Who on this planet has never seen KING KONG and heard Max Steiner’s powerful innovative music more than once? Here’s a treasure trove of classic scary music that these 20th-century composers gave their best and probably never thought would ever be heard again and especially newly recorded! Film fans and scholars in every future century will continue to discover and study this music art form and give the composers their unexpected and rightful immortality!
— Craig Spaulding, Screen Archives Entertainment

This programme portrays the ‘birth’ of the flute in France in the late 17th century and the following 40 years of its life as a new and fashionable instrument. A famous patron of the arts, King Louis XIV gathered elite composers and musicians to create the refinement, elegance and good taste that was demanded at his Paris Court. From the early petites pièces to more virtuoso suites and sonatas with their ornamented lyricism and grand dance rhythms, the mellow, robust and almost husky sounds of flutes from this period blend and weave around each other like the voices of two singers.

This fairytale melodrama was adapted from a book by Algernon Blackwood A Prisoner in Fairyland for a West End theatre production staged during World War 1 with music by Elgar. Based on a new score which has been adapted by Sir Andrew Davis who also here conducts the Scottish Chamber Orchestra this is the most comprehensive recorded version to date. The two-disc set includes the incidental music with narrative by Simon Callow and an extended suite of freestanding orchestral movements and songs.

"Those who love this score as much as Elgar did - and I do - will welcome this new recording. ... All Elgarians must hear this superb set." – Paul Corfield Godfrey, MusicWeb International

"Performance: ***** Recording: **** This is a very valuable addition to the Elgar discography.” – Calum MacDonald, BBC Music [1/2012]

“[L]ovingly played by the Scottish Chamber Orchestra and features the excellent baritone soloist Roderick Williams.” – Andrew Clark, Financial Times [12/8-9/2012]

“Elgar’s score is enchanting – and Davis and the SCO deliver it with evident affection.” – Hugh Canning, The Sunday Times (Culture Magazine) [11/11/2012]

“Davis secures absolutely first-rate results from the Scottish CO. Elin Manahan Thomas’s light silvery soprano could hardly be more suited to the parts of the laughter and Jane-Anne, while Roderick Williams is in glorious voice throughout. Everything has been captured by the microphones with ingratiating amplitude, bloom and glow.” – Andrew Achenbach, Gramophone [11/2012]

"[T]he songs are delivered with just the right lightness of touch by soprano Elin Manahan Thomas and baritone Roderick Williams. ***" – Andrew Clements, The Guardian [10/26/2012]

The most requested Miles Davis reissue arrives for his centennial in spectacular style. What began as a holiday residency at Chicago's Plugged Nickel Caf� became the crucible where the Second Great Quintet forged it's identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy reveal the full scope across seven and half hours of revelatory music-instantly hailed as one of the greatest live jazz recordings ever and earning the Penguin Jazz Guide's coveted "Crown." Now, 30 years later and six decades after the shows themselves, veteran fans finally get the reissue they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history. This new 8CD edition mirrors the original sequence. Each CD comes in it's own newly designed mini-gatefold jacket, housed in a gold foil-embossed slipcase box. The 44-page perfect bound book includes rare Plugged Nickel photos and extensive new liner notes and track-by-track commentary by Syd Schwartz alongside Bob Blumenthal's original essay.

The rare biblical opera 'David and Jonathas' is like 'Médée', one of the major works of the French Baroque composer Marc-Antoine Charpentier. The opera has been in the repertoire of Les Arts Florissants since 1988 and was first presented in a stage production by William Christie at the Aix-en-Provence Festival 2012. This DVD release is a special event for all Baroque music lovers.

Written a year after the death of Lully, this lyric tragedy allows Charpentier to develop beyond the religious dimension, a story of male friendship and forbidden love between David and Jonathas. An excellent cast gathered around William Christie and Les Arts Florissants brings young singers to the title roles: Pascal Charbonneau, a tenor and a former student of the European Academy of Music, sings David. The role of Jonathas is given to a woman: soprano Ana Quintans.

The staging by Andreas Homoki (Director of the Zurich Opera since summer 2012) focuses on the psychological aspect of this forbidden love story, giving a moving reading of the drama.

