Classical Music

This is an essential collection of West Coast music that San Francisco’s Other Minds founder and longtime KPFA radio host Charles Amirkhanian called “a classic anthology of American new music.” Although bound together by a common concern with music’s basic sensuality, the pieces collected here are wide-ranging in style—process-driven works, through-composed pieces, ambient soundscapes, and music that glances in the directions of world music and avant-pop. In instrumentation, the music is also wide-ranging—from a celesta solo to a marimba quartet to a player piano solo to works for speaking voices and wineglasses to music for piano and bullroarer to music for pedal steel guitar accompanied by a choir of banjos to relatively traditional instrumentions. This anthology has something for everyone—and its incautious eclecticism is no doubt one of the reasons for its long-resonating popularity. International Record Review wrote, “Throughout, the music communicates the excitement of the new, the fresh, the experimental: most of the pieces convey a sense of delight and wonder in the sheer creative freedom of their approach to sound—an approach radically loosened from old rhetorics and rooted instead in a belief in the almost unlimited potential of texture and color…. a trove of small-scale pleasures and surprises, in which a sense of fun, curiosity, and the thrill of invention are never far away.” All-Music Guide wrote, “As avant-garde music at the turn of the century seemed confined to the extremes of noise and stamina on the one hand and the post-Feldman search for disappearance of sound on the other, one feels uncertain about how to approach the loveliness of the music on Cold Blue. Recommended.” And The Wire magazine called it “A rewarding snapshot of composition in the decade or so leading up to 1984… Cold Blue anticipates the new tonalities that characterize the post-minimal generation.”

Recorded in: London Coliseum live; 6, 13 & 27 August 1977 Producer(s) John Mordler Sound Engineer(s) Robert Gooch Stuart Eltham

Michael Collins has been recording for Chandos what one might call thematic ‘mood’ albums; virtuosity has been covered [CHAN10615] and here is lyricism. Burgmüller’s Duo is a single movement, but tripartite piece, dating from 1834. It assuredly lives up to the disc billing, being profusely lyric, but in its central panel cleverly evokes the operatic by means of declamatory piano statements above which the clarinet spins vocalised curlicues of decidedly virtuosic pretension. It hardly aspires to anything especially deep, but makes for a good palette refreshing opener.

Finzi’s wartime Bagatelles are a clarinet staple. Collins’s subtly coloured, variegated tone is a perfect fit. He’s rhythmically sharp in the Prelude, and elegantly relaxed in the Romance, though I have to admit I do prefer John Denman’s slightly brisker tempo. Collins however plays the Carol with disarming simplicity, the tone remaining richly rounded, and he brings a very vocalised sense to the Forlana with its echoes of the composer’s great setting of Hardy’s For Life I Had Never Cared Greatly and specifically the lines ‘Conditions of Doubt/Conditions that leaked slowly out.’

Heinrich Joseph Baermann was an elite clarinettist of his time. His Clarinet Quintet of 1821 was rediscovered in 1922 and claimed to be a very early work by Wagner. Pamela Weston has arranged the Adagio from the Quintet for clarinet and piano, and most effectively, as it’s a lovely movement, rich and warm. Paul Reade’s Suite from ‘The Victorian Kitchen Garden’ comes from music for a TV series, and can be accompanied either by piano (as here) or harp. The five gentle scenes are atmospheric and engaging, the second (called ‘Spring’) having requisite jauntiness and the third – ‘Mists’ – just the right sense of stillness. I know Pärt’s Spiegel im Spiegel gets trotted out often in one of its manifold arrangements, especially when mining pathos in TV war documentaries – the Barber Adagio de nos jours – but I can certainly take the composer’s clarinet/piano version nicely. Nine minutes doesn’t seem a second too long.

And finally then to two very different French Clarinet sonatas. The Saint-Saëns was composed at the very end of his long life. It’s suffused with easy going charm and lyrical content. Collins drops to the chalumeau register in the slow movement where the piano’s rolled chords remind one very distinctly of César Franck. Collins conveys the quietude and ending-without-regret quality of this work very adeptly. The Poulenc too was a very late work, composed the year before his death and dedicated to the memory of Honegger. Again this is a convincingly argued performance. It’s a touch more measured than, say, Richard Horsfield and Ian Brown in the Nash Ensemble’s performance, but Collins and Michael McHale balance the introversion of the Romanza with the freewheeling dynamism of the finale well.

The warm recording comes courtesy of Potton Hall, an elite venue of choice for chamber recitals.

