This Brighton-based combo get points because on their website it says they ‘enjoy sitting on the beach, engaging in semi-meaningful relationships’. So should we all. This debut album was produced by Dave Eringa, famed for his work with everybody from the Manic St Preachers to Kylie. Good man that he is, he’s had the good sense to let these eccentric, quintessentially English songwriters breathe, so that their peculiar charms are presented in all their haphazard glory.
Welcome to the world of ‘alternative tropical punk’. No, I’ve no idea what it means either, but that’s how Los Angeles quartet Abe Vigoda (named after an actor) describe themselves. They don’t really hit their stride until the title cut, ‘Crush’, track 4, but its crazed polyrythmic intensity forced me to listen more closely to everything that had gone before. It’s far from easy-listening but, once you get the hang of it, it’s like a thrill ride through a long, twisting, dark cave, from which you emerge with a pounding heart, feeling strangely euphoric.
Virtuoso trumpeter, bandleader and composer Don Ellis produced wild, noisy and innovative big band sounds and wrote the music for The French Connection. He recorded his seminal Electric Bath for Columbia, but in 1973 turned to the high-quality German jazz label MPS to release Soaring, following up with Haiku. Inspired by a set of ten Haiku poems, the music has a film-score lushness, with a string orchestra added to a core jazz group which included pianist Milcho Leviev and bassist Ray Brown. Lovingly remastered (using 24-bit/88.
Still possibly best known for his work with the late Max Roach, here the muscular tenor player has assembled his own absolutely stellar octet. While Wynton Marsalis alumnus Walter Blanding brings in a wily, fluid tenor, James Carter adds a stirring and gutsy baritone sax, and the ebullient trumpets are David Weiss and Terell Stafford. Behind pianist George Burton and bassist Lee Smith is the drive of Jeff ‘Tain’ Watts. This line-up produces some wonderfully buoyant ensemble playing, not least on a stomping, pedal-point opener that sounds a bit like the start of Janáček’s Sinfonietta.
A live album can be special, even if it’s not quite the complete concert you expect. This one takes four numbers cut in late 2004 at the Sunside club in Paris and artfully stirs in three 2009 tracks from London’s 606 Club. It was in ’87, after four years with Art Blakey, that an assignment at the Guildhall School brought Toussaint to the UK, and he never went back. His quartet here includes the distinctive British pianist Andrew McCormack, while guitarist Jerome Barde contributes nice solos to two of the Paris tracks.
After long pursuit of their separate careers, the three Heath Brothers first played under that name in 1975. Percy Heath, the MJQ’s revered bass player, died in 2005, and so the younger brothers, saxophonist Jimmy and drummer Albert ‘Tootie’ Heath, dedicated Endurance to his memory. With the youthful Jeb Patton on piano and David Wong on bass they get things moving on the restless chords of ‘Changes’. Later, an evocative ‘Autumn In New York’ seems to waltz gently in 4/4, and then Jimmy is beautifully reflective in ‘Ballad From Leadership Suite’, which he wrote for the inauguration of a Howard University president in 1996.
Of course, Vasily Petrenko is far too young to have lived through the Stalinist repressions which informed interpreters like Sanderling, Barshai or Mravinsky but to say that he pitches in is an understatement. I do feel the third movement could have had even greater force at a reduced tempo, but for overall tension this surpasses previous RLPO instalments in this Naxos series. Antiphonal exchanges in the second scherzo are rhythmically precise and the various solos throughout have real quality. And Petrenko obviously has the skill of gearing a complete performance to a climactic point – in this case the final coda, those flickering embers which leave no easy resolution.
Having recorded the concertos and complete piano solo works, Zoltán Kocsis continues to be the torch-bearer for Bartók’s music. And with his native orchestra everything sounds thoroughly idiomatic (whereas, for instance, fellow-Hungarian Solti’s Bartók had a personalised gloss) and full of gusto. The Hungaroton production offers clear separation and a wide soundstage, though this is accompanied by slight stridency in the Divertimento finale. The hapless drunkard in the fourth of the transcribed Hungarian Sketches should make listeners smile.
This retrospective – with Britten’s Four Sea Interludes, Young Person’s Guide in two versions; Elgar’s Cockaigne Overture, Falstaff and Symphony 2; and Walton’s Symphony 1 – is almost entirely sourced from 1956 Westminster/Nixa stereo tapes. The one exception, an alternative YPG without narration, is taken from LP; the mono has Boult narrating. There’s a huge difference between the Walton here and Somm’s transfer from an inferior Pye LP reissue [HFN May ’10] – you’d hardly dream it was the same performance. Sound from the Walthamstow Hall is extraordinarily vivid and the Elgar Falstaff and Second Symphony are musically superb.
This offers a very different kind of listening experience from the classic Mercury Firebird with LSO/Dorati. There both sound and performance are upfront, confrontational (albeit exciting); Nelsons goes in for subtlety with soft playing that’s almost inaudible – the subject-matter is unmistakable with the ‘fluttery’ textures he achieves. The sound has an altogether more natural concert hall perspective too. Evidently performed with a very large chorus, the Symphony makes a complete contrast: taking us away from Stravinsky’s colourful Diaghilev period to a 1930 Koussevitzky commission with Latin texts and austere orchestration.
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