries of the bop tradition, it mostly stays within its borders. Bill Frisell, operating as the entire rhythm section, is a wonder as usual. Recommended, as is the first volume News for Lulu.
Since his stormy debut with The Royal Concertgebouw Orchestra, conductor Daniele Gatti has been a regular guest at the Amsterdam Concertgebouw, where he has established a fruitful working relationship. On this CD, he conducts the orchestra in two key works by Alban Berg - his early 'Three Orchestral Pieces' in combination with the suite from his unfinished opera 'Lulu', his swan-song. Both pieces - conducted from memory during the concert performances - receive ominous and atmospheric readings from Maestro Gatti.