-- Jonathan Woolf, MusicWeb International

Berio had an abiding fascination with reconciling the past and the present, which can be seen in his orchestral realisations of works by Mahler and Brahms, and most notably, in Rendering (1990), his typically creative completion of unfinished symphonic sketches by Schubert. In Rendering, Berio - in his own words - sets himself the target of 'following those modern restoration criteria that aim at reviving the old colours without, however, trying to disguise the damage that time has caused, often leaving inevitable empty patches in the composition'. In the 'restoration', Schubert's sketches have been beautifully orchestrated in period style, and the 'empty patches' have been filled with music composed by Berio himself, in his own voice - thereby successfully combining the musical worlds of the early nineteenth and late twentieth centuries into one convincing whole. The Clarinet Sonata by Brahms embodies the composer's taut and concentrated compositional style. In transcribing the work, Berio felt that, when experienced in the less intimate surroundings of today's concert halls, the extreme compression of Brahms's late chamber music style was in need of some additional support, and his version, recorded here, includes a fourteen-bar orchestral introduction to the first movement, leading into Brahms's own, much shorter opening phrase, as well as five additional bars at the beginning of the second movement. Berio completed his orchestration of six early songs by Gustav Mahler in 1987, and conducted the first performance with the Toscanini Orchestra on 7 December that year,with Thomas Hampson the baritone soloist. The six songs in this orchestrated set are 'Hans und Grete', 'Phantasie', 'Scheiden und Meiden', 'Erinnerung', 'Frühlingsmorgen', and 'Ich ging mit Lust durch einen grünen Wald'. The Bergen Philharmonic Orchestra is conducted by Edward Gardner, with Roderick Williams the baritone soloist in the songs by Mahler and Michael Collins the soloist in Brahms's Clarinet Sonata.

Broad gestures, rich textures and narrative sweep are vivid signatures of Alex Weiser's music. Born and raised in New York City, Weiser composes cosmopolitan music that merges a deeply felt historical perspective with a vibrant, forward-looking creative pulse. An energetic advocate for contemporary classical music and for the work of his peers, Weiser co-founded and directs Kettle Corn New Music, and is Public Programs Manager at the YIVO Institute for Jewish Research. Meditative and devotional in scope, 'and all the days were purple' sets Yiddish and English poems to music in a song cycle that seeks out the divine while reflecting on the longing, beauty, and tumult of life. The album includes texts by Anna Margolin, Edward Hirsch, Rachel Korn, and Abraham Sutzkever, and performances by Eliza Bagg (voice), Lee Dionne (piano), Maya Bennardo (violin), Hannah Levinson (viola), Hannah Collins (cello) and Mike Compitello (percussion). The recording also includes 'Three Epitaphs,' composed in 2016 and featuring excerpts from texts on love and life's transience by Williams Carlos Williams, Seikilos and Emily Dickinson.

On "Beauty Crying Forth," flutist Sarah Frisof presents repertoire spanning one and half centuries for flute by female composers. Including music by Clara Schumann, Lili Boulanger, Kaija Saariaho, Tania León, Shulamit Ran, and Amy Williams, Frisof, with guests cellist Hannah Collins and pianist Daniel Pesca, charts two parallel lineages, the evolution of flute repertoire from the Romantic era to the current day, and the overlooked role of female composers in shaping that repertoire. Daniel Pesca writes: “The most frequently performed works in the duo repertoire for flute and piano, as in all classical music, are by male composers. This record is intended to help correct this imbalance. In designing it, Sarah and I made the decision to include composers of a variety of eras, nationalities, and musical styles. The pieces included date from 1853 to 2014, and are written by composers born in Israel, Cuba, Finland, and elsewhere. This survey encompasses works of forthright lyricism and meditative, fragile sonic landscapes; both aphoristic works and those with broad dramatic sweep.”

This album marks the beginning of a new survey of British Clarinet Concertos, featuring the exclusive Chandos artist Michael Collins, who here combines the role of soloist with that of conductor of the BBC Symphony Orchestra.

Indisputably one of the leading clarinettists of his generation, Michael Collins displays a dazzling virtuosity and sensitive musicianship which have made him a sought-after soloist with orchestras including the Orchestre philharmonique de Radio France and the Philadelphia, NHK Symphony, Sydney Symphony, Leipzig Gewandhaus, City of Birmingham Symphony, San Francisco Symphony, BBC Symphony, and Philharmonia orchestras. In recent seasons he has won increasing regard as a conductor and in September 2010 assumed the post of Principal Conductor of the City of London Sinfonia.

