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This new release from Opus Arte is a live recording from the Glyndebourne Opera House, Lewes, taken in October of 2015, of the first ever professional UK staging of Donizetti’s Poliuto. This masterpiece is rarely performed, but is nevertheless a masterwork that shows the magnanimous genius of this bel canto opera composer. The exhilarating American tenor Michael Fabiano sings the role of Poliuto, and fellow world-class singers Ana Maria Martinez and Igor Golovatenko round out a spectacular cast. “Every now and then the world of opera unearths a forgotten masterpiece […] Poliuto needs at least three world-class singers, and Glyndebourne has them” (What’s on Stage) Extra features include “Passion & Faith: Preparing for a UK premiere” and “Love & Opression: An interview with Mariame Clement.”

Picture Format: 16:9, 1080p HD
Sound Formats: LPCM 2.0, DTS-HD Master Audio 5.1
Region Code: 0 (Worldwide)
Subtitles: English, French, German, Japanese, Korean
Running Time: 117 mins, 15 mins (Bonus)

Justin Robinson's adventurous alto saxophone sound is at the center of this powerful quintet session, a tribute to the late bassist and Criss Cross regular Dwayne Burno. Featuring Burno himself on bass in one of the last sessions before his untimely death in late december 2013. Alana's Fantasy finds Robinson and his esteemed colleagues in peak form, playing standards, originals, music by Jackie McLean, Thelonious Monk and more.Trumpeter Michael Rodriguez, a noted Criss Cross leader and sideman, joins Robinson in the frontline, while Sullivan Fortner makes his Criss Cross debut, and drummer Willie Jones III his first label appearance since 2008.

Trombonist Big Jim Robinson was part of the New Orleans revival. This is one of the few releases that feature him as a leader of a session. Tracks include At A Georgia Camp Meeting, Moonlight And Roses, Beer Barrel Polka, Indian Love Call and many more.

Trombonist Jim Robinson played professionally from World War I onwards. In the 20s he made his first recordings as a member of the Sam Morgan Jazz Band. He gained greater fame with the resurgence of interest in early New Orleans jazz as a regular member of the bands of Bunk Johnson & George Lewis. He also led his own band and was known for his deep, wide-toned & robust tailgate style of trombone playing. This 1965 session, recorded at Preservation Hall, features Johnny Wiggs, cornet; Raymond Burke, clarinet; Bob Greene, piano; Allan Jaffe, tuba; Yoichi Kimura, drums. On CD for the 1st time, it features 12 songs including 2 previously unissued songs & alternate takes.

This is a fine collection of some of Charles Stanford's most enduring church music, sung by one of England's most revered choirs, itself a staple of the country's choral music tradition for more than 300 years. However, there are many fine recordings of Stanford church music in the CD catalog, also sung by superlative choirs steeped in the English cathedral repertoire--choirs from Chichester, Durham, and Portsmouth (all on Priory Records), the Cambridge Singers (Collegium), and Trinity College, Cambridge (Conifer), among others--and so, the question is, if you're looking to acquaint yourself with this beautiful and beloved music, would this be a good place to begin? And the answer is yes, but with the caution that although these performances are not collectively the best, they nevertheless offer faithful, conscientious, well-mannered interpretations that fully honor the substance and style of Stanford's scores.


The service music comes off best, owing to the power of the organ accompaniments and the choir's strongly projected and well articulated statements. The famous Three Latin Motets, staples of concert choir performances all over the world, seem overly reserved and lacking the punch we usually hear--and expect--from these richly expressive pieces. The Communion Service in C is a gem (minus the cumbersome Credo--a text that absolutely defies elegant musical setting), and the choir--probably the most vocally well-integrated of all of England's all-male ensembles--proves its reportorial command as well as its vocal prowess. Sonically, I have no serious complaints--except that I had to turn the volume up higher than my usual listening level to clearly hear and get the full effect of the unaccompanied motets. And I find Naxos' practice of printing track listings only on the back of the jewel box--and not reproducing them in the liner booklet--an irritating and unnecessary inconvenience.
--David Vernier, ClassicsToday.com

Alligator Records chestnut from 1974 from one of the unsung giants of Chicago blues, Fenton Robinson. An album so good it's been inducted into the Blues Hall of Fame. Features the famous title cut, a blues standard later covered by Boz Scaggs, plus Texas Flood (covered by Stevie Ray Vaughan).