Inspired by diaries, letters, and personal accounts from the 1860s, Rappahannock County is a music-theatre work which movingly and dramatically commemorates the 150th anniversary of the American Civil War. The location of the Rappahannock River as a border between north and south is a metaphor for the region's many conflicts. Performed by a cast of five singers who play over 30 rôles, the piece brings this dramatic historical period to life in songs which express the devastating impact of the Civil War on all of the people who endured it.

Vinyl LP pressing. Two days after recording his best-selling album, Go!, Dexter Gordon followed with another classic, A Swingin' Affair. The tracks are full of Gordon's unique and innovative improvisations supported by his returning line-up, with Sonny Clark on piano, Butch Warren on bass, and drummer Billy Higgins. A Swingin' Affair brings a relaxed and upbeat feeling to a hard-bop influenced band.

This 1962 jazz album by saxophonist Dexter Gordon features the lineup of Sonny Clark, Butch Warren and Billy Higgins. This was the same quartet from the classic album "Go!", which was recorded only days earlier. In 1962, there was no stopping Dexter Gordon. The first great bebop tenor-saxophonist, Gordon was in one of his peak periods. He contributed two songs (including the heated "Soy Califa"), swings hard on "You Stepped Out Of A Dream" and caresses the melodies of "Don't Explain" and "Until The Real Thing Comes Along". With his huge tone, witty style and ability to swing at every tempo, Dexter Gordon could not be beat when he played the music he loved. "A Swingin' Affair", which also features outstanding playing from Sonny Clark and Billy Higgins, is one of his truly great recordings. The definitive versions of Blue Note are on XRCD24 - the optimization of CD mastering and manufacturing. Plays on all standard CD players.

Limited 180gm vinyl LP pressing. Featuring a quartet with Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums, GO! Was a showcase of Gordon's limitless creativity on hard-swinging numbers like "Cheese Cake" and "Love for Sale," as well as his peerless artistry on ballads as evidenced on "I Guess I'll Hang My Tears Out to Dry" and "Where Are You." This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on vinyl at Optimal.

Dexter Gordon (1923 - 1990) was a giant in every respect. Both his height and his playing exuded authority. He had the power to draw conclusions amid many musical impressions and, carefree of other people's opinions, said/played things as they were. He was one of the first tenor saxophonists to play modern jazz after the big band style, making him a source of inspiration for many. On July 15, 1979, he joined North Sea Jazz with his accompanying trio consisting of pianist Kirk Lightsey, bassist Rufus Reid and drummer Eddie Gladden. On this album you can hear their performances of 'It's You Or No One' and 'More Than You Know'. In addition, the album contains a recording of the tenor battle held later that evening during 'Flying Home' with Hank Jones on piano, Gene Ramsey on bass and Gus Johnson on drums, in addition to Dexter Budd Johnson, Illinois Jacquet, Arnett Cobb and Buddy Tate sound on sax. After the Ella Fitzgerald album this is the second release of the North Sea Jazz Concert Series presented at the end of last year by Bertus Distribution, in collaboration with NTR, AVROTROS and MOJO. It's a new vinyl series consisting of live recordings of legendary artists through the decades made at the renowned North Sea Jazz Festival. The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk. For all recordings it's a first time ever release on vinyl!

Founded in 1977 by Lionel Hampton, the Who's Who in Jazz label existed as a means to present to the world the best musicians that the jazz world had to offer. With Lionel chairing the recording sessions (and also featuring on several of the sessions himself), these recordings have truly earned their title featuring jazz greats such as Buddy Rich, Charles Mingus, Terumasa Hino, Sonny Stitt, Teddy Wilson, Stephane Grappelli and Dave Brubeck, amidst the many others. Recorded November 11th, 1977 at Studio 21 in New York City, 'Lionel Hampton Presents' sees Gordon invite George Duvivier (bass), Oliver Jackson (drums), Bucky Pizzarelli (guitar), Hank Jones (piano) and Candido (congas) to showcase some truly great performances across an array of classic jazz compositions including 'I Should Care', 'Lullaby of Birdland' and 'They Say That Falling in Love Is Wonderful'. Tracklisting: 1. Cute 2. They Say That Falling in Love Is Wonderful 3. Lullaby of Birdland 4. I Should Care 5. Seven Come Eleven 6. Blues for Gates.

This debut Atlantic release teams the 2 finest jazz trombone players of their generation: Wycliffe Gordon, part of the Wynton Marsalis Septet and member of the Lincoln Center Jazz Orchestra and Ron Westray, also a Lincoln Center member, known for his work with pianist Marcus Roberts. With a performing cast that includes Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley, these 11 tracks (recorded in New Orleans) span a wide range of traditional styles - from blues to be bop to New Orleans swing.