Direction: Andreas Homoki
Scenography: Paul Zoller
Costumes: Gideon Davey
Lighting: Franck Evin

R E V I E W:

Marc-Antoine Charpentier’s lack of official affiliation with the French court’s rather formal musical establishment under Jean-Baptiste Lully had two effects, as I noted in my other review this issue. First, he was free to do other things, and since Lully was not especially interested in sacred music, Charpentier was pretty much left on his own to develop music in the church, which he did in a grand style. As a sideline, he was also freed from the inevitable debate that arose between adherents of the French and Italian styles, for having been trained in Italy, he felt free to dip in and out of both with some alacrity. Second, as someone not under Lully’s sway, his desire to compose for the stage was rather curtailed, since the tragédie lyrique was not something he was able to compose officially. Not until 1693 did his only work in this genre, Medée, come to the stage, notably a number of years after Lully’s death and the implosion of his musical dynasty. In the meantime, he dabbled in the form with a series of Jesuit works for the Collège de Louis-le-Grand, of which David et Jonathas from 1688 was the most “operatic” (though of course he was able to get a number of pastorals and ballets performed at the Opéra). Consisting of the usual five acts and prologue, he altered the form somewhat, interspersing the Divertissement at the beginning and end of each act instead of placing it all in a bunch at the end. Otherwise, the flow of the work pretty much follows that of the normal secular works composed by Lully and others.

Insofar as the plot goes, this seems to have been a gloss on a play by Etienne Chamillart, performed at the same time, which fleshes out the story of the friendship of David and Jonathan. In a prologue, the seer (here called somewhat ironically La Pythonesse instead of the Witch of Endor) foretells Saul’s defeat through the shade of the prophet Samuel. Act One opens with the Philistines, here seemingly dressed in a motley sartorial concoction of djelabas, working clothes with suspenders, and bright red fezzes, cheering on David (sung here by high tenor Paul Charbonneau), while their King, Achis (sung with a resonant bass by Frédéric Caton, dressed like a Grand Mufti), decides to negotiate a truce with Saul (sung in an equally expressive and resonant bass by Neal Davies, dressed in a weskit and working-class pants). This annoys the general of the Philistine army, Joabel (sung in a lighter tenor by Kre?imir ?picer, who is somehow dressed in a strange turban and has a stringy long goatee), who then plots to destroy David. In the meantime, David meets with his friend Jonathas (sung in a pants role by soprano Ana Quintans, who sports a strange intellectual look replete with dark-rimmed glasses). In the Third Act, Saul’s jealousy explodes, and when Achis won’t execute David and Jonathas also refuses, he prepares to abrogate the truce with the Philistines. Jonathas is gravely wounded in the battle that follows, and although filled with remorse, Saul still attempts to kill David, even though mortally wounded himself. When Jonathas dies in David’s arms, David is overcome with despair, and even the proclamation by Achis that David is now the King of Israel fails to cheer him up.

As far as plots for operas go, this one is probably a step up from the usual opera seria or French classical plot of the time, for it contains a great deal of pathos and character development. If there is a moral to the story, it seems rather dispersed among the various turns of the plot. The music is set in a through-composed manner, with recitative and aria flowing easily in and out of each other, and Charpentier’s choice of limiting the dances to the beginnings and ends of each act allows for the plot to develop more smoothly.

Insofar as the music goes, the singing is first-rate and, as expected, William Christie’s venerable Arts Florissants ensemble is virtually flawless in their execution of Charpentier’s rich score. If this was a disc, I would purchase it in an instant. I found it every bit as good if not better than his release back in 1998 on Harmonia Mundi (which was re-released just this past year), and I like it much better than the old Erato recording with Opera Lyon. Unfortunately, it is not, and the reason is the staging. The set is a movable wooden box, with basically a large wood picnic table and chairs for props. The walls are movable, including an awkward moment in the final triumphal chorus scene at the end where the chorus is crowded together as the walls hem them in, looking very much at one moment like the interior of a cattle car. The costumes are also bizarre. The Israelites look very much like refugees from some sort of Russian steppe, sometimes with Hasidic hats, while the Philistines are a mismatched bunch of pseudo-Turkish peasants, looking for all the world like they desperately need both shaves and baths. The principals are not immune to this sartorial faux pas, for Jonathas looks like a bit of a nerd and David a working-class bloke straight from a factory. Even their “friendship” is supposed to heighten the homoerotic story, but Quintans doesn’t really act like a guy, just someone who has cross-dressed. Finally, Neal Davies has been directed to play Saul mostly on his knees, grimacing ferociously into the camera. Even the Pythoness and her hoard of priestesses look like they stepped right out of a rural diner in their checked gingham dresses. Of course, this has nothing to do with Charpentier or his dramatic music, or even the terrific musicality of the vocalists. But for visuals, this is yet another bizarre attempt to “update” the setting by doing something artistically unfathomable. Too bad; the artistry of the performers deserves better.