Sir Charles Villiers Stanford wrote extensively for the clarinet. His works include the Sonata, recorded by Michael Collins on CHAN 10704 (and very favourably reviewed in BBC Music, see below), and the Concerto recorded here, which, coincidentally, was the first for the instrument to be composed by a major British composer. This concerto boasts an exuberantly virtuosic solo part, accompanied by an orchestra excluding clarinets, but including a brass section of four horns and two trumpets.

The Clarinet Concerto by Finzi was performed by a young Michael Collins in the final of the first BBC Young Musician of the Year competition, in 1978. The work conjures a sense of fresh spontaneity, as it moves through baroque-inspired pastoralism, Elgarian influences, and lively folk-inspired melody.

The virtuosic Clarinet Concerto No. 2 by Sir Malcolm Arnold bears the dedication: ‘for Benny Goodman with admiration and love’. It had been commissioned three years earlier by the celebrated American jazz clarinettist, who had also established a reputation as a classical performer.

- Chandos Records

Paul Watkins presents three enduring masterpieces of the chamber music repertoire, Johannes Brahms’s two cello sonatas and the Clarinet Trio. Joining Mr. Watkins are two musicians of the highest caliber, the pianist Ian Brown, his established duo partner, and clarinetist Michael Collins. Completed in 1865, the Cello Sonata No. 1 is somewhat reserved in character, with an elaborate fugal finale that pays homage to Bach. Some twenty years later, Brahms composed his more adventurous, expansive and extroverted Cello Sonata No. 2. The Clarinet Trio, op. 114 was written for clarinetist Richard Mühlfeld, an artist who inspired Brahms to compose a series of works for the clarinet considered some of the supreme masterpieces in the instrument’s repertoire. “Perhaps no clarinetist around today is capable of floating a purer, smoother and more beautifully contoured melodic line than Michael Collins, and he is often heard at his best in [Brahms’s] four late masterpieces.” - BBC Music Magazine “Paul Watkins [is] unquestionably, in my opinion one of today’s foremost cellists.” - Fanfare

James Ehnes presents his third album of chamber works by Bartók. The previous volumes have, along with his outstanding concerto disc, established his formidable reputation as a Bartók interpreter. Here Ehnes is joined by the pianist Andrew Armstrong, violinist Amy Schwartz Moretti, and Michael Collins, one of the world’s leading clarinettists.

The Sonatina, originally composed in 1915 for piano, was based on melodies which Bartók had collected during expeditions in Transylvania. The transcription for violin and piano heard here was produced ten years later by a young student of Bartók’s, Endre Gertler.

Bartók composed Contrasts in 1938 for the jazz clarinettist Benny Goodman and violinist Joseph Szigeti, who originally had requested a work in two movements, each with a cadenza for one of the featured instruments. Fulfilling this request, Bartók added a central slow movement, entitled ‘PihenÅ‘’ (Relaxation). The opening movement, ‘Verbunkos’, alludes to a march-like Hungarian military recruiting dance. The finale, entitled ‘Sebes’ (Quick), is a lively romp at the heart of which lies an unexpected episode of haunting calmness.

Besides writing for such outstanding musicians as Szigeti and Goodman, Bartók composed a lot of music for students, including the Forty-four Duos for two violins recorded here. These short pieces take material from a remarkably wide array of folk traditions and interlink the styles and culture of diverse peoples.

This new collection of pieces for Lyrical Clarinet follows Michael Collins’ first volume which included sonatas by Poulenc and Saint-Saens. This varied repertoire ranges from short, cheerful numbers to romantic and enchanting, and brilliantly displays the incredible technical and dynamic range of the instrument. Clarinetist Michael Collins has won multiple awards for his performance, namely the Royal Philharmonic Society’s Instrumentalist of the Year Award in 2007. He has also become increasingly regarded as a conductor, and currently serves as Principal Conductor of the City of London Sinfonia.

