Cold Chisel – The Perfect Crime (2015)

FrontCover1.jpgThe Perfect Crime is the eighth studio album by Australian rock band Cold Chisel. It was released on 2 October 2015. It was the first album not to feature a contribution from drummer Steve Prestwich, who died of a brain tumour in January 2011. The album peaked at number 2 on the Australian charts and number 7 in New Zealand.

Recording for the album was done in two sessions in 2014 and 2015. Initial recording was done in Barnes’ home studio, with the band working six hours a day on each song. Barnes said, “We recorded this album in two sittings – the first sitting was at my place and we did nine songs, and then about eight months later we did 10 songs at 301.” Barnes later said that the album was easy to make, largely because it was the first he had recorded sober.

The album was intended to be more blues orientated than Cold Chisel’s recent work. Walker said that he personally wanted an album that was bluesier with no country songs. Barnes said, “We wanted to make a rock record – we wanted to make a record that was more ‘up’ than the last record we made. We wanted to utilise and focus on what this band does best – which is these rhythm and blues numbers. Steve was more of a rock drummer, and Charley’s much more of a rhythm and blues drummer so he brings in these different grooves to things.” Walker added, “Cold Chisel does a wide range of stuff … but originally Cold Chisel was a bluesy rock band. I just thought it would be good to do something that focused on that.”

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Another goal for the band was to have song-writing credits from all of the original members. Walker said, “I wanted it to be a much more diverse album with the writing and where the writing was coming from. And I think to a certain extent we got both of those. Probably still could have been more diverse with sourcing the songs, but that’s the way it ended up.”

Two of the songs on the album, the title track and “Four in the Morning”, had previously been recorded by Walker and released on his solo albums. Walker was initially hesitant to record them with Cold Chisel, but claimed he was, “swept along in the enthusiasm,” of his bandmates.

The first single, “Lost” was co-written by Walker and former Australian Idol contestant Wes Carr in 2012. Walker said, “After putting out an album of the normal stuff that Idol people have to record, he wanted to do an album of real songs and wanted to see if I could get involved in some co-writing.” The song was not initially short-listed for inclusion on the album before Shirley suggested the inclusion of strings and backing vocals.

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“All Hell Broke Lucy” was inspired the tale of Lucretia Dunkley who was the first woman hanged in Australia in 1843, at Berrima Gaol near Barnes’ home. Both of Barnes’ songwriting contributions to the album were co-written with his son-in-law Ben Rodgers.

“Down-and-dirty disco highlight, “Bus Station” was written by Walker in the eighties. The lyrics include the line, “Fat girl with a travel rug / She’s got a Chiko Roll”. Barnes said, “Yeah, the fat girl holding a Chiko Roll under a blanket line. Don, being a voyeur, thought it was sexy. It’s very symbolic. Don is a very sick man.”

“The Mansions” was inspired by an incident in Kings Cross where Walker saw a riot squad raid a brothel and arrest an escaped prisoner. As the prisoner was led away, the early morning drinkers at the Mansions Hotel serenaded him as the jukebox played “My Way”. Walker said, “Monty Python couldn’t put this together. All these drunks out on the sidewalk, the kind of people who are drinking at 7am, bawling out ‘I did it My Way’. Fantastic.”

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The Australian described “Mexican Wedding” as “the one that’s hardest for the more conservative rock aficionados to come at — but hear it out. It’ll repay you. The Latino bar-band feel would likely fall apart in lesser hands, but here it just makes sense, swaggering with almost a Bruce Springsteen/Tom Waits kind of jauntiness. Way more than a novelty song, even if it feels a little like it at first.”

The Australian declared the album a typical contribution from Cold Chisel. “Jimmy Barnes screaming like a Torana doing a burnout on blown tyres. Awkward harmonies. Lyrics about trucks, police, women and ‘feeling like shit’. A beat you can dance to without spilling your beer, and guitar solos you can’t. Staccato notes filling silence with menace and brooding. And so on.”

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The Sydney Morning Herald also declared the album “unmistakable Chisel. It delves further back to their rock’n’roll roots with chief songwriter Don Walker carving up the keys, guitarist Ian Moss both gritty and sublime.” It was awarded four of a possible five stars.

