STRINGS - THE DEFINITIVE COLLE

Heifetz displays his phenomenal brilliance, impeccable intonation, beautiful phrasing and soulfully emotional tone.

The gem of this disc is the Wieniawski concerto, with which Heifetz not only created a sensation on his American debut at the age of 16 but which he was the first to record. A virtuoso work par excellence, it affords him infinite opportunities to display his phenomenal brilliance, impeccable intonation and (in the Romanze) beautiful phrasing and soulfully emotional tone—which, as all violinists observe with fascination, owes much to his individual fingerings. The tuttis in this work have been somewhat cut, but that is of little consequence in a purely solo vehicle like this. The perfection of his rapid spiccato bowing in the finale is enough to make mere mortal string players despair. The recording still sounds well after nearly 40 years.

Though the Bruch was recorded only three days previously, the sound is much more shallow. The work, written a decade after the popular G minor Concerto, was given its first performance in 1877 by Sarasate, to whom it is dedicated, at the Crystal Palace in London (I possess a copy of the programme), but the composer was dissatisfied with it and made several revisions. It is certainly less striking musically, and until the last movement does not demand much in the way of showy technique: the first movement is unusual in being a plaintive Adagio, with which Heifetz does all that is possible, and the second movement is largely taken up with a recitative following a quasi-horn-call. Four days earlier still the artist had played the little Serenade melancolique of Tchaikovsky with a different orchestra and conductor—a hauntingly moving performance of this simple lyrical piece: it receives a warm recording, much the best on this disc. The one-movement concerto by Conus (Konius), however, is less fortunate in its sound, which lacks depth. Rarely heard in the concert-hall, it is still in use in Russian and American conservatories. Students there could have no finer or more persuasive model for it than Heifetz.

-- Lionel Salter, Gramophone [11/1992]

Selections recorded 1908-1919.
Enrico Caruso is still considered the most famous operatic tenor of the 20th century. He was certainly the highest paid, and most adored singer of his time. In this fascinating recording, remastered, of course, from 78 rpms, Caruso is showcased in a series of short excerpts.
The power and beauty of his voice is evident even in these very early recordings. Spanning from 1908 through 1919, the disc captures Caruso in concert with other famous singers of the day, including Guiseppe de Luca, Luisa Tetrazzini, Geraldine Farrar, and Amelita Galli-Curci. Walter B. Rogers, Josep Pasternack, and Gaetano Sconamiglio conduct.
There are some unusual, rarely heard selections by Antonio Gomes and Friedrich Flotow, for example, as well as excerpts from the standard repertory. All in all, this is a fine compilation, a "blast from the past," as it were, that gives the listener much pleasure.

Though Toscanini was one of the greatest conductors ever to mount a podium he was scarcely renowned for his skill and sympathy as an accompanist. But here we have recordings by two instrumentalists who in different ways were able to combat the maestro's tendency to impose his will and his way on any performance. In the Third Piano Concerto Toscanini conducts an intensely dramatic opening tutti, and whenever he has his head he creates a rare incandescence in the orchestral part. Rubinstein goes urbanely but determinedly in his own direction, and his playing has typical poise and clarity. The result is hardly a marriage of minds, but the mixture works well to produce a performance which possesses a good deal of vitality and character. The 1944 recording sounds very well for its date, with good piano tone and just a little surface hiss and crackle from the original source. The audience is very quiet until the end, when there is enthusiastic applause. The 1940 sound in the Violin Concerto is again very good, and Heifetz is in superb form, so that he in the end dominates the formidable Toscanini through the wizardry of his technique and the force of his musical personality. In general tempos are on the fast side, and there is a good deal of tension in the performance, but there is some marvellous music-making too, particularly in the slow movement, where Heifetz plays with great poetry and a beautiful quality of tone.

-- Gramophone [3/1988]
reviewing these performances previously reissued as RCA 5756

SCHICKELE: QUARTET NO 1 LADER

Track Listing
1. Let's Do It up Baby
2. Bananas
3. Slow, Smooth and Easy
4. Whatever Lola Wants
5. It's Been Said
6. Rock & Roll Call
7. Where Can I Go
8. Baby You're Just Too Much
9. Chicken Back
10. Hard Head
11. Texas Stew
12. Man Ain't a Man, A

Personnel: Louis Jordan (saxophone, vocals); Dottie Smith (vocals); Bert Payne (guitar); Olivette Miller (harmonica); Reuben Phillips (alto saxophone); Seldon Powell (tenor saxophone); Heywood Henry (baritone saxophone); Lowell Hastings, Maurice Simon, Jerome Richardson, David McRae (saxophones); John Kirkwood (saxophone, drums); Bob Mitchell (trumpet); Chester Lane (piano); Thurber Jay, Lewis Albert Martin (bass); Frank Grillo, Francisco Pozo, Rafael Miranda, Hindai Butts (drums).

Reissue producer: John Snyder.

Recorded at Webster Hall, New York on March 18, 1955 and April 17, 1956; Radio Recorders, Hollywood, California on October 18, 1955. Includes liner notes by Gene Kalbacher.