FANFARE: Bertil van Boer

Navona Records presents Michael Kurek’s SYMPHONY NO. 2: TALES FROM THE REALM OF FAERIE, a rich musical tapestry intertwining the colors and characteristics of many fantastical worlds the composer has entered and loved. Performed by the European Recording Orchestra, a certain spirit of unspoiled beauty, innocence, nobility, hope, and heroic goodness stretches across four movements, each giving the listener creative control of the worlds they conjure. With a well-balanced lineage of traditional compositional techniques running throughout his symphony and other works for choir to follow, Kurek presents a dynamic assortment of work that keeps the spirit and heritage of classical music alive.

Within the small circle of modern jazz trombonists, few would argue that Steve Davis stands apart from the crowd, not only as a singular instumental voice but also as a gifted composer. With Systems Blue, his fifth Criss Cross album to date, Davis explores a distinguished set of jazz standards while being accompanied by his rhythm section partners from One for All - pianist David Hazeltine, bassist Peter Washington, and drummer Joe Farnsworth. Alto saxophonist Mike DiRubbo joins the group on two titles.

For his sixth Criss Cross album, trombonist Steve Davis, also known for his work with Chick Corea, Art Blakey's Jazz Messengers, and the group One for All, shares the front line with Tom Harrell's tenor saxophonist Jimmy Greene. The rhythm section is made up of pianist Xavier Davis, bassist Dwayne Burno and drummer Nasheet Waits. Davis displays his customary buttery sound and understated propulsion - his seven originals are harmonically hip and unfailingly melodic.

Pianist Anthony Davis is joined by Leroy Jenkins, Abdul Wadud & Pheeroan ak Laff on highly creative improvised compositions, written by Davis, and recorded at Downtown sound, New York City, July 30 & 31, 1978.

The classic 1957 release from one of the greats of gospel blues, a rough diamond of hard, pure country gospel expression, at odds with the earthly concerns of the blues and yet entwined with the devil's rhythms. Listen to the splendid Moon Goes Down, the skittering guitar figures on Bad Company and classic ragtime of I Didn't Want to Join the Band for confirmation of his brilliant originality. 17 cuts total, including a couple of unreleased items.

This recording of Gil Noble's WABC-TV program, "Like It is" features an exclusive interview with Angela Davis done by her lawyer, Margaret Burnham, while she was jailed in NY and awaiting trial on the case of the Soledad Brothers in 1971. The interview was arranged by the leading black newspaper at the time, Mohammed Speaks, and the questions were drawn from a poll conducted on what the average Harlem resident would ask Davis if given the chance. To these questions Davis is unapologetic and unwavering in her beliefs a "... There is nothing, absolutely nothing which could deter me from continuing to fight with all my energies for the freedom of my people."

The blind folk, gospel and blues musician made it to New York from South Carolina and made a name for himself as the "Harlem Street Singer." a Baptist minister and a teacher, Gary Davis was also an accomplished and influential vocalist, guitarist, and harmonica player. He was seventy years old at the time of this recording. "We Are the Heavenly Father's Children" is re-mastered and re-released on If I Had My Way: Early Home Recordings(SFW40123).

Intakt Records is delighted to release their first collaboration with New York saxophonist and visionary instrumentalist, composer and activist Caroline Davis. Portals, Volume 2: Returning is a dedication to Caroline Davis' grandmother, Joan "Lady" Anson Weber, a British poet (1927-2010) who is a direct inspiration for Davis's artistic life. The pieces on "Portals, Volume 2" were written by Davis for her current quintet, which consists of some of the leading voices in American jazz - Marquis Hill, Julian Shore, Chris Tordini and Allan Mednard. They are joined by several guests, including flutist Nicole Mitchell, as well as vocal instrumentalists Jen Shyu, Nappy Nina, Julia Easterlin and Alexa Barchini to honor Lady's poetry with their voices (using spoken word and song). "Portals Volume 2: Returning, is an extremely special record. It is incredibly personal, but the spirit of the music is so generous and so vulnerable that the specificities of it's subject become invitations for the listener to experience the perspectival shifts of grief as an ecstatic pathway towards greater empathy", writes Wendy Eisenberg in the liner notes.

Double vinyl LP pressing. By 1991, the world's most celebrated trumpeter could look back on five decades of musical evolution - his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he'd left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship. Miles Davis's lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991. Miles Davis' performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, "Penetration" and "Jailbait".