Reviewed in Rolling Stone Australia, the first song was said to “slam in at full tilt, Don Walker hammering a low left-hand boogie while Jimmy Barnes exercises a newfound clarity in his upper register.” It was noted that the band “rush at their second album in three years with the reckless exhilaration of greener days.” (by wikipedia)

Oh yes, the boys in the band knows how to rock and how to roll …

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Personnel:
Jimmy Barnes (vocals)
Charley Drayton (drums, background vocals)
Ian Moss (guitar, vocals on 09. + 11., background vocals)
Phil Small (bass, background vocals)
Don Walker (keyboards, piano, background vocals)

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Tracklist:
01. Alone For You (Walker) 3.11
02. The Backroom (Walker) 3.36
03. All Hell Broke Lucy (Barnes/Rodgers) 4.06
04. The Perfect Crime (Walker) 2.41
05. Long Dark Road (Barnes/Rodgers) 4.34
06. Four In The Morning (Walker) 5.23
07. The Mansions (Walker) 3.14
08. The Toast Of Paris (Walker) 4.43
09. Shoot The Moon (Moss/Scullion) 3.30
10. Mexican Wedding (Walker/Small/Moss) 3.35
11. Get Lucky (Small) 3.03
12. Bus Station (Walker) 5.13
13. Lost (Walker/Carr) 4.06
+
14. Romantic Lies (bonus track) (Walker) 3.30
15. Blue Flame (bonus track) (Walker) 4.17

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Martin Barre – Back To Steel (2015)

FrontCover1.jpgDescribed by Martin Barre as the “most important work in my career as a musician” sets the, er, bar high for this much loved and respected guitarist. When it is set by the man himself, listener expectation is bound to be high too.

For the past couple of years or so Martin has been bedding in his current band. I spoke to him at the start of an extensive and surely gruelling European tour in September 2014 and of course at that time we were still asking about his departure from Jethro Tull.

With ‘Back To Steel’ he further carves out his own niche and a trajectory which, in truth, started back in 1994 with “Trick Of Memory”. But this is also a more integrated band album, rather than a true solo album. Perhaps it should even be billed The Martin Barre Band?

Martin’s fans will lap this up again. There is always great attention to detail in the arrangements. He doffs the cap to his former employer/heritage with fairly straightforward – if attractive – versions of ‘Skating Away’ and ‘Slow Marching Band’ whilst the inclusion of ‘Eleanor Rigby’ will delight those who have caught Martin on tour as this is one of the highlights of his recent set. It is to Barre’s credit that the Beatle song is the closest thing to Tull on the album, apart from those Tull covers.

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The tone is blues rock throughout, a smorgasbord of Martin’s cumulative influences, and there is some rather nice female harmony vocal work from Alex Hart and Elani Andrea whilst Dan Crisp further consolidates his position on lead vocals.

Throughout his guitar work is immaculate but, as previously, supportive rather than overtly spectacular. We know he can let rip and is one of rock’s finest but Barre-watchers may be dismayed that his approach – for the most part – is restrained.

There are only three instrumentals – the very short ‘Chasing Shadows’ and ‘Calafel’ echoing the tone of a previous offering ‘Away With Words’ and the more expansive ‘Hammer’. As ever, a few more of these more frenetic electric workouts would have been very welcome.

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The mix of the powerful and the pastoral is ever present with songs like ‘You And I’ (reminiscent of ‘Protect & Survive’ ) and ‘Sea Of Vanity’ (Fairports?) rubbing shoulders with the heavyweight ‘Moment Of Madness’, a potential single (!).

One can’t help wondering what would happen if Barre had taken a different musical direction, perhaps a bit more proggy or even hard rock/AOR. There are elements of course – ‘Moment Of Madness’ also shows a rather appealing commerciality – but for me the album is a little too diverse and as a result less cohesive. Its main appeal will therefore be to “the faithful”.

‘Back To Steel’ finds Martin Barre further escaping from the shadow of the Pied Piper and we can report he is in rude good health, and thriving.

Martin Barre is an English rock musician best known for his work with progressive rock band Jethro Tull, with whom he recorded and toured from their second album in 1969 to the band’s initial dissolution in 2012. In the early 1990s he went solo, and has recorded four studio albums and made several guest appearances. He has also played the flute and other instruments such as thesaxophone, mandolin, both on stage for Jethro Tull and in his own solo work.