Digitally remastered by Jay Newland (November 13, 1992, BMG Recording Studios, New York).

Composers: Dorothy Fields; Eddie Curtis; Rogers; Benjamin; Jack Hammer; Weiss; Clyde Jones; Bendini; Aaron Schroeder; Jerry Ross ; Louis Jordan; Mandaree Singers; Nellie Lutcher; Rudy Toombs; Winfield Scott; Richard Adler ; Billy Taylor .

Liner Note Author: Gene Kalbacher.

Photographer: Frank Driggs.

Louis Jordan's string of hits ended in 1952, but he was still in his musical prime throughout the 1950s, even though he was no longer on the charts. During 1955-56, he cut three record sessions for the RCA subsidiaries Vik and X, which resulted in the dozen numbers on this 1993 CD. Due to its brevity (just over 29 minutes), this release was sold as a budget item by RCA. Few of Jordan's fans have probably heard these rarities. The altoist/singer/entertainer was doing his best to adjust to the times, performing early rock & roll, a couple of ballads (including "Whatever Lola Wants"), and novelties. The recordings, which sold poorly, do have their moments. On two of the three sessions, Jordan's septet is greatly expanded, but he is always the star throughout. Among the better numbers are "Slow, Smooth and Easy," "Chicken Back," "Hard Head" and "Texas Stew." Not essential, but Louis Jordan fans who wonder what happened to their hero will want to hear these obscurities. ~ Scott Yanow

RACHMANINOFF: SYMPHONY NO 3, T

Track Listing
1. My Feet Jumped Salty
2. Flying Crow Blues
3. Levee Camp Blues
4. I'm Feeling Low Down
5. She Belongs to the Devil
6. I've Been Treated Wrong
7. Evil Blues
8. Get Down Brother
9. Lover's Lane Blues
10. Rockin' My Blues Away
11. Good Old Cabbage Greens
12. River Hip Mama
13. Do That Shake Dance
14. How Can You Love Me
15. Red River Dam Blues
16. Down South Woman Blues
17. Ain't That a Shame
18. I Get the Blues at Bedtime
19. You Can't Make the Grade
20. You Can't Have None of That
21. I Just Can't Help It
22. Soap and Water Blues

Personnel includes: Washboard Sam [Robert Brown], Big Bill Broonzy (guitar), Memphis Slim, Roosevelt Sykes (piano).

Washboard Sam recorded many selections as both a leader and as a sideman for Bluebird from 1936-49. His citified country blues were a transition music between the Delta blues and early R&B while being quite likable in their own right. On this fine CD sampler, Sam's strong voice is greatly assisted by his half-brother Big Bill Broonzy's guitar.

Track Listing
1. Well You Needn't
2. These Foolish Things
3. Star Eyes
4. Somewhere Over the Rainbow
5. Pent-up House
6. Blues in the Closet

Personnel: Chet Baker (trumpet); Bobby Jaspar (tenor saxophone, flute); Amadeo Tommasi (piano); Rene Thomas (guitar); Benoit Quersin (bass); Daniel Humair (drums).

Recorded in 1962. Includes liner notes by Ira Gitler.

Digitally remastered by Joe Lopes and Jay Newland (September 1991, BMG Recording Studios, New York, New York).

This is part of the Bluebird Records Masters of Jazz series.

Chet Baker's good looks and somewhat halting delivery made him seem the James Dean of jazz. However, behind the youthful charm and celebrity image of his early years, he was a musician who transcended such sub-genres as "bebop" or "cool." In fact, SOMEWHERE OVER THE RAINBOW is testament to the fact that Baker's musical output can't be easily pigeonholed.

On this 1962 release, we hear the legendary trumpeter on uptempo versions of "Blues in the Closet," the little-known but cleverly penned Oscar Pettiford tune, and an inventive version of Thelonious Monk's "Well You Needn't," where Baker slowly builds his solo until he explodes into a deluge of ascending and descending chromatic flourishes. Although Baker was much more than just a ballad player, intimate versions of "These Foolish Things" and the title track, "Somewhere Over the Rainbow" add an air of dreaminess to one of Baker's most distinctive albums of the '60s.

"Heifetz's recorded legacy is particularly rewarding for reasons other than the simple fact that he was a great violinist. He obviously liked to get away from standard repertoire and explore the byways of violin literature. He gave much attention to music of his own time—nothing too 'modern', mark you; and he clearly enjoyed the experience of playing chamber works with other great artists....

This charmingly slight early work [Beethoven's Serenade] is played with much affection and warmth, as is the even less substantial, even rather empty Spohr concerto...Spohr's Double Quartet, well recorded in 1968, has much more character than the concerto. Here Heifetz very much blends in with his colleagues, and if he is in charge of the extremely alive, superbly played performance it is not apparent in the final result."

