John Rutter's own recording of his beloved Requiem--with his Cambridge Singers on Collegium--already has been reissued on a CD that includes the Magnificat. That performance, in its setting for choir and orchestra, remains the Requiem of choice, although this new version--with Rutter as recording producer--offers a first-rate rendition of the composer's alternative chamber arrangement of the Requiem along with several rarely-heard--or never-before-recorded--choral and organ works. The Clare College Choir, with whom Rutter has a history both during his days as a music student and later as the choir's director, gives the kind of technically solid and interpretively meaningful performance that we would expect, considering the composer's hands-on involvement and well-known concern for accuracy, both musical and sonic. Like Caroline Ashton on Rutter's Collegium disc, Clare's Elin Manahan Thomas delivers the soprano solos with a clear, ringing, effortlessly natural quality, and the choir is a model of responsiveness and sensitivity in phrasing and dynamics, preserving ideal balance across registers and among vocal sections.


The reason Rutter fans will have to have this is for the premieres and for the handful of rarely-heard organ works--and any listeners who believe this composer to be rather predictable and one-sided in style will find numerous surprises to jar their impressions. Two of the premieres--the anthems Arise, shine and Come down, O Love divine--show a more complex Rutter, whose harmonic style and concept of textual development takes us into richer and far more intellectually/musically challenging territory than we're used to, a nod both to Howells and to Britten. The organ pieces--both for solo (Toccata in seven) and duet (Variations on an Easter theme)--show a thorough command of the idiom and are laced with Rutter's usual catchy rhythms and inventive melodic twists. One of the highlights is the anthem for choir and flute, Musica Dei domum, with its beautiful instrumental solo and organlike choral utterances. The sound, from Berkshire, England's Douai Abbey, provides ideal space and resonance for these eminently singable--and listenable--pieces, works that belong in the collection of every true lover of choral music. [4/26/2003]
--David Vernier, ClassicsToday.com

Antonio Sacchini is one of those highly talented musicians who hover at the periphery of music history but were greatly successful in their lifetime. In the case of Sacchini an echo of his fame can be heard through the present work which has some claims to be his masterpiece. It was performed regularly at the Paris Opéra between 1787 and 1830, which is remarkable indeed and then was revived in 1843.

He was born in Florence but was taken to Naples at the age of four where he was admitted to the Conservatorio when he was ten. His teacher was Francesco Durante, who is probably more well-known today. He obviously moved about within Italy and gained recognition both as opera composer and singing teacher. One of his pupils was Nancy Storace, who among other things was Mozart’s first Susanna in Le nozze di Figaro - “The Julie Andrews of the 18th Century” as one source nicely puts it.

He then went to Stuttgart and Munich and came to London in 1772 where he remained for ten years. At first successful, he later ran into financial trouble and moved to Paris in 1781. There he became a favourite with the Queen but met opposition from parts of the musical establishment. His opera Dardanus was staged at Fontainebleau in 1785 but to his grief Œdipe lay unperformed during his lifetime. The disappointment is said to have contributed to his death. In 1787 Œdipe reached the Opéra; too late for the composer.

Listening to this recording it is easy to understand the longevity of the work. It is a highly accomplished piece of music drama, pointing forward beyond Gluck, who is the closest contemporary comparison. In fact there is a Gluckian nobility in the more reflective moments. Sacchini also has a dramatic integrity and power in the long and often intense accompanied recitatives. At his best, as in the long scene with Œdipe and Antigone in act two (CD1 tr. 14-16), he tends to overshadow even Mozart for dramatic acuity, though he can’t compete with the Salzburg master when it comes to musical invention and melodic memorability. Still he writes expressive and grateful music, as for example the singing part for Polynice in the first scene (CD1 tr. 3) and at the beginning of scene 4 (CD1 tr. 10). Antigone’s aria in act three (CD2 tr. 2), is heroic and tragic to match the text. This is a fairly long aria; mostly they are very short but his flexible style allows him to move more or less imperceptibly from recitative to aria with the orchestra a very active part, not just accompanying. In this respect he might almost be likened to late period Verdi. The writing creates a feeling of unity and cohesion, underlined here by Ryan Brown’s eager conducting. Just as in his recording of Gluck’s Orphée et Euridice (see review) he opts for swift tempos and had at least this reviewer sitting on the edge of his chair. There is such vitality and thrust in his reading that the work stands out as perhaps better than it actually is, but for my money this is an opera to set beside Gluck, Haydn and Mozart as a superb example of late 18th century music theatre. Readers should be warned though that, this being a French opera, there are some decorative elements, like scene 3 of the first act with choruses and dances. The whole opera ends in a kind of anti-climax with an eight-minute ballet sequence. All of this is superbly performed; good music but more or less superfluous.