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Martin Barre is one of those guitarists who often misses out on the awards and recognition but who, when you hear him, is one of the best musicians around. This album celebrates 50 (yes 50) years of playing saxophone and guitar and returns him to his roots, playing electric guitars with steel strings. Right from the title track he mixes it up, playing with fluidity and flexibility whether he is playing rock or edging towards prog and throws in some sterling melodies and riffing alongside his songwriting which is generally excellent. The main instrument throughout is Barre’s guitar but his vocals are pretty tasty, especially on numbers like Bad Man where his growled vocals go perfectly against a resonator acoustic. Back To Steel is pure rock with shrieking guitar set against a dark and heavy bass line while Hammer reaches an almost jazz like melody. When he softens his stance, as he does on the lovely Chasing Shadows, he shows a remarkable lyrical side to his playing. (unknown source)

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Personnel:
Martin Barre (guitar, mandolin, bouzouki, banjo, flute, keyboards)
Dan Crisp (vocals, guitar)
George Lindsay (drums, percussion)
Alan Thomson (bass, vocals)
+
Alan Bray (bass on 15.)
Patrick James Pearson (organ on 01.)
Alan Thomson (slide-guitar on 14., organ on 11.)
+
background vocals:
Alex Hart – Elani Andrea

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Tracklist:
01. Back To Steel (Barre) 3.37
02. It’s Getting Better (Barre) 3.31
03. Bad Man (Barre) 3.14
04. Skating Away (Anderson) 3.25
05. Chasing Shadows (Barre) 0.58
06. Hammer (Barre) 3.13
07. You And I (Barre) 2.54
08. Moment Of Madness (Barre) 3.07
09. Calafel (Barre) 1.53
10. Eleanor Rigby (Lennon/McCartney) 3.17
11. Peace And Quiet (Barre) 3.59
12. Sea Of Vanity (Barre) 2.55
13. Smokestack Lightning (Burnett/Barre) 4.02
14. Without Me (Barre) 3.12
15. Slow Marching Band (Anderson) 3.28

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Gillian Welch and David Rawlings – Nobody Sings Dylan Like Gill ‘n’ Dave (2019)

FrontCover1.jpgIf you saw Gillian Welch and David Rawlings on the Oscars this year, you know they’re amazing. You may not know they are also amazing interpreters of a certain Nobel Prize-winning singer-songwriter. They were featured often on my 40-volume Dylan cover collection “Nobody Sings Dylan Like Dylan,” but when I heard that the Dave Rawlings Machine had covered “Lily, Rosemary and the Jack of Hearts” at a San Francisco concert last year – opening the show with the first half of the song, and closing it with the second half – I decided it was time to give them their own NSD collection. A year later, here it is.

As always, thanks to the tapers – they are the true heroes of the ROIO world – and to Gill and Dave for daring to test their mettle on these incomparable songs. As you might remember, in the summer of 2015 Gill ‘n’ Dave did a 50th anniversary tribute at the Newport Folk Festival to the historic show at which Dylan first plugged in. Surprisingly, it has never turned up on any of the download sites I frequent, though there is a barely listenable/watchable version on YouTube. If you have a better version to offer, please do; if you don’t want to bother with the nuts and bolts of uploading, let me know and I’ll do it for you.

A few of these songs are featured on other NSD sets, but these are different versions. Finally, please allow me to dedicate this collection to my friend and fellow Dylan fan Erik, who first introduced me to Gill ‘n’ Dave’s music in 1996 by giving me a copy of “Revival” and telling me I’d love it. I did, and I still do. (jeffs98119 at dime)

Various dates and venues. Mix of audience and soundboard recordings
between 1996 and 2018

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Dave Rawlings & Gillian Welch (Oscar 2019)

Personnel:
Dave Rawlings Machine (on 01., 03., 05., 07., 11. + 13.)
The Esquires (on 02. + 09.)
Gillian Welch & David Rawlings (on 04., 06., 08., 10. + 12.)

