Critics everywhere agreed that Olu Dara's In the World-From Natchez to New York was one of 1998's best albums. The only problem was, in what category? Jazz? Dara came to this album with impeccable credentials in the genre, having played with David Murray, James "Blood" Ulmer, Henry Threadgill, and Don Pullen. However, though Dara does flash his burnished cornet tone on occasion, he is more often picking on guitar as opposed to blowing on trumpet on this record. And while there is definitely some of that arpeggiated African guitar sound to his playing, it would be a stretch to call In the World a "world music" release. No, in the end, this is a country blues album from the urban jungle, an utterly charming, all-in-one tour of Natchez and New York with maybe Nairobi thrown in there, with a little extra urban flavor courtesy of Dara's rapper son Nas, who contributes vocals to "Jungle Jay." Long a favorite of our Real Gone Music staff, In the World-From Natchez to New York debuts on vinyl in a green okra edition limited to 1000 copies, remastered for the format with insert included. Highly recommended!

Dara Tucker - "Time Wouldn't Wait". Dara Tucker's Time Wouldn't Wait is a soul-stirring journey through renewal, love, and reflection. From the radiant groove of "Shining (It's My Time)" to the dreamy "Pure Imagination" and the title track's poignant urgency, Tucker blends jazz, soul, and storytelling with grace. Her third album with Green Hill Music is a soulful ode to fresh starts and deep emotion, radiating a passion that resonates across genres. CD includes 4-page booklet.

New York jazz singer-songwriter Dara Starr Tucker kicks off her new self-titled album via Green Hill Records with the first single "Standing On The Moon." Dara wrote the song on themes of loss: "It's my determination to live my life in a state of connectedness with those who bring me joy. We can choose to live under the warmth of the sun, or we can choose to exile ourselves to a life on a cold and lifeless moon." The track features Aaron Parks, Vicente Archer and Marcus Finnie.

...Ferro conducts with a mixture of ease and ebullience... [T]he Ferro set is well cast, with Enzo Dara as an amusing Magnifico, the young Francisco Araiza ardent and freshvoiced as the Prince, and Lucia Valentini Terrani—the leading Cenerentola of her time—giving a reading that is ripe, meaningful and suitably virtuosic in its lustrous, dark-grained way.

-- Gramophone [6/1991]
reviewing the complete Cenerentola

It really is a problem, choosing between these two recordings. (Giordano: Andrea Chénier / Pavarotti, Caballé, Chailly) It might seem sensible to start with the tenor in the title-role, and here my strong inclination would be to plump for RCA and Domingo: he is in splendid voice, with a touch of nobility to his manner that makes for a convincing portrayal of a poet. Pavarotti (for Chailly on Decca) begins with a rather leather-lunged Improvviso, but he later finds poetry in the role as well, especially when responding to his soprano, Caballe who is rather stretched by the more exhausting reaches of her role and sounds audibly grateful for the occasional opportunities he gives her to float rather than belt a high-lying phrase. And besides, Pavarotti is an Italian tenor, and his Italianate sense of line adds 1 per cent or so of elegance to some phrases that even Domingo cannot match. Caballe does many things beautifully, and her fine-spun pianissimos and subtle shadings only occasionally sound mannered, but the role is undeniably half-a-size too big for her. So it is for Scotto, you might say, and a hint of strain is audible once or twice, in her timbre rather than her phrasing. It is her phrasing, indeed, that tips the balance back to RCA: Scotto is as subtle a vocalist as Caballe, but she gives meaning and eloquence to every phrase without ever breaking the long line, which one cannot always say of the Spanish soprano. Matters are about even as far as the baritones are concerned: Milnes acts admirably, but refrains from over-acting, and the voice is rich and characterful. Nucci for Chailly is a bit less compelling dramatically, but the voice strikes me as more integrated, more even, than Milnes's, and thus, again, is more Italianate in its line. Decca field a sumptuous supporting cast (Astrid Varnay, worn of voice but full of character as the Countess, Christa Ludwig, no less, in the ten lines of Madelon's part, Tom Krause as a fine Roucher, Giorgio Tadeo an implacable Mathieu), but RCA's striking Bersi, vividly characterized Irtcredibile, and their Roucher, too, are not outmatched (only their Madelon, both fruity and acid—a grapefruit of a voice—is disappointing). A lot of people will enjoy the huge energy and bustle of Levine's direction. It is vividly characterful, but to my taste a shade exhausting and over-assertive. The flow of the music seems more natural in Chailly's hands, and orchestral detail is clearer. The Decca recording, too, is warmer than the RCA, which has a slight edge to it. Even so, for Scotto's sake and to a slightly lesser extent for Domingo's, I think I would choose RCA, but that would mean rejecting Chailly, Pavarotti and the Decca recording … As I say, it is really a problem.

-- Michael Oliver, Gramophone [9/1989]