Ray Smith, director of the Brigham Young University jazz ensemble 'Synthesis,' writes of this live release: "Welcome to our musical tour of Finland, Sweden, Estonia, Latvia, and Lithuania! We are excited to share with you the excitement and musical energy of our live performances for the people of the Baltic States and Scandinavia. Synthesis has had the privilege of sharing America's music- jazz- with many countries of the world, including Japan, China, Brazil, Russia, and much of Europe. We need no translation when we play; people everywhere feel and love jazz, and much goodwill ahs been fostered through our performances. I have tried before to record the band at the end of a tour with no success because of our being jet lagged and brain-dead. We decided this time to bring good microphones and record every concert and see what we could get. Thankfully, Jeff Carter traveled with us to engineer these recordings. It's amazing that he took these sounds from mostly outdoor performances- in shopping plazas and even in the woods. I hope you enjoy the recordings as much as we enjoyed playing these amazing tunes!" Synthesis is a musical melding of some of the finest musicians at Brigham Young University. Drawing freely from the various styles of Afro-American music, the ensemble has become known for versatility, spontaneity, and creativity in performance. The ensemble has toured Japan, China, Scandinavia, Russia, Europe, and Brazil, and has given numerous performances throughout the USA.

Composers do not usually make conscious choices about the music they write: they write in accordance with the talents given to them. For this reason I do not write complex or experimental music: I have no gift for such things. Instead, my music is lyrical, rhythmic, economical, clear cut in texture and, as far as I can make it, direct of utterance. This incisive assessment by Georffrey Bush of his own output is indicative of his lucidity on the printed page as well as on the stave, both accomplishments the result of a compulsive urge to communicate effectively. (Geoffrey Bush) Though composition was foremost among his many gifts, Bush was something of an all-rounder. He performed as both pianist and organist, made regular broadcasts for the BBC and was also a successful writer. His eminently readable guide to music, Musical Creation and the Listener, first appeared in 1954. His wide-ranging catalogue includes music for the stage, choral works, church music, orchestral pieces, chamber music and songs. Of his two symphonies, the first, which has at its core an elegiac blues in memory of Constant Lambert, was premiered at the Cheltenham Festival in 1954 and performed at the Proms four years later, whilst the second, subtitled "The Guildford", was commissioned for the 700th anniversary of the City of Guildford in 1957. He wrote a number of works for chamber orchestra in which his understanding of the intimacy and inherent reciprocity of the medium resulted in scores that are eloquent and conversational, epitomising his credo quoted at the head of these notes.

The precursor to this album made a Critic’s Choice of the Year in Gramophone (2013). The program presented includes works by Benjamin Britten, William Mathias, Arnold Cooke, and Gerald Finzi. Michael Collins brilliantly walks the line between being a soloist and conductor, as he serves as both in this recording. The accompanying ensemble here is the BBC Symphony Orchestra.

The distinguished clarinetist Michael Collins has in recent years also gained recognition as a conductor, appearing with eminent orchestras across the world. The present disc sees his recording debut as a conductor of symphonic repertoire, from which he has chosen Vaughan Williams's Fifth Symphony - one of the composer's best-loved works. Written during the Second World War and with it's symphonic predecessor displaying a convulsive fury and desolation, the Fifth is surprisingly serene and pastoral. Vaughan Williams dedicated it 'without permission' to Jean Sibelius - who in his diary described his impression on first hearing the work as 'a caress from a summer world.' On the present release, Vaughan Williams is followed by his younger colleague and friend Gerald Finzi, who he once advised to write a symphony: 'They're ever so easy'. Finzi was not convinced, and remains known as a composer of primarily vocal music, but among his few instrumental works is a Concerto for Clarinet, the instrument widely regarded as the most voice-like of all. For this, Michael Collins reverts to his customary role as soloist, conducting the strings of the Philharmonia Orchestra from the clarinet.

• The Brodsky Quartet present the first of two discs featuring Brahms’s complete string quartets. The String Quartet Op. 51 No. 2 is warm, affirmative and relaxed, with few extremes of mood or tempo. The Clarinet Quintet, op. 115 explores an atmosphere of elegy and nostalgia, producing a mood of autumnal resignation. Having often performed this work in concert, the renowned Brodsky Quartet and clarintetist Michael Collins come together once again for this recording.