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Tracklist:
01. Lily, Rosemary, and the Jack of Hearts (1) (Mar 1, 2018, Fillmore, San Francisco, CA) 7.36
02. Gotta Serve Somebody (Sep 27, 1999, Radio Cafe, Nashville, TN) 7.31
03. I’ll Be Your Baby Tonight (Oct 4, 2007, Tangier Restaurant, Los Angeles, CA) 5.00
04. I Dreamed I Saw St Augustine (Aug 21, 1996, Acoustic Coffee House, Nederland, CO) 3.42
05. As I Went Out One Morning (Sep 24, 2014, Moore Theatre, Seattle, WA) 5.32
06. Billy (Nov 18, 1998, Off Broadway, St. Louis, MO) 6.13
07. Oh, Sister (Mar 8, 2018, McDonald Theater, Eugene, OR) 5.10
08. Goin’ to Acapulco (Oct 13, 2004, McDonald Theatre, Eugene, OR) 5.53
09. Quinn The Eskimo (Sep 27, 1999, Radio Cafe, Nashville, TN) 3.29
10. Odds And Ends (Aug 2004, WXPN Studios/World Café session, Philadelphia, PA) 2.58
11. Queen Jane Approximately (Jun 20, 2014, Town Park, Telluride, CO) 10.28
12. Mr Tambourine Man (Oct 3, 2015, Golden Gate Park, San Francisco, CA) 6.07
13. Lily, Rosemary, and the Jack of Hearts 2 (Mar 1, 2018, Fillmore, San Francisco, CA) 5.05

All songs written by Bob Dylan

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Warren Haynes (feat. Railroad Earth) – Ashes & Dust (2015)

FrontCover1.jpgAshes & Dust is the third studio album by American musician Warren Haynes. The album was released on July 24, 2015, by Concord Music Group.

When Warren Haynes released the rocking soul and gospel set Man in Motion in 2011, it was the fulfillment of a dream, to write and record songs that reflected the early influence of those sounds on his musical development with an all-star band. Ashes & Dust is another side of his story. Growing up in Asheville, North Carolina, Haynes was equally exposed to bluegrass, mountain folk music, and country gospel. Their influence is plentiful here, on originals and covers alike. He’s chosen New Jersey’s endlessly inventive roots music ensemble Railroad Earth this time out. Haynes uses electric guitars here; they are part and parcel of a largely acoustic tapestry that can loosely be called Americana. He wrote or co-wrote eight of these 13 tunes. Among the highlights is “Company Man,” a song that’s been around for more than a decade in his own shows. It was inspired by his father’s hard-wrought life and work experiences; though it is ultimately triumphant, the song’s narrative poignantly details struggle. John Skehan’s mandolin, Andy Goessling’s banjo and strummed acoustic, and Tim Carbone’s fiddle swirl around Haynes’ stinging electric break, which adds drama to his lyric. The cover of Billy Edd Wheeler’s classic “Coal Tattoo” (he’s the songwriter and visual artist who wrote “Jackson” for Johnny Cash) weds Appalachian mountain music to the electric blues with Haynes slide cutting through the banjo and mandolin. Shawn Colvin and Mickey Raphael assist on the road-weary country-rock of “Wanderlust.” “Stranded in Self-Pity” is a jazzy rag blues with a honky tonk piano underscoring Haynes’ wily electric guitar, Carbone’s fiddle, and Skehan’s clarinet solo.

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One can hear the influences of Levon Helm and T-Bone Wolk on the track, which is only fitting. He planned this record seven years ago and they were both supposed to play on it. The only misstep here is the cover of Fleetwood Mac’s “Gold Dust Woman,” with Grace Potter almost mimicking songwriter Stevie Nicks’ role. It’s such a straight arrangement that it adds virtually nothing. “Spots of Time” is the set’s longest cut at over eight minutes, co-written with Phil Lesh. It is one of two tracks here to feature drums and percussion by Marc Quiñones. It’s a loping, breezy rocker with a gorgeous extended jazz guitar solo; it would have been right at home in the Grateful Dead’s catalog. Closer “Word on the Wind” is an excellent update — even reinvention — of Southern rock; it exists in a space where Marshall Tucker, Crazy Horse, and the (Joe Walsh era) James Gang all melt into one another. While Ashes & Dust doesn’t really add anything “new” to Haynes’ musical profile — fans already knew this was here — there are some fine benchmarks: his singing has never used such a range of dynamics before; for once he lets the song dictate his expression. Others are tight songwriting and arranging craft — especially when fleshed out by the almost limitless creativity of Railroad Earth. Ashes & Dust is a worthy and welcome addition to Haynes’ catalog. (by Thom Jurek)

This is one of the finest Southern Rock albums in the last years !

