Iain Ellis Hamilton (1922-2000) dedicated his life to composition after being awarded a scholarship to the Royal Academy of Music in 1947. Three works are presented on this release, and are indicative of the wide variations in Hamilton’s catalogue. The Bermudas, Piano Concerto No. 1, and Cantos for horn, tuba, harp and orchestra are recorded on this album. The recordings on this album were taken in 1973, 1961, and 1965, respectively.

One of the most influential sacred works in all of history is presented on this new release: Bach’s St. Matthew Passion. Frieder Bernius with the Kammerchor Stuttgart, as well as the Barockorchester Stuttgart, perform this work beautifully, highlighting their knowledge of historically informed performance practice. Soloists featured here include Hannah Morrison, Sophie Harmsen, Tilman Lichdi, Peter Harvey, and Christian Immler.

Barbara Morrison has been featured on over 20 recordings choosing her repertoire from a wide array of genres from traditional jazz and blues to gospel and pop. Her powerful voice, with it's two-and-a-half-octave range, allows Ms. Morrison to belt out down-home, soul-stirring blues in a manner which places her firmly in the tradition of Etta Jones, Helen Humes, Irene Reid, and Dinah Washington. Her impassioned renditions of favorite torch songs reveal a consummate musicianship and a firm grasp of a song's deepest meaning.

Anybody who has ever heard vocalist Barbara Morrison command a stage knows that she possesses an effervescent singing style that drips with soul and a ribald sense of humor. The singer spent her early career working with the blues legend Eddie "Clean head" Vinson who gave the young singer a secure grounding in the blues. For her Savant Records debut, Morrison is joined by that most soulful of tenor players, Houston Person in a program of bluesy standards which could have been a Dinah Washington set list. Savant is proud to welcome Barbara Morrison's spirited vocals to their roster.

This recording, explain the liner notes, attempts to give the listener an authentic version of what the 13th-century listener heard in a church when this anonymous play was performed, and it succeeds with panache. The combination of Gregorian chant, declamations, and vocal solos, accompanied by lute and instrumental solos, is performed by the Mittelalter-Ensemble der Schola Cantorum Basiliensis with great fervor.
What is especially unexpected and exciting to the listener is that the songs are punctuated by exclamations, cries, and laughter. For example, "Lazarus, amicus noster dormit" starts out with a solo melody on a shawm (or a similar wind instrument), which is then picked up vocally in a repetitive, almost magical fashion, with an echo-laden crescendo. The overlay of sound is mysterious and very evocative. After a soft baritone solo, the melody is recapitulated. Then there is a sudden shriek--it is quite dramatic--and the number finishes. At this point it would have been wonderful to have a libretto of sorts to be able to follow the words closely.
This artistic reconstruction of the Carmina Burana makes more serious chant music available to the listener.