The Opera Lafayette perform with enthusiasm and flair and Brown and producer Max Wilcox have gathered a fine line-up of soloists. Some of the smaller parts are taken by members of the chorus and among the main characters the experienced François Loup is a deeply involved Œdipe, expressive and with a rich pallet of vocal colours. His daughter Antigone is the dramatically vibrant Nathalie Paulin who is also able to express the nobility of her character. The two tenors, Tony Boutté and Robert Getchell, are excellent; especially the latter who is a model of lyric tenor singing of music from this period. He should be a likewise excellent Don Ottavio or Tamino.

The booklet gives, in the usual Naxos manner, all the information one could possibly expect within the space available and besides a good track-related synopsis we also get the French libretto. The English translation can be downloaded.

This is one of the more thrilling “finds” within the operatic genre.

-- Göran Forsling, MusicWeb International

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

A political prisoner awaits death in his cell. A woman puts herself in mortal danger to seek justice. With its atmosphere of revolution and tale of devotional romance and a dramatic rescue from captivity, Pierre Gaveaux’s Léonore, ou L’Amour conjugal was the direct forerunner to Beethoven’s Fidelio. Having been entirely overshadowed by its famous successor and lain hidden for centuries, this both darkly somber and entertainingly celebratory opéra comique is seen here in an acclaimed modern premiere whose timeless and inspiring story of female heroism and political injustice is as relevant today as ever. The Washington Post wrote of this production: “Opera Lafayette’s smart, efficient production brought the brief opera comique fully to life with vivid playing and singing… events such as this… are a rarity anywhere and a gift...”

LEGENDARY ALBUMS 1954-56

Navona Records proudly presents MUSIC FOR WOODWINDS from composer Scott Pender, his fourth appearance on the label. On this album, Pender showcases his chamber works for woodwinds from the last thirty years in ensemble combinations both common and unfamiliar. On this release lyricism abounds throughout. In the lighthearted Kimchi Dreams for two clarinets and bassoon, Pender conjures gentle, dreamy imagery, balancing two lyrical pieces with two quirky, rhythmically charged ones. The cinematic Variations for Oboe & Piano uses the classic theme-and-variations form to paint a broad canvas, which dissolves into a veiled memory at the end. The dramatic Suite for Woodwind Quintet features bubbling, energetic outer movements surrounding a contemplative Adagio. The lower registers are used to great effect in rich, open chordal writing. The most candid and emotional work on the album, Lyric Set for bassoon and piano, fully exploits the wide range of the bassoon. The movements carry descriptive titles: from the flowing opening of “In the Tide of Times,” followed by the reflective simplicity of “Every Day Is Saturday” – then the stubborn humor of “Lord Berners’ Giraffe,” and ending with the sad grandeur of “Hopeful about the Past.” The remaining pieces—Toccatina for flute quartet and Five Dances for bassoon quartet—add an extra element of rhythmic excitement.

28 examples of the scorching guitar work of Clarence 'Gatemouth' Brown ' one of the most influential guitarists from the Texas school, influenced himself by T-Bone Walker. These, his earliest recordings spanning 1947 through 1953 were equally influential of the next generation of guitarists. Albert Collins, Johnny Winter, The Fabulous Thunderbirds and Stevie Ray Vaughan were all influenced by these seminal recordings.

Tenor saxophonist's trio w. Hod O'Brien on piano and Jacques Schols on bass, recorded Oct. 4 & 10, 1987.

Tenor saxophinst Ted Brown studied with, and belonged to the coterie of like-thinking players around Lennie Tristano. He recorded with Warne Marsh and Lee Konitz, and recorded under his own name with Warne Marsh and Art Pepper as sidemen. Here, after an eight year recording hiatus, he's in the company of legenday bebop guitar great Jimmy Raney & an all star rhythm section with pianist Hod O'Brien, bassist Buster Williams & drummer Ben Riley. This rare session from 1985, recorded at Rudy Van Gelder's Recording Studio, has 5 alternate takes, and was never released as a CD before.

Solo piano from St. Louis musician Henry Brown, recorded in 1960. 12 tracks including: Henry Brown Blues, Bottled in Bond, Deep Morgan Boogie, O'Fallon Blues, Papa Slick Head, Scufflin' Boogie.

Archive release from the late, great blues vocalist.

Recorded in 1961, The Blues in St. Louis, Vol. 2 celebrates 1930s and '40s style Barrelhouse Blues and Boogie Woogie. Henry Brown and Edith Johnson came from very different musical backgrounds: pianist Brown was formally trained, while Johnson learned the blues by singing along with music playing in her husband's record shop. Yet, the two came together in Jazz and Blues fan Bob Oswald's recording studio, and the result is a combination of Classic Blues instrumentals and vocals like "Honeysuckle Rose" and "Little Drops of Water," often accompanied by Brown tapping his foot against the piano pedal. Musician and scholar Samuel Charters gives a first hand account of the musicians and circumstances of recording in the liner notes.

