Double vinyl LP set pressed at 45rpm. The legendary album by IN+OUT from 1989, remastered from the original recordings in a 45rpm 2 LP Audiophile Deluxe Edition. This album, recorded during a month-long European tour in 1987, captures Woody in peak form playing with a spirit and a sense of adventure that identify him as a jazz giant. Woody calls the trumpet "the prince of all the horns". Woody is the king of all the trumpet players. Nobody around plays with such a big, round, ravishing sound - a sound which could easily fool you into thinking that you are listening to a flugelhorn. Woody's musical asociates on this album are Alex Deutsch, a young drummer from Austria who has worked in Europe with many American jazz stars and who, at the time of writing, is studying at the Berklee School in Boston; Neil Swainson, a highly gifted bassist from Toronto who has worked with Pat La Barbera and Peter Leitch but is perhaps best known for his superb collaboration with George Shearing; and Fred Henke, a pianist from Montreal whose credits include backing Clifford Jordan, Steve Grossman and Junior Cock.

Debut album by LA saxophonist / flautist co-produced by Carlos Nino documents a transformative recovery from major illness. By no means a secret, but certainly in the category of IYKYK, saxophonist/flautist Aaron Shaw is one of Los Angeles's brightest young jazz musicians. A player's player, and frequent fixture at The World Stage in Leimert Park, Shaw has collaborated with the likes of Anderson Paak, Dave Chapelle, Herbie Hancock, Mary J. Blige, and Shawn Mendes.

Remastered, 180g Vinyl. Including an insert with newly written liner notes by Bob Blumenthal and Barney Fields with rare photograph by K. Abe. Originally released in 1976 on Muse Records, 'Love Dance' stands as one of Woody Shaw's most spiritual and forward-thinking sessions. This audiophile reissue restores the album's full tonal richness, capturing Shaw's soaring trumpet lines and the ensemble's dynamic interplay with unprecedented clarity. Shaw leads a powerhouse lineup - including Billy Harper, Steve Turre, Rene McLean, Cecil McBee and Joe Bonner - through five expansive tracks blending modal jazz, spiritual themes, and post-bop intensity. A landmark in Shaw's discography, 'Love Dance' is essential listening - now presented with the depth and detail it has always deserved. Remastered & Cut AAA directly from the original analog tapes by Matthew Lutthans at The Mastering Lab. Pressed on 180g vinyl at Optimal Media and housed in Stoughton Old Style® Tip-On Jackets. Including an insert with newly written liner notes by Bob Blumenthal and Barney Fields with rare photograph by K. Abe.

After 13 years, internationally acclaimed saxophonist Jaleel Shaw returns with Painter of the Invisible - a deeply personal and emotionally resonant album that honors the heroes, places, and legacies that shaped him. With critical praise from The New York Times, DownBeat, and The Philadelphia Inquirer, Shaw is celebrated as a visionary voice in modern jazz. On this long-anticipated full-length release, he delivers a powerful suite of original compositions that merge expressive storytelling with exquisite musicianship. Backed by an all-star ensemble - Lawrence Fields (piano), Ben Street (bass), Joe Dyson (drums), Lage Lund (guitar), and Sasha Berliner (vibraphone) - Shaw weaves an unforgettable sonic narrative that explores themes of love, loss, ancestry, identity, and social justice. From the uplifting tribute "Good Morning" to the heartbreaking meditation "Tamir (for Tamir Rice)," each track paints a vivid portrait of those who remain invisible in life, yet unforgettable in memory. Shaw's virtuosic playing and soulful compositions reveal a singular jazz artist at the height of his powers - thoughtful, fearless, and uncompromising. Painter of the Invisible is not only a celebration of life and legacy, but a vital contribution to the evolving story of Black American music.

The original score for Ken Burns's 2024 two-part documentary, LEONARDO da VINCI. The album features performances by the composer's longtime collaborators Attacca Quartet, So Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score. LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns's first non-American subject.

Double vinyl LP pressing. The original score for Ken Burns's 2024 two-part documentary, LEONARDO da VINCI. The album features performances by the composer's longtime collaborators Attacca Quartet, So Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score. LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns's first non-American subject.

Vinyl LP pressing. 2024 release. Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and So Percussion. The album follows their 2021 Grammy Award-winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021's Let the Soil Play It's Simple Part, with Shaw on vocals backed by So-Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil... and Rectangles and Circumstance. Sliwinski says. "For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped it's expressive mode [and] ended up using verses by Christina Rosetti, Emily Bronte, Emily Dickinson, Gertrude Stein, and William Blake... The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson."

