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Volume 9 Issue 6 - March 2004

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CHAN 10142 2 CD Set

CHAN 10142 2 CD Set CHAN10116 2 CD Set Louis Lortie plays Ravel's Complete Works for Solo Piano Louis Lortie's recordings of Ravel's works for solo piano received unanimously excellent critical acclaim, and counts amongst the finest versions ever committed to disc. They are now available at mid-price in an attractive slim- . line package. Stanford Six Irish Rhapsodies · Margaret Fingerhut, piano Ulster Orchestra, Vernon Handley, director , Stanford's six Irish Rhapsodies contain some of.his most popular music. Despite what the 'rhapsody' part of the titles may suggest,'each of these pieces is an immaculately crafted and tightly constructed orchestral movement, worthy of a place in his symphonies. Chandos Collect new releases The Grand Passions of Albert Ketelbey The Palm Court Theatre Orchestra Anthony Goodwin, director Ivor Novello Songs Marlilyn Hill Smitb, soprano The Chandos Concert Orchestra Stuart Barry, director Gordon Langford, piano This is the fourth disc of works performed by the Marilyn Hill Smith'~ popular renowned Palm Court Theatre .recording of the romantic Orchestra to be released on songs oflvor Novello is . Chandos' Collect label. now available on Chandos' Collect label. CHAN 6676 CHAN 6677 some l 970s-80s character pieces by instrumental balance, unity versus contwo now-senior American compos- trast et cetera, apply to these as to any ers. Rzewski has taught for many other instruments: the application of years in Belgium, and long been a skill and clear thought produces good force in the European avant-garde, music."OrganistArthurBowecandpiwhile New York City's Corigliano anistJoanMillerchosetheirrepertoire ipight be placed in an accessible post- carefully, and there are gems here. romantic camp. They make an odd Exultation by Powell Weaver (a Respair, given Rzewski's strong left- pighi student) opens with delightful wing esthetic politics. bombast. Following is Colloques No. The Etuile Fantasy of Corigliano 5 by Jean Guillou, (a student of DuJUconsists of five short etudes, and his fie, Dupre and Messaien!) the major minimalist-inspired Fantasia on an work in this collection. Tadeusz Pa­ Ostinato·, with a quotation· from ciorkiewicz, Rolande Falcinelli; (an­ Beethoven' s Seventh Symphony, .other Dupre student) and the' Ameriseems to have been written for the can Clifford Demarest all contribute . Van Cliburn Competition. Rzewski's . strong pieces. Canada's Kenmith Ni- . four North American Ballads include chols closes with Meditations, a work rhapsodies on the well-known U.S. folk written especially for Bower and Millanthems "Which Side Are You er. On?" and "Down.By the Riverside" .' It's a clear and balanced sound, re­ Familiar splashes of other folk tunes corded in Edmonton's All Saints' Anpoke out occasionally from his mu- glican. As with many scholarly recordsically dense underbrush. ings, the notes take an entire page list- This CD is a calling card of the Liszt- ing the registration of the 1959 Casam

such a collection of "fusion-influenced" pieces, each unique in its approach. The Canadian content is Alfred Fisher's Tour de France, taking a picturesque and often witty tour of the country. Street, who studied in Bordeaux, achieves the characteristic French saxophone sound, rich in vibrato. Albright's Doo-Dah for three alto saxophones alludes to jazz, but with numerous extended techniques. The performance blends as interestingly and beautifully as expected. Jan Bach's piece, which provides the curious title for the album, proves to be a slightly cliched "glossary of contemporary techniques". Piet Swerts' K/onos however has become "the" competition piece for saxophone, and Street and Admiral play it with character and aplomb. I enjoy how the opening and closing works on the disc juxtapose ideas of sonata form. Heider's Sona/a in Jazz - a swing, blues and boogie reminiscent of Erwin Schulhoff- and Denisov 's 1970Sonata, which utilizesserialism and extended techniques. The performance is lucid, and although the third movement slows and loses its ·swinging' intensity, it always maintains clarity and ensemble. Congratulations to Street and Admiral for a good collaboration and choice of repertoire that truly is saxophone music. Wallace Halladay Featured in the front line with the leader's soprano and baritone saxes are the rarely-recorded Laurie Bower on trombone and strong trumpeter Dave Johnston, and the rhythm section has the unpredictable Ian Bargh on piano, the 'tiny, perfect drummer' Don Vickery and the newest member, Dave Field on bass, in lieu of the late Bob Price. No new ground is broken or foundations shaken here, but highlights abound. Jim sings on Sugar and I Ain't Gonna Give Nobody None Of My Jelly Roll and he sparkles with just the trio on Cheek To Cheek. Bower's trombone is featured on a lovely version of Ellington's In My Solitude, and his mastery of mutes is on display on Just Squeeze Me. If this all seems a little old-fashioned, you may be right. But maybe this is the way jazz is supposed to be played, with the listener feeling better for having heard it. Ted O'Reilly Vivid (Live At Top 0' The Senator) David Braid Sextet DB231329 (www .davidbraid.com) JAZZ AND IMPROVISED Echoes of Swing Jim Galloway Sextet Cornerstone CRST CD 122 With the welcome release of this new CD, WholeNote's jazz columnist and his pals provide first-hand examples of Galloway's Law: Swing, Have Fun. Jim has made lots of records over the years, from trios to big bands, with international stars like Ralph Sutton ( to whom this release is dedicated), Jay McShann and Buddy Tate. He has recorded in Austria, Scotland and even South Africa, but all too rarely are his records made with his "everyday" musicians. Here, finally are his "crewmates", (recorded at the Montreal Bistro) who have been entertaining on an annual jazz cruise for the last three decades. If there's any problem with David Braid's new CD it's his modesty. He comes close to being a sideman on his own record! It's not until halfway through the second tune that he takes a solo, but that's okay: he has already made a positive impression as a composer/arranger with Reverence, an unfolding, optimistic opener featuring one of Canada's greatest jazz talents, Mike Murley on tenor. John McLeod's tlugelhorn caresses track two Seraphim before Braid's piano is heard, and he finally shows more than his accompanying skills. The third selection, Mr. Wallace, brings two more talents up front: bassist Steve Wallace, solid as granite, and trombonist Gene Smith who shines with a jaunty, mocking quality that reminds me of Al Grey. Braid, still in his 20s, is young enough to still look forward to The Golden Years, but it's with this composition that he really gets to be out front, and prodded by Terry Clarke's driving drum set, David carves out a solo that's thor- MARCH 1 - APRIL 7 2004

Volume 26 (2020- )

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