Limited yellow colored vinyl LP pressing. In 1962, Gordon relocated to Paris, where he became part of a vibrant jazz community. He was already a well-established figure in the jazz world due to his groundbreaking work in the 1940s and 1950s. His decision to live in Europe revitalized his career, allowing him to continue evolving as a musician away from the struggles in the USA: he enjoyed enormous respect in Europe, which allowed him to perform freely, often in clubs and on tours, without the burdens of American racism. Paris had long been a haven for jazz musicians: artists like Miles Davis, Thelonious Monk, and John Coltrane were celebrated in Europe, and the French jazz scene, in particular, became a hotspot for both American expatriates and European musicians. Dexter Gordon quickly became one of the leading figures in that scene. Our Man in Paris is a celebrated jazz album and it is widely regarded as one of Gordon's best works. It is considered one of Gordon's finest albums due to it's blend of bebop virtuosity, lyrical improvisation, and the tight interplay between world-class musicians: a classic jazz record, beloved for it's authenticity and the inspired performances of Dexter Gordon and his ensemble. This album is now considered a classic in the jazz canon that's not only a remarkable album because of it's flawless execution and historical significance, but it also captures a pivotal moment in jazz history where American jazz musicians were embracing new experiences and sounds in Europe and captures the essence of Gordon's bebop roots while showcasing the influence of his time in Europe.

Dexter In Radioland vol. 6 With his favourite rhythm section, Dexter leads the proceedings of this sixth volume of live transmission from the 60’s European jazz Mecca Montmartre . “This excellent series of records which starts with Montmartre Jazzhus live date from 1962 documents the way in which Gordon was playing when he arrived in Europe ... They prove that he was playing very well at the time...” (Barry McRae, Jazz Journal International)

FELDMAN String Quartet (1979) ? Group for Contemporary Music ? NAXOS 8.559190 (78:35)


The Group for Contemporary Music made several CDs of American music for Koch in the early 1990s, the above being one of them. Now here it is, reappearing as part of Naxos?s ?American Classics? series. I expect one of Fanfare ?s resident Feldman specialists covered it back then?I think Mike Silverton was doing it in those days?but I have been unable to locate any review. According to the CD information, this was a world premiere recording.


Although not to be confused with his monumentally long second string quartet, this late work of Feldman?s still runs for almost 80 minutes. (Well, it doesn?t exactly run .) Readers unfamiliar with this composer?s music but interested in experimenting at the low Naxos price should dispense with any normal idea of the passing of time. Feldman?s work unfolds at a snail?s pace, with the result that every musical incident is examined in minute, close-up detail. Imagine walking down your garden path to the mailbox; now imagine doing it on your hands and knees with a magnifying glass, taking over an hour to complete the journey. You would know a heck of a lot more about the nature of your garden path by the end of it.


Of course, it?s not entirely as simple as that. Feldman understood the big picture, form-wise: the apparent randomness of the sounds he dwells on in his own good time is kept in balance by a fierce musical intelligence. These sounds include rocking motifs, chords, and often even single notes, usually separated by moments of complete silence. Feldman requests the quartet to play without vibrato and, most of the time, using mutes. Much of the material consists of high harmonics. It is nearly all pianissimo or softer, except for some sudden loud interruptions?for example, at 26:00 and 33:30 respectively. (The Eastern-bloc composer Kancheli appears to have known his Feldman. Unheralded fortes are a fingerprint of his as well.) As the work progresses, earlier motifs or textures are revisited and developed, providing at least an unconscious sense of structure. In the end, the painstaking process undertaken together by the composer, the performers, and the listener creates a unique, mesmerizing context where sudden shifts of emphasis are almost seismic. The forte s mentioned above seem earth shattering. The occasional consonant harmony, unnoticed in another context, becomes pure balm. The slightest rhythmic acceleration feels like panic. High, quiet harmonics from the solo violin assume the cloak of unbearable loneliness.


For those readers already conversant with Feldman?s world, it need only be said that this performance seems to me as good as it could possibly be. (I don?t have access to a score.) The internal balance is finely judged, and all four members of the group must have spent many hours in meditation to be so at home in this time span. By the way, the stalwart players are Benjamin Hudson and Carol Zeavin, violins; Lois Martin, viola; and Joshua Gordon, cello. Recorded sound is first-rate. One can only hope Naxos will reissue the other recordings in the Koch series, particularly those of Wolpe and Wuorinen.


Morton Feldman?s mind worked in a manner unlike that of any other composer. This fact alone makes him important and his music riveting.


FANFARE: Phillip Scott