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Personnel:
Andrew Altman (bass)
Tim Carbone (fiddle)
Andy Goessling (guitar, pedal steel-guitar, banjo, clarinet)
Carey Harmon (drums)
Warren Haynes (guitar, slide-guitar, vocals)
Todd Sheaffer (guitar, background vocals)
John Skehan (mandolin, bouzouki, piano)
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Oteil Burbridge (bass on 11.)
Shawn Colvin (vocals on 10.)
Grace Potter (vocals on 08.)
Marc Quinones (percussion on 09. + 11., drums on 11.)
Mickey Raphael (harmonica on 10.)

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Tracklist:
01. Is It Me Or You (Haynes) 5.15
02. Coal Tattoo (Wheeler) 7.26
03. Blue Maiden’s Tale (Haynes) 7.27
04. Company Man (Haynes) 4.49
05. New Year’s Eve (Haynes) 4.40
06. Stranded In Self-Pity (Rhodes) 6.37
07. Glory Road (Sisk) 6.00
08. Gold Dust Woman (Nicks) 6.24
09. Beat Down The Dust (Haynes) 4.56
10. Wanderlust (Haynes) 4.50
11. Spots Of Time (Lesh/Haynes) 8.25
12. Hallelujah Boulevard (Haynes) 5.43
13. Word On The Wind (Sheaffer/Haynes) 6.46

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Cassandra Wilson – Coming Forth By Day (2015)

FrontCover1.jpgComing Forth by Day is a studio album by American jazz singer Cassandra Wilson. The album was released on April 6, 2015 via Legacy Recordings label.

The album is a homage to legendary jazz vocalist Billie Holiday to commemorate the 100th anniversary of the singer’s birth. The album includes 11 cover versions of famous jazz standards associated with Holiday and an original composition written by Cassandra Wilson—”Last Song (For Lester)”—imagined to be a heartbreaking final message from Holiday to her musical love, Lester Young.

Christopher Loudon of JazzTimes wrote, “Though it’s disheartening to realize that even an artist as eminent as Cassandra Wilson had to turn to PledgeMusic to fund her centenary salute to Billie Holiday, it’s best to set aside such state-of-things ponderings and focus on the outcome. Which is, in a word, exquisite. It’s also clever, insightful and, though utterly respectful to Holiday as source and touchstone, strikingly original.”

John Fordham of The Guardian noted, “Singer Jose James’ recent tribute to Billie Holiday saw a fine singer and a hip jazz trio sprinkling personal magic on timeless songs with careful respect. Cassandra Wilson’s angle on Holiday is very different: a radical, big-production remake of the great vocalist’s music with the rhythm section from Nick Cave’s Bad Seeds giving the repertoire a thick-textured, abstract blues-rock feel, while a luxurious strings section embraces the ballads.” (by wikipedia)

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Perhaps the pairing of Cassandra Wilson and Billie Holiday carries a whiff of inevitability, but there’s nothing predictable about Coming Forth by Day. Released to coincide with Holiday’s centennial in 2015, Coming Forth by Day explicitly celebrates Lady Day by drawing upon standards she sang in addition to songs she wrote, but Wilson deliberately sidesteps the conventional by hiring Nick Launay as a producer. As a result of his work with Nick Cave, Launay mastered a certain brand of spooky Americana, something that comes in handy with the Holiday catalog, but Coming Forth by Day is never too thick with murk. It luxuriates in its atmosphere, sometimes sliding into a groove suggesting smooth ’70s soul, often handsomely evoking a cinematic torch song — moods that complement each other and suggest Holiday’s work without replicating it. This is a neat trick: such flexibility suggests how adaptable Holiday’s songbook is while underscoring the imagination behind Wilson’s interpretations. Certainly, Launay deserves credit for his painterly production, but the success of Coming Forth by Day belongs entirely to Wilson, who proves that she’s an heir to Holiday’s throne by never once imitating her idol. (by Stephen Thomas Erlewine)

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Personnel:
Kevin Breit (guitar)
T Bone Burnett (guitar)
Charlie Burnham (violin)
Martyn P. Casey (bass)
Jon Cowherd (keyboards)
Davide Direnzo (drums)
Robby Marshall (woodwind)
Lonnie Plaxico (bass)
Cassandra Wilson (vocals, guitar)
Thomas Wydler (drums)
Nick Zinner (guitar)
+
Van Dyke Parks – string arrangementsa

