On June 25th, 1961, Bill Evans and his trio made jazz history over the course of five sets at the Village Vanguard. Selections from those performances were released on two full-length LPs, WALTZ FOR DEBBY and Sunday AT THE VILLAGE VANGUARD, both of which went on to become landmark jazz albums from the era. The three-disc COMPLETE VILLAGE VANGUARD RECORDINGS provides a valuable service by presenting all five sets in their complete and original sequence, with crisp remastered sound, a previously unissued take (Scott LaFaro's "Gloria's Step"), and snippets of on-stage patter.
From the fanfare of the opening crawl to the abrupt cutaway zing of the closing credits, John Williams' soundtrack to The Force Awakens does not disappoint. Williams has always been an integral part of the Star Wars experience, as familiar as the movies themselves, comforting and nostalgic. The fan anticipation and legacy baggage that came with the seventh film in this iconic series was overwhelming, being the first new film since 2005's Revenge of the Sith and the direct sequel to 1983's Return of the Jedi, yet the results are not crushed by outlandish pressure. For The Force Awakens, Williams began work in late 2014, before recording began in Los Angeles in June 2015 (the first time a Star Wars film score was not recorded at Abbey Road). He enlisted a freelance orchestra and, with the help of William Ross and Los Angeles Philharmonic conductor Gustavo Dudamel, produced a 23-song journey connecting the past and the future of the Star Wars universe. Here, Williams combines the old and the new with expert subtlety, creating a lush experience that rewards repeat listens. Those familiar with his work on other big-budget sagas (Jurassic Park, Harry Potter, Indiana Jones) will instantly recognize the blaring horns that propel the action, the stirring strings that intensify the tension, and the bombast that contribute to the excitement as much as the scenes portrayed on the screen.
Eleni Karaindrou – “Greece’s most eloquent living composer” in the words of Time magazine – was born in Teichio, a mountain village in central Greece. She still retains vivid memories of the sound world of her childhood: "the music of the wind, rain on the slate roof, running water. The nightingale's singing. And then the silence of the snow." Sometimes the mountains would echo to the sound of flutes and clarinets played at village festivals. “I still have a strong memory of the Byzantine melodies I heard in church and the continuous voices of the men accompanying the chanter," she has said. Resonances of this sound world, imbued with the history and suffering of her native land, have found their way into the many scores she has composed for film, TV and theatre in the past four decades.
While fans of the hugely popular BBC adaptation of Sir Arthur Conan Doyle's classic detective novels had to wait 18 months to get their hands on the original score for the first series, the official soundtrack to the second arrived just weeks after its intriguing finale pulled in a massive eight million viewers. Composed yet again by Michael Price (Band of Brothers) and David Arnold (James Bond), its 19 instrumentals pursue a similar minimal and suitably suspenseful classical sound as its BAFTA/Emmy-nominated predecessor, from the haunting violin solo of "Irene's Theme" (the opening track dedicated to the ruthless dominatrix who appeared in A Scandal in Belgravia), to the unsettling percussion and eerie sound effects of "Pursued by a Hound" (from a pivotal scene in The Hounds of Baskerville), to the unbearably intense orchestral crescendo of "Prepared to Do Anything" (the climactic number from the watercooler final episode, The Reichenbach Fall).