2024 release. Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and So Percussion. The album follows their 2021 Grammy Award-winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021's Let the Soil Play It's Simple Part, with Shaw on vocals backed by So-Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil... and Rectangles and Circumstance. Sliwinski says. "For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped it's expressive mode [and] ended up using verses by Christina Rosetti, Emily Bronte, Emily Dickinson, Gertrude Stein, and William Blake... The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson."

2019 release. The exciting, genre-defying American composer Gregory Hutter wrote this sequence of choral music between 2009 and 2014- his intention being economic, direct, and tuneful music. The settings range from the English Renaissance to American poems of the early 20th century; from Shakespeare to Carl Sandburg and Sara Teasdale. Hutter approaches the texts with lyricism and fluidity, attentive to the poetrys moments of melancholy, beauty or bucolic energy. In harmonically rich settings he draws on polyphony, chromaticism and lullaby alike to communicate and bring the listener closer to the core of the texts.

Following their acclaimed previous Wagner opera releases, Halle presents the remastered recording of their 2013 Prom performance, recorded live at the Royal Albert Hall. “Working with his orchestra, the Halle, Sir Mark Elder produced an account of this miraculous score which, for a combination of passion and precision, surpassed any other that I have ever heard.” (Michael Tanner, The Spectator, August 2013) Wagner’s last opera, Parsifal, which the composer declared to be his “farewell to the world” has been described as being in many ways the most “total” of all his “total art works.” His spiritual swansong unfurls as a slow-moving, ritualistic drama, and is arguably the best-suited of all his operas to the style of concert staging offered here. This release was recorded live at the Royal Albert Hall, London at the 2013 BBC Proms, featuring dramatic spatial placing of off-stage choruses and musicians. It was audio remastered by Halle’s award-winning engineer Stever Portnoi: the original multitrack recordings of both rehearsals and concert were edited to eliminate audience noise whilst retaining the sense of place and the staged nature of the performance. The edited multitrack was then remixed to achieve a sound in keeping with Halle label releases.

The latest release in Hallé’s award winning series of recordings of works by Elgar couples his last great choral work with a fascinating collection of works which similarly remember the departed. Previous Elgar choral releases of The Dream of Gerontius, The Kingdom, and The Apostles were universally acclaimed, winning numerous awards, including a Gramophone Award for each release. The largely overlooked The Spirit of England is arguably Elgar’s last great choral work. Thematically linked to The Dream of Gerontius the work sets texts from WWI poets and was premiered in sections during 1916 and 1917. In tone it is close to the melancholy of the Cello Concerto and Britten referred to its music as displaying “a personal tenderness and grief” as well as “genuine splendour”. The melodrama (spoken words with musical accompaniment) of A Voice in the Wilderness movingly depicts the contrasting moods of the desolate and subdued Western Front by night and the soaring, aspiring lines given to a war-time Belgian peasant girl. The remaining two works on the album present works inspired by Irish literature. Grania and Diarmid was a play based on tales of Irish mythology. Elgar’s music for the play, a story of tragic entangled love, was described by playright W.B. Yeats as “wonderful in its heroic melancholy”. Bax’s rarely performed orchestral work In Memoriam is subtitled ‘An Irish Elegy’. It reflects the composer’s passionate interest in, and love for, Ireland, her literature and her tragic early twentieth century history – including the Easter Rising of April 1916 and the subsequent execution of some of its leaders which deeply shocked Bax. The resultant music contracts outbursts of anger with episodes featuring melody of profound sadness and lyricism.

Francis Shaw has become one of the most versatile British composers of this day, having written a wide range of music, most notably for film and television. As with many composers whose work has taken them into diverse musical fields, the range of his accomplishments has tended to draw attention away from what lies at the heart of his output - his serious music, less extensive than that of his more commercial work, but which - is of a quality and achievement manifestly deserving of far greater recognition than it has received hitherto.