Miles Davis - The Classic Albums Collection - This four CD set contains Miles Davis' nine most popular albums both critically and commercially, all originally recorded between 1953 and 1960. Among the most influential and acclaimed figures in the history of jazz, and indeed in 20th-century music, Miles Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in the genre. This four CD set contains Miles Davis' nine most popular albums both critically and commercially, all originally recorded between 1953 and 1960; for most enthusiasts the period during which the great man's star shone brightest.

Two CDs. By 1991, the world's most celebrated trumpeter could look back on five decades of musical evolution - his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he'd left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship. Miles Davis's lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991. Miles Davis' performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, "Penetration" and "Jailbait".

Financial Times' Disc of the Year; New York Times' CDs of the Year/ "Performance: * Recording: * 'Beuron, probably today's finest lyric tenor, gives the performance an essential idiomatic core in his narration... [Tenebrae are] dramatically alert and glowing as stained glass, the angelic messages skin-pricklingly ethereal." (BBC Music Magazine) "[Sir Colin's] revisitation of this truly classic score is utterly and totally compelling.' (International Record Review)

The [4th Symphony] is especially interesting: not previously issued; furthermore, it may well be new to the Davis discography. Vaughan Williams' Fourth Symphony receives a terrific reading... first movement full of teeming energy and the recorded sound adds to the impact... an expertly judged slow movement offers refined playing but they and Davis make the climaxes ardent. The Scherzo is really incisive... The finale explodes into life and the LSO brass is on trenchant form... Davis keeps the performance rock-steady and they achieve great clarity... hard to understand why it was never issued separately - greatly to be welcomed" (MusicWeb). [5th symphony]: "I found these performances far more communicative... Marriner conveys a greater sense of radiance and warmth and a greater awareness of the underlying forces beneath the surface (the final movement is particularly well done)" (Gramophone)

Harlem Street Singer is Reverend Gary Davis' 1960 album, originally released on Prestige Records' Bluesville imprint. The album features a combination of Davis-penned tracks, including "Death Don't Have No Mercy," and standards such as "Samson and Delilah." All Music declared that the album is "essential listening for fans of country blues or gospel." Bluesville Acoustic Sounds Series is remastered from the original tapes.

The Miles Davis Quintet - Miles: The New Miles Davis Quintet (Original Jazz Classics Series) [LP] / Craft Recordings Standing in the shadow of the unprecedented mainstream success of Getz's bossa period that came before, the Creed Taylor produced Sweet Rain is as perfect a straight-ahead date as the leader ever made, with a remarkable young band including pianist Chick Corea, bassist Ron Carter, and drummer Grady Tate providing "crackling energy that clearly inspired Getz to new heights of expression," writes SFJazz. Org. Verve Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Limited 180gm vinyl LP pressing. Harlem Street Singer is Reverend Gary Davis' 1960 album, originally released on Prestige Records' Bluesville imprint. The album features a combination of Davis-penned tracks, including "Death Don't Have No Mercy," and standards such as "Samson and Delilah." All Music declared that the album is "essential listening for fans of country blues or gospel." Bluesville Acoustic Sounds Series is remastered from the original tapes.

Miles' early Blue Note sessions from 1952-54 yielded two later LPs that Blue Note released as part of the 1500 Series. Volume 2 is split between the blazing bebop and beautiful ballads that first made Miles famous: "Well You Needn't," "Lazy Susan," "The Leap," "It Never Entered My Mind," "Donna," alternate takes of "Ray's Idea" and "Tempus Fugit" and more. This mono Blue Note Classic Vinyl edition is all-analog mastered from the original tapes and pressed on 180-gram vinyl! Blue Note.

People Look Like Tanks Bots Anthem Miss Ann A Soothing, Melancholy Breeze Green Anthem [reprise] Secrets Lithe

2018 release. When Caroline Davis found out that her father had heart arrhythmia the news prompted her to do detailed research on the physical aspects of the human heart. It was with all of this in mind that Davis decided to compose pieces relating to the heart, whether it was an emotional connotation or the utilization of rhythms derived from heartbeats. Composing really helped to get her through much of her emotional transition. Heart Tonic finds Davis employing more standard jazz elements than much of her previous work, including formal harmonic changes and shifting meters.

Featuring Celtic Heartbeat's Anuna, this album is a mix of classical, film music, and traditional Celtic folk music including works by Vaughan Williams, Verdi, Bach, Dvorak, Schubert, Copland, and others.