Like Mozart's, the two string quintets of Brahms are scored for two violins, two violas and cello. The choice is characteristic. The register of the violas and the richness of texture that such an instrumentation can impart, whether in chamber music or in orchestral writing, was very typical of Brahms, and reflected in his music for the piano. He had first attempted the form in 1862, using two cellos, as Schubert had done, but had destroyed it, replacing it first with an arrangement for two pianos, and later, in a final version, as a piano quintet. Brahms had intended his String Quintet in G major, Op. 111, as his last chamber music composition. He wrote it in the summer of 1890 at Bad Ischl, following his usual custom of composing during summer holidays spent away from the city. It was, in the event, to be followed by four further compositions, the Clarinet Trio, the Clarinet Quintet, and two Clarinet Sonatas, the last also known in an effectively autumnal version for viola, an instrument offered in the other works as an alternative to the clarinet. The G major Quintet was first performed in Vienna on 11th November in the year of it's composition. It starts with a movement derived from sketches for a fifth symphony, allowing the cello an orchestrally conceived first subject. For the second subject Brahms turns to Vienna for inspiration. There is a shift to B flat major in the central development, further modulation leading to the return of the original key and thematic material in recapitulation. The D minor slow movement allows free variations on the opening material, until the theme returns in a simpler form, originally played by the first viola. The third movement opens in a melancholy G minor, the feeling dispelled by a G major trio section, which has the last word, after the re-appearance of the G minor material. The quintet ends with a Vivace ma non troppo presto, a rondo that finds a place for much else that is thoroughly Austrian or Austro-Hungarian in mood, ending in an energetic Hungarian czárdás.

Slowly and steadily, BIS continues its advocacy of the works of Swedish compatriot Allan Pettersson, a labor of love if ever there were one, since lovable this music certainly is not. The Third String Concerto is a huge work, with two ample quickish movements surrounding a monstrous, 25-minute-long central slow one simply marked "Mesto" (sad). Aside from its length, the music, whether ostensibly quick or slow, largely consists of static ruminations punctuated by abrupt, dissonant outbursts, and the lack of sustained music in quick tempos magnifies the listener's perception of the music's length indefinitely.

You might not find this a recipe for success, but the curious thing is that this awkward piece is much more successful, and more emotionally affecting, than the first two string concertos. Although much shorter, those seem little more than experiments when compared to this piece, in which the mature Pettersson is clearly operating. Despite the angularity of much of the writing, there is also melody, often clearly tonal and quite beautiful, and it always seems to crop up just when the music needs it most. Of course there's no effort to be ingratiating: all of Pettersson's music is heavy-duty stuff--but you won't feel as though he is being gratuitously gnarly, or that your time is being wasted by the merely miserable.

This performance also is much more successful than the competition (on CPO), being better played by the strings of the Nordic Chamber Orchestra, and is considerably quicker in the first two movements. This gives them greater coherence as well as tension--crucial qualities, as I'm sure you will agree, if you're intrepid enough to take the plunge. As usual, the BIS sonics are excellent as well. If you're in the market for this music, this is the recording you will need to own.

--David Hurwitz, ClassicsToday.com

2016 Grammy® Winner for Best Improvised Jazz Solo on Cherokee. This record is the fruit of McBride's long association with the Vanguard, where his first appearance as a leader for the historic club was in 1995. In 2007, the bassist and charismatic club owner Lorraine Gordon started an annual one-week residency, which featured McBride's quintet, Inside Straight. "Lorraine enjoyed my trio and my quintet, Inside Straight. We had such large crowds, so after a few years with such supportive audiences, we added an extra week. Instead of doing the same band for two weeks, I just started bringing in a different band. This has been an ongoing relationship that I look forward to maintaining as long as I can."

2016 Grammy® Winner for Best Improvised Jazz Solo on Cherokee. This record is the fruit of McBride's long association with the Vanguard, where his first appearance as a leader for the historic club was in 1995. In 2007, the bassist and charismatic club owner Lorraine Gordon started an annual one-week residency, which featured McBride's quintet, Inside Straight. "Lorraine enjoyed my trio and my quintet, Inside Straight. We had such large crowds, so after a few years with such supportive audiences, we added an extra week. Instead of doing the same band for two weeks, I just started bringing in a different band. This has been an ongoing relationship that I look forward to maintaining as long as I can."

With OUT HERE, premier bassist Christian McBride introduces his latest working group: A trio, perhaps the most essential and meaningful postulation of jazz history. Pianist Christian Sands and drummer Ulysses Owens, Jr.. both younger, emerging artists have been performing with McBrides smallest group for about three years, honing their trio conception to a fine point of expressive depth and nuance with select performances around the world.

Recorded live on August 9, 2008 at the JVC Newport Jazz Festival in Newport, RI LIVE AT THE NEWPORT JAZZ FESTIVAL includes 5 NEW SONGS, plus new takes on 3 songs from his first two recordings. The bonus DVD includes an all-access pass into rehearsals prior to the festival, plus exclusive Christian Scott interviews.

In guitar history, no one single figure stands as tall as jazzman Charlie Christian. He helpd not only to introduce electric guitar to the world, but also popularized single string solos, moving the instrument from background rhythm to the forefront of popular music. And like so many important jazz players, he made enormous contributions on the span of an all-too-short life dying at the age of 26 from tuberculosis.

McBride's 2nd Verve LP gathers a who's who of veteran and young players to present the next step in this acclaimed musician's career. Christian chose several of his mentors to record Number Two Express, many of whom were associated with Miles Davis; personnel includes Kenny Barron, Gary Bartz, Mino Cinelu, Chick Corea, Jack DeJohnette, Kenny Garrett and Steve Nelson (this album marks the first time that Corea and DeJohnette have played together since Miles' band).

Vinyl LP pressing. Malene & Christian is a jazz duo album by Danish vocalist Malene Mortensen and Grammy-nominated pianist Christian Sands. Recorded in Copenhagen, it features romantic ballads, soulful covers, and introspective originals. The music explores love, loss, and healing with warmth and elegance. A deeply personal meeting of two expressive voices.