Woody Shaw & Louis Hayes: 'The Tour' Vol. 1 (Audio CD) "By no means is jazz dead-that's essentially why Louis Hayes and I formed this band. We really enjoy playing." So wrote Woody Shaw, presumably around the time of this historic concert from their 1976 European tour, in response to the then much-heralded death of jazz. It was people like Shaw, Hayes and others who proved that it was only our out-dated preconceptions of what jazz was which were dead and that jazz itself was alive and well. Here we have a real gem from Woody Shaw's greatest period - a very hip quintet session, recorded with drummer Louis Hayes, tenor man Junior Cook, Ronnie Matthews on piano and Stafford James on bass. Cook's Trane-tinged flurries, Shaw's boprish bursts, Mathews' ever-intensifying solos and Hayes' thunder-and-lightning drumming create an energy and esprit very much in the Blakey tradition but without ever losing track of the identity or sight of their collective goal. This Woody Shaw-Louis Hayes-Junior Cook quintet is now a part of history. The concentric circles they set in motion, emanating from the center of their work so long ago continue to expand and make their influence felt right up to the present day. Personnel: Woody Shaw, trumpet; Junior Cook, tenor sax; Ronnie Matthews, piano; Stafford James, bass; Louis Hayes, drums.

This new release is the conclusion of a project exploring ways of transforming and developing the piano concerto. Pianist Kate Halsall developed these works centered around two pianos with varied electro-acoustical and chamber accompaniment. The pieces incorporate rock and jazz instruments, extended techniques, film, and pitched silences. The composers featured here are all part of the English new-music scene, and are developing reputations for innovation.

Artie Shaw was a unique personality in jazz, big band and swing music - as clarinetist, bandleader, composer, and arranger, he pursued his own often idiosyncratic, original and some might say perverse approach to his music and career, and along the way produced some of the most popular and memorable recordings of the swing era Huge hits ("Begin the Beguine"), songs he introduced into the jazz canon ("Frenesi"), original compositions ("Summit Ridge Drive") 43 prime cuts from a legendary big-band career, offered for a fabulous price by the Fabulous label! Other hits include "Star Dust," "Count Every Star," "My Little Nest of Heavenly Blue," "Concerto for Clarinet," "The Blues," "St. James Infirmary" and more. Fabulous.

Since its founding in 1985, the Dallas Wind Symphony, led by Artistic Director and Conductor Jerry Junkin, has become one of the world’s top professional wind ensembles, providing a standard against which other bands measure excellence. Soaring lyricism, especially in the solo trumpet part, characterizes each of the three richly scored lyrical sections of Fisher Tull’s Rhapsody for Trumpet and Band (1980), which surround two faster, more technically demanding portions of the work. Harry Begian (1921-2010) created the transcription of the first movement of Reinhold Glière’s Concerto for Coloratura Soprano for a 1983 University of Illinois Symphonic Band concert. The movement is characteristically Russian, full of long, brooding phrases juxtaposed against upwardly spinning melodies. Receiving its world premiere recording, Brett William Dietz’s Redshift is full of color, contrast and fast-paced drama. The work contains a great amount of interplay between the trumpet soloist and ensemble, and prominently features the percussion section. Two additional works, Rachmaninov’s Vocalise and a second by Fisher Tull (Concerto No. 2 for Trumpet and Band), round out this disc.

Shelter is the result of an unusual collaboration among Bang on a Can's founding composers Michael Gordon, David Lang and Julia Wolfe. Scored for three sopranos and a 17-piece ensemble, the project explores what "shelter" means in different cultures. Ensemble Signal's debut recording, under music director Brad Lubman and producer Michael Riesman, was originally commissioned for the Next Wave Festival by the Brooklyn Academy of Music and premiered with Trio Mediaeval in Cologne, Germany in 2005.

Woody Shaw is widely revered across the globe as the last major innovator to significantly revolutionize modern jazz trumpet playing. Shaw's innovations vastly extended the harmonic and technical vocabulary of the instrument and remain largely unparalleled in the world of music. Shaw is also remembered as one of the great, modern jazz composers to have developed a distinct musical sound and identity through his original compositions. Here is a program of Woody Shaw playing his own works with some of his favorite sidemen.

Track Listing
1. Overture
2. Ladies Who Lunch, The
3. He Tossed a Coin
4. Two by Two
5. I Want to Be Happy
6. Coffee in a Cardboard Cup
7. Lucky to Be Me
8. Send in the Clowns
9. I'm Always Chasing Rainbows
10. Over Here!
11. What I Did For Love
12. Mack the Knife
13. Tomorrow
14. Fifty Per Cent
15. Come Follow the Band
16. Folies Bergere

Harris Goldsmith writes in his note: "This 1948 version is almost completely without mishap. Indeed, there is ample reason to consider it the finest of the Maestro's achievements with this monumental Masterpiece [the Requiem]. The pacing resembles that of the November 23rd, 1940 performance in it's nobility and unhurried breadth.