Up until around 1900 the clarinet repertoire was dominated by music from the German-speaking lands, largely due to the influence of three outstanding clarinettists. Inspired by Anton Stadler, Heinrich Bärmann and Richard Mühlfeld respectively, Mozart, Weber and Brahms composed some of the finest clarinet works ever written. But especially after the defeat in the Franco-Prussian War of 1870–71, the French cultural establishment became increasingly concerned with cultivating a national voice of its own, and Michael Collins’s new release is a reminder of this. The works recorded here all date from the last years of the 19th century and afterwards, and it is striking that four of them (Debussy, Widor, Messager and Rabaud) were written as competition pieces for the Paris Conservatoire – the institution which played such a decisive role in shaping French musical life. But even though they were commissioned for educational purposes there is nothing academic about them: from Debussy’s seductive Rhapsodie to Messager’s light-heartedly brilliant Solo de concours there is instead a definite French – maybe even Parisian – quality to them. This also applies to the Clarinet Sonata by Saint-Saëns, composed in the last year of his life but full of charm and courtly irony. Closing the disc are two works from either end of Francis Poulenc’s life. While the brief Sonata for two clarinets from 1918 is pure and cheeky fun, the 1962 Sonata for Clarinet and Piano is more conflicted emotionally, as indicated by the first movement’s tempo marking Allegro tristamente. Throughout the greater part of the programme, Collins is partnered by Noriko Ogawa, whose pianism has won her particular acclaim in French repertoire, with Sérgio Pires making a guest appearance in Poulenc’s clarinet duo.

The ensemble London Winds, praised by BBC Music for its ‘technical accomplishment, expressive commitment and warmth of timbre’, presents in this recording great twentieth-century works for winds.

It features music by Hindemith, Nielsen, and Janácek, and, from the next generation, Barber and Ligeti. Although not equally prolific (Kleine Kammermusik is Hindemith’s single contribution to that genre while winds are generally more prominent in Nielsen’s music), all these composers brought the wind repertoire back to prominence, after a quiet period of more than a century. The music is full of playfulness and European folk colours.

A stunning combination of virtuoso players who also enjoy active solo careers, the ensemble London Winds is renowned for its technical brilliance, interpretative vision, and joie de vivre. Founded in 1988 by the British clarinettist Michael Collins, the group rapidly became one of the world’s most prominent chamber ensembles.

Review:

There's plenty of personality in the playing here, with much wit in the Allegro ben moderato and the charming minuet. London Winds deliver an exuberant account, surpassing my previous favorite, the Michael Thompson Wind Quintet.

– Gramophone

Michael Collins combines the roles of clarinet soloist and conductor as he leads the Swedish Chamber Orchestra in three works that chart the journey of the clarinet from Mozart’s late eighteenth-century Europe, via Aaron Copland’s 1940s America, to today’s classical scene with a piece written, for Michael Collins, in 2007 by the Australian composer Elena Kats-Chernin.

Mozart composed his Clarinet Concerto, just weeks before his death in 1791, for Anton Stadler, the first great clarinet virtuoso. Stadler performed the work on what today is known as the basset clarinet, which features additional low notes without compromising the higher register. Unfortunately, Mozart’s manuscript score has been lost. In recent years, however, editors and performers have made several attempts to determine Mozart’s original intentions, and the version recorded here represents one such reconstruction. The concerto has a quality of serene and resigned beauty, recognisable from Die Zauberflöte, and from Mozart’s Requiem.

Aaron Copland’s Clarinet Concerto was commissioned in 1947 by Benny Goodman, the most famous band leader of the swing era, who has been credited with having made jazz ‘respectable’. Goodman also had a second career as a classical clarinettist. He was eager to enrich the repertoire by inviting major composers to write for him, and Copland was happy to take on the challenge.

Elena Kats-Chernin is one of Australia’s leading composers. Her Ornamental Air was written in 2007 in response to a commission from a group of orchestras including the Swedish Chamber Orchestra, with Michael Collins as the intended soloist. The score is modelled closely on the Clarinet Concerto by Mozart. Not only are the orchestral forces identical – two flutes, two bassoons, two horns, and strings – but the solo instrument is the basset clarinet, for which Mozart also wrote his concerto. Kats-Chernin’s writing here takes full advantage of the exceptionally wide range of the instrument, as well as its potential for both virtuosity and lyricism.

- Chandos

Phil Collins - Both Sides (All the Sides) 5xLP This deluxe edition contains the remastered full original album, cut at half-speed by Miles Showell at Abbey Road Studios, and is a compendium of early demo tracks from the recording of the album as well as rarities from the singles originally released on the album - "Both Sides of the Story," "Everyday" and "We Wait and We Wonder." BOTH SIDES (ALL THE SIDES) brings this full collection together with live tracks from the era, such as "Can't Turn Back the Years," "Both Sides of the Story" taken from Collins' MTV Unplugged performance, "Doesn't Anybody Stay Together Anymore" and more, as one release for the first time on vinyl. The set is housed in a slipcase with picture sleeves and a 16-page booklet containing newly-written and extensive liner notes by esteemed journalist Michael Hann. RHI/Rhino Records