Produced by Paul Brown and Wirlie Morris. Grammy Award-winning Contemporary Jazz/R&B superstar Norman Brown has sold over 3 million albums in his extraor- dinary career and virtually lives at the top of the Billboard Contemporary Jazz sales and radio charts. Having headlined with virtually every Contemporary Jazz superstar from Boney James to Dave Koz to Gerald Albright, Norman's non-stop touring has electrified audiences from coast to coast! It Hits Different has Norman Brown's hit-making talents on full display. Highlights include the uber-funky "Chicken Shack," the romantic "Too Forever," the joyful "Strollin'" and much more.

2022 release. Two time Grammy winner, Paul Brown, both as an artist and producer, is responsible for more than 60 #1 jazz radio hits! Paul has produced and shared the stage with a who's-who of jazz greats such as George Benson, Patti Austin, Boney James, Norman Brown, and Peter White, just to name a few. With Promised Land, Paul Brown reaches the peak of his prodigious creativity. The album kicks off with the spirited "Secret Sauce," a surefire contemporary jazz radio #1, and delivers with "Don't Stop," Paul's sexy collaboration with Marion Meadows, and the Bluesy, in-the-pocket, "7and7," featuring Euge Groove!!

Norman Brown again teams up with superstar producer Paul Brown to create more magic! Grammy Award-winning Contemporary Jazz/R&B su-perstar Norman Brown has sold over 2 million albums in his extraordinary career and virtually lives at the top of the Billboard Contemporary Jazz sale sand radio charts. Let's Get Away has Norman Brown's hit-making talents on full display. Featuring inspired original com-positions such as the vibey "L.A. Chill," the funk/bluestinged "Talk It Out," and the romantic tribute to Wes Montgomery, "Wes Side Story," Norman tops it all off with a brilliant rendition of the classic "Down Here On The Ground!"

Let It Go, Norman Brown's inspired 2017 debut album for Shanachie Records, has something for everyone, whether an R&B fan or a jazz aficionado. From "Holding You," his sensuous collaboration with R&B great Chant� Moore and Norman's re-imagining of the Five Stairsteps classic "Ooh Child" to the smoothly grooving "Remember Who You Are" and the serenely inspired "Let It Go," Let It Go is Norman Brown at his best.

CUTTER HEADS

This is Ray Brown's Final Recording New York City, March 2002 featuring a bonus CD a retrospective of Ray Brown's Telarc recordings chosen by his producer.

Veteran saxophonist/pianist of the Chicago avant garde scene with Kirk Brown-piano, Yosef Ben Israel- bass, Avreeayl Ra-drums.

Ari carries on two traditions, the Chicago tough tenor tradition & the AACM tradition, melding them into his own voice on 8 original compositions.

The foundation of rhythm & blues was set during the war years. Big bands were stripped down to smaller horn lead combos driven by a jumping rhythm section tailor-made for dancing. In this setting the "blues shouter" was an absolute necessity. While Big Joe Turner is the father of the style, the flamboyant Wynonie Harris popularized the shouter's role as a leather-lunged hell raiser. Two singers followed in Harris' footsteps: Piney Brown & Eddie Mack. This 22 track collection from 1948-50 contains 7 never before released cuts, and features Willis Jackson & Bobby Smith.

OCEANIC

Ari carries on the Chicago tenor sax and the AACM traditions. He melds them into his own voice and no matter how far out he takes the music, it still remains accessible and enjoyable.

Andy Brown's previous album, Soloist (DMK 5019), received outstanding reviews in JazzTimes, Jazziz, Vintage Guitar and in Down Beat where Scott Yanow described Andy as "a fixture on the Chicago jazz scene since 2003" superior mainstream guitarist." Direct Call features a rarity in jazz today - a working band. Several years of performing weekly at Andy's Jazz Club has given this quartet a cohesive and tight-knit sound that can only be gained through countless gigs together. With pianist Jeremy Kahn, bassist Joe Policastro and drummer Phil Gratteau, the album features an eclectic mix of standards, Brazilian music and jazz compositions.

Ari carries on the Chicago tenor sax and the AACM traditions. He melds them into his own voice and no matter how far out he takes the music, it still remains accessible and enjoyable.

Cowboy Roy Brown was born in Arkansas on April 20, 1875, the son of a preacher. He and his sister learned to play guitar from their father who they accompanied when he played violin in church. In his twenties, Roy visited St Louis during the 1904 World's Fair and later moved to Kansas City, then Marion, Illinois and then drifted to Milwaukee, Wisconsin and Deadwood, South Dakota. Roy eventually returned to St Louis where he was a street singer performing with his guitar and catalog of blues, folk and cowboy tunes. Roy and his band - a guitar named "Baby" and a kazoo named "Leon" - performed cowboy standards and popular tunes. All of which can be heard here on this collection of previously unissued mid-'50s recordings.