-- Gramophone [9/1990]

This recording of Orfeo dates back 25 years. It was much admired in its day, and may still be. It presents a traditional composite version of the score, incorporating most of the Paris additions (but not the bravura aria for Orfeo at the end of Act 1) with the alto voice and the key-scheme to go with it from the Viennese-Italian version: an understandable attempt to get the best of every world. Shirley Verrett makes a deeply impressive Orfeo, firm and pure in sound, classically restrained in expression; and her ''Che faro'', at a moderate, beautifully judged speed, is very finely sung, poised and quietly moving. The many other good moments include ''Che puro ciel'', done with a real sense of wonderment, to sounds of delicious refinement from the orchestra. Anna Moffo provides a competent, not specially interesting Euridice and there is an Amor of real charm and style from the late Judith Raskin.

The set is conducted by Renato Fasano, whose pacing of the score shows a very sure touch. The dance music has a grace and lightness, and a stylistic command, that one might not have expected from an orchestra which in those days seemed to be fed chiefly on a diet of Vivaldi. Their Gluck playing is first-rate; nowadays we tend to phrase this music in less long-breathed a way, but this performance is of its time and represents its time persuasively. There is an excellent chorus, singing in their native tongue—a real advantage.

Anybody wanting a traditional mixed text of Orfeo should, I think, consider this version very seriously. The immediate competitor is of course the recent Haenchen set, with Jochen Kowalski (Capriccio/Target), whose smooth yet passionate singing is undeniably impressive; but taken all round I am inclined to recommend the Verrett on the strength of the direction and supporting cast to anyone wanting this text and certainly to anyone who is not happy with a male alto as Orfeo. My own preference, among all current performances, remains with the Kuijken set on Accent, on period instruments and offering a 'pure' text, but I realize that it will not be to everyone's taste.

-- Stanley Sadie, Gramophone

VERDI: BALLET MUSIC ROBERTO A

"This is the third installment in Leonard Slatkin’s series of Haydn’s “London” Symphonies (the first was reviewed in 2/95), again bringing fresh, refined readings at speeds on the fast side that never sound breathless. That includes minuets in the modern manner treated as fast landler movements, more than half-way to becoming scherzos.

Symphony No. 93 was made at Abbey Road over four years ago, followed by the other two – No. 100 also at Abbey Road and No. 99 at Blackheath Concert Halls – in the succeeding 12 months. Those later recordings, while maintaining clean textures – lighter than usual from a full modern orchestra – have more presence and body. I particularly enjoyed the genuine, tripping Allegretto that Slatkin adopts for the second movement of the Military, giving even more swagger than usual to the military incursions from which the symphony gets its nickname."

-- Edward Greenfield, Gramophone [7/1997]

Personnel includes: Louis Armstrong, The Esquire All-Americans.
Producer: Hank Hoffman.
Compilation Producer: Steven Gates.
Recorded between 1932 and 1970. Includes liner notes by Stephanie L. Stein.

A ravishing performance of the Concerto militare by Ofra Harnoy, more than equal to its bristling difficulties yet swooning like an operetta heroine in its lyrical lines.

The Concerto militaire opens with a very Offenbachian tutti – robbed a little of its sparkle here by rather too resonant a recording – which introduces the characterful dotted march theme that affords the work its sobriquet (the composer’s own); but the soaring secondary theme is even more striking. The concerto dates from 1847 and the conductor of the present recording, Antonio di Almeida, who is also an authority on Offenbach, tells us in the notes that no complete autograph score exists although there is a set of the original orchestral parts. This is perhaps – although not certainly – held at the Offenbach Archive in Cologne. The published score used here is revised and reconstructed by the French cellist, Jean-Max Clement, who orchestrated the last two movements, using the piano score and keeping to the style and scale of the opening movement. He also had a considerable hand in revising, even devising, the often complex solo part which appears never to have been written out in full by its composer (especially in the finale, where the cadenza is by Clement alone). Some of the bravura solo writing in the extreme upper tessitura of the first movement approaches the ridiculous in appearing to throw all caution to the winds, but perhaps that was the composer’s own joke. What is fascinating is that Offenbach himself revised the second movement Andante, richly expanding its scoring to make a separate concertante piece. It has a glorious main theme and in Harnoy’s ravishing performance it is the highlight of this CD. In the concerto she is more than equal to the bristling difficulties of the solo part yet swoons like a very stylish operetta heroine in the ardent lyrical lines, characteristically and subtly using the widest range of dynamics to add to the sense of poetic spontaneity. The genial finale, with its jaunty main theme, comes off splendidly.

Almeida accompanies the Offenbach sympathetically and persuasively and cello and orchestra are naturally balanced: I only wish that the otherwise flattering acoustic of the Wessex Hall in the Poole Arts Centre had not also provided such a high degree of resonance. It suits the Lalo Concerto much better and the melodramatic opening tutti, laminated with heavy brass, is as portentous as you like. Again a very good recording balance both ensures that the soloist’s disarmingly gentle recitativo projects naturally, and readily tames the vehement orchestral protests. Almeida opens the engaging “Intermezzo” with a nice touch of melancholy, delicately setting the scene for the doleful cello entry, while the central scherzando episode brings some deliciously light flute decoration for the soloist’s gentle whimsy. The finely graduated and eloquently phrased solo introduction for the finale again shows Harnoy at her most imaginative, and there is a buoyant eruption of energy to follow.

-- Ivan March, Gramophone [11/1996]