exciting reading of Arnold's finest symphony from unexpected sources, coupled with enchanting CD debutants... The 5th is a marvellous symphony, perhaps his greatest - powerfully argued, confidently structured, and full of memorable invention. It is good to see it so well played and recorded in Munich, guided by Douglas Bostock who comes into his own in four extra works, which are all first recordings. Divertimento- a splendidly characterful triptych; there is much outrageous fun in the St Trinian's score - bursting with irreverent ideas and effects; and the lovely, nostalgic 'Sarabande' of Solitaire (one of his most touching tunes).(Gramophone)

Alto finally releasing a worthy version of this cornerstone of the repertoire. When it was first released the Sunday Times was rapturous; "a magnificent Ninth, done with total commitment under Haitink's inspiring leadership... with splendid chorus and soloists in full cry, and orchestra in blazing form"the slow third movement... moves along at a pace few conductors would have employed fifty years ago. Yet it never sounds hurried, and the dramatic brass interruptions towards it's close have an appropriately apocalyptic ring. The extraordinarily vivid recording, in which the basses are caught to stupendous effect - especially in their passages of recitative... before welcoming the 'Ode to Joy' theme - adds hugely to the effect." (BBC Music magazine)

USSR State Symphony Orchestra, Evgeni Svetlanov Classic Svetlanov from the mid-1970s. "These performances have passion and urgency... a natural feeling for idiomatic phrasing and rhythm... rarely if ever on disc has there been such a radiant account on disc of the lovely slow movement" (Penguin Guide). "... his masterpiece Tamara: this is a very good Tamara and every bit as colorful and mysterious" (Gramophone).

Limited 180gm vinyl LP pressing housed in deluxe tip-on jacket. The prodigious trumpeter Freddie Hubbard debuted on Blue Note in 1960 and produced an astounding run of recordings over the first half of the decade that culminated with Blue Spirits, which was the last of his 1960s studio albums for the label. This bluesy and spirited album presented five evocative Hubbard originals, each of which was given a richly textured arrangement for an ensemble that included a dynamic four-horn lineup. Drawn from two different sessions, the first date produced the gratifying opening track "Soul Surge" and the percolating "Cunga Black" with Hubbard joined by James Spaulding on alto saxophone and flute, Joe Henderson on tenor saxophone, Kiane Zawadi on euphonium, Harold Mabern on piano, Larry Ridley on bass, Clifford Jarvis on drums, and Big Black on congas. A week later Hubbard returned to Van Gelder Studio with Spaulding, Zawadi, and a slightly different lineup including Hank Mobley on tenor saxophone, McCoy Tyner on piano, Bob Cranshaw on bass, and Pete LaRoca on drums. This second session rounded out the album with hard-charging performances of "Outer Forces" and "Jodo," as well as the mesmerizing title track. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, and mastered by Kevin Gray from the original analog master tapes.

Freddie Hubbard - BREAKING POINT Recorded in May 1964, shortly after Hubbard left Art Blakey's Jazz Messengers, the quintet - with James Spaulding, Ronnie Mathews, Eddie Khan, and Joe Chambers - moves assuredly from free-form playing and modal jazz to the blues and balladry on this 6-song set of originals by Hubbard and Chambers. Blue Note Tone Poet Series features all-analog, remastered 180-gram vinyl in deluxe gatefold packaging. BLUE NOTE RECORDS