This double set, originally released in 1994, contains the complete contents of three classic holiday albums from the Robert Shaw chorale:
Christmas Hymns & Carols, Volume I ("Living Stereo" LSC-2139) [1957]
Christmas Hyns & Carols, Volume II ("Orthophonic" LM-1711) [1952]
Britten: A Ceremony of Carols, Festival Te Deum & Rejoice in the Lamb ("Dynagroove" 2759) [1963]

This reissue was remastered directly from the original RCA Victor Red Seal Master tapes.

This is a disc of music for chamber ensembles and solo performers written by two of Britain's leading women composers, who also happen to be mother and daughter. Sparklingly presented by Okeanos, comprising several leading contemporary music performers.

I have to confess, I seldom listen to these pieces. Not because everyone agrees that they aren't "great" Mozart, but because most performances usually fall into one of two equally loathsome categories, which for convenience we may call Flutezilla vs. The Antiques Road Show. First, there is Flutezilla--the ego-boosting display of some star soloist who simply must record these concertos because Mozart wrote them and, let's face it, no other great composer between the Baroque period and the 20th century cared enough about the flute to even attempt to compose anything similarly worth playing. These productions usually feature the soloist blasting away on an instrument over-miked to the point where, regarding balance with the orchestra, it offers the aural equivalent of Godzilla stomping on teeny tiny Tokyo--"Tokyo" in this case being represented by a bargain-basement ensemble (I Solisti di Fresno, perhaps?) usually bored out of its mind, led by a no-talent, no-name conductor for whom excitement means having everyone start and end more or less at the same time (never mind what happens along the way). More than a few great flutists have thus been defeated by these lovely, unassuming works when played and recorded in such a fashion.


Then there's The Antiques Road Show. This more recent, second batch of vile recordings comes from those terribly earnest period-instrument folks. Here it's the flutist who's usually the one with no name and no talent, as well as no timbre and no intonation, playing some "authentically replicated copy" of an 18th-century wooden atrocity impressively designated as a "flauto traverso" or some such--as if it makes one iota of difference if the player blows the ghastly thing sideways, front-ways, backwards, upside down, or under water. Any way you slice it, the instrument sounds like a whistling tea-kettle in distress, with far more hiss of escaping air than musical tone. But in this case, the soloist has the backing of some "très à la mode" period-instrument pick-up band attacking the music with a sadistically ferocious ideological fervor more appropriate to the Manson family or the Symbionese Liberation Army than to a proper chamber orchestra. Naturally the soloist doesn't stand a chance, and given the appalling quality of the instrument in question, this probably is a good thing when all is said and done.


All of which is a long way of saying that I have no hesitation in declaring this to be the finest recording of Mozart's flute concertos currently available, and believe me, I've suffered through most of them. It has everything: a first rate soloist, a marvelous orchestra obviously mindful of period practice but playing modern instruments, an intelligently added harpsichord continuo (especially wonderful as a foil to the timbre of the harp), and boundless enthusiasm from all concerned. It's captured by Naxos in excellently balanced, warm, pellucidly clear sound. All it takes is about 10 seconds' listening to any single movement in any of these three works to make the outstanding quality of the musicianship self evident. The Swedish Chamber Orchestra launches the opening Allegro aperto of the Second Concerto (wisely placed first on the disc) with infectious rhythmic drive, and from the moment of Patrick Gallois' joyous, chirping entrance the performance flies by like a force of nature.


Listen to how characterfully the horn and oboe parts contribute to the opening tutti of the Concerto for Flute and Harp, and to the lively and luscious interplay between harpist Fabrice Pierre and Gallois throughout their many exchanges over the course of the movement. Taut rhythms and vivid accents keep the ear consistently engaged from first note to last. The long central Adagio of the First concerto is so beautiful that you easily could enjoy it for another nine minutes, and Gallois' cadenzas in all three works never outstay their welcome, being as fresh and pithy as Mozart's own music. No praise could be higher than to note how, in the same concerto's concluding Tempo di Menuetto, so often a dreary chore in other performances, Gallois & Cie manage to find a tempo both stately, as befits a minuet, but also energetically forward-moving, as befits a concerto finale. Really there's no reason to own any other version of this music, particularly given Naxos' budget price. As for the recording(s) already in your collection, they'll make a classy set of coasters. [11/15/2003]
--David Hurwitz, ClassicsToday.com