Friends of long standing as well as regular partners in chamber music, Michael Collins and Stephen Hough bring their combined musical insights and expertise to bear on Johannes Brahms’s sonatas for clarinet and piano. Together with the composer’s trio for clarinet, cello and piano and clarinet quintet, the sonatas are among the most treasured works in the repertoire of the instrument – but it is partly down to good luck that we have them at all. When Brahms in 1891 heard the clarinetist Richard Mühlfeld, principal clarinet of the Meiningen Court Orchestra, he had already announced his retirement. He was enraptured by Mühlfeld’s playing and its vocal qualities, however, and made a ‘comeback’: during the following couple of years he composed all four of his clarinet works. These were written especially for Mühlfeld, whose spirit does seem to pervade the two sonatas – we hear an unusually sunny and lyrical Brahms, with plenty of opportunity to sing for both instruments. When the sonatas were published, they appeared with alternative viola parts to replace the clarinet, and soon violin versions prepared by the composer were also brought out. For the opening work on the disc, Michael Collins has therefore taken a leaf out of Brahms’s book, by adapting the composer’s Violin Sonata No. 2, another late work. The amount of adaptation needed is small: a lot of the violin writing fits the clarinet well, and the sonata share much of the songlike quality of the two ‘real’ clarinet sonatas.

REVIEW:

Clarinetist Michael Collins must have lived with the two Op. 120 sonatas for all his professional career. That seems abundantly clear from his superb playing in both of those sonatas. His Brahmsian experience is also evidenced by his highly persuasive and idiomatic adaptation of Op 110. As for Stephen Hough, his Brahms credentials are well known, not least for his splendid recordings of the piano concertos (review) and, more recently, of the late piano pieces (review). It was a great idea to bring these two fine musicians together for this project and the idea has paid off handsomely.

The production values are high. The recorded balance is ideal and the instruments are reproduced truthfully. I listened to the stereo layer of this SACD and was very satisfied with the results. As I’ve already indicated, Stephen Johnson’s essay is excellent.

This is a disc which will grace any Brahms collection.

-- MusicWeb International

The two concertos performed here by Michael Collins and the Philharmonia Orchestra were both intended for a specific player – Mozart composed his for Anton Stadler and Richard Birchall for Michael Collins himself. Both works – as well as Mozart's Clarinet Quintet – were also written for a particular instrument: the basset clarinet, a slightly larger and deeper clarinet than the one in A which soon after Mozart had written his concerto became the standard. At the very core of the clarinet repertoire, the two works by Mozart have until recently been played on the A clarinet, with necessary adjustments being made to the solo part. Nowadays, however, they are more and more often performed on the instrument they were intended for. Richard Birchall, in his Concerto for Basset Clarinet, also makes the most of the basset clarinet's extended range, for instance in the third movement, "Impossible Construction." That movement, and indeed the whole work, is inspired by the artwork of M. C. Escher and its combination of surreal elements and mathematical precision. With the two concertos, Michael Collins continues his long-standing collaboration with the Philharmonia Orchestra, which includes an acclaimed recording on BIS of works by Vaughan Williams and Finzi. For the Clarinet Quintet he has invited his colleagues from the Wigmore Soloists, the chamber ensemble that he leads together with Isabelle van Keulen.

Alligator's Grammy-winning, best-selling title of all time (which has sold over 285,000 units), remastered on 180-gram vinyl with the added bonus track "Something to Remember You By". Universally recognized as one of the greatest blues albums of all time. A celebrated studio "cutting contest" between three legendary blues guitarists. Albert and Johnny are sadly no longer with us, but Robert Cray continues to record and tour, and is one of the best-selling blues artists in history with over 2.3 million career units scanned.

Alligator's Grammy Award winning, best-selling title of all time, remastered on CD with the added bonus track -Something to Remember You By. Universally recognized as one of the greatest blues albums of all time. A celebrated studio "cutting contest" between three legendary blues guitarists. Albert and Johnny are sadly no longer with us, but Robert Cray continues to record and tour, and is one of the best-selling blues artists in history with over 2.3 million career units scanned.

Albert was reborn on Alligator, churning out the most prolific output of his career. Here are over an hour of the blues guitar god's key Alligator cuts: "I Ain't Drunk," "If You Love Me Like You Say," "Melt Down," "Master Charge," "Get to Gettin'," "Cold Cuts," "A Good Fool Is Hard to Find," "If Trouble Was Money," "Too Tired" and more. Includes previously unseen photos and a mini-poster! Alligator.