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Tracklist:
01. Don’t Explain (Herzog/Holiday) 4.35
02. Billie’s Blues (Holiday) 5.08
03. Crazy He Calls Me (Sigman/Russell) 6.19
04. You Go To My Head (Gillespie/Coots) 4.10
05. All Of Me (Marks/Simons) 4.07
06. The Way You Look Tonight (Fields/Kern) 3.51
07. Good Morning Heartache (Fisher/Drake/Higginbotham) 4.57
08. What A Little Moonlight Can Do (Woods) 4.10
09. These Foolish Things (Maschwitz/Strachey) 4.14
10. Strange Fruit (Allan) 4.55
11. I’ll Be Seeing You (Kahal/Fain) 6.10
12. Last Song (For Lester) (Wilson/Cowherd/Casey/Marshall/Wydler) 5.51

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Europa Galante – I Concerti Dell’ Addio (Antonio Vivaldi) (The Farewell Concertos) (2015)

Maquetación 1Vivaldi concerto discs appear on these pages every month it seems. Rarely do I give them a second glance, let alone a first listen. That doesn’t mean I don’t like the music; quite the contrary, in fact. When this appeared on the New Releases list, I grabbed it with all speed. For me, no one does Vivaldi like Fabio Biondi and his band.

In January 2002, whilst on holiday in the UK, I attended a concert of theirs in the Christopher Wren-designed Sheldonian Theatre in Oxford. There is no doubt that it could have been a tiddlywinks competition and still been wonderful because of the venue. However, despite the uncomfortable hard seats and the foggy weather bringing on an asthma attack for my wife sitting next to me, this was perhaps the most memorable classical concert I have attended. The Four Seasons were transformed from pleasant background music into high drama: it was as though the summer storm was inside the theatre, such was their playing.

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I bought their Opus 111 recording of the Four Seasons as soon as possible afterwards, and just about everything that they released on Virgin Classics subsequently, Vivaldi or otherwise. I soon found that almost nothing of their work beyond the Red Priest worked anywhere near as well, Boccherini being perhaps the only exception. The Corelli concertos were disappointing, and the Mozart violin concertos a failure. After the demise of Virgin Classics, there was a Telemann release on the Agogique label: again, underwhelming. Now on Glossa, they return to Vivaldi, and the wondrous verve is back.

These six concertos are from a collection held currently in Brno in the Czech Republic, purchased in June 1741 from the composer by Count Vinciguerra Collalto. The “Farewell” in the title refers to the fact that Vivaldi was within six weeks of death, alone and unappreciated in a Vienna preoccupied with the death of an emperor the previous year. As with essentially all his compositions, precise dates are not known, but Biondi in his intelligent booklet article suggests that they show clear signs of being written late in Vivaldi’s career.

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Biondi’s detractors criticise his overuse of abrupt tempo changes, and there is no doubt that some composers suffer from such treatment. However, Vivaldi’s music seems to me to revel in the drama that Biondi creates. One criticism that I have of so many period instrument Baroque performances is that everything is fast, even the slow movements. That is never the case with Europa Galante. I can happily report that these concertos show the group back at their very best. Everything that makes their Vivaldi dazzle and wow is here, but there is also a restraint in places, totally apposite, which I believe is a consequence of the style of these late works.

The recording is very clear, though a little close at times, so that we hear Biondi’s intake of breath. I have already noted the quality of the booklet article, and it is a well-filled disc. I can only celebrate that Biondi and Europa Galante have returned to their natural habitat, and if you have had reservations about them in the past, please give them another try here in works that you are unlikely to know well or at all. (by David Barker)

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Personnel:

Europa Galante (Orchestra) conducted by Fabio Biondi:

Alessandro Andriani (cello)
Nicola Barbieri (violone)
Isabella Bison (violin)
Fabio Biondi (violin)
Rossella Borsoni (violin)
Elin Gabrielsson (violin)
Luca Giardini (violin)
Simone Laghi (viola)
Stefano Marcocchi (viola)
Carla Marotta (violin)
Giangiacomo Pinardi (lute)
Perikli Pite (cello)
Paola Poncet (harpsichord)
Andrea Rognoni (violin)

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Tracklist:

Violin Concerto In B Minor, RV 390:
01. Andante Molto 1.02
02. Allegro Non Molto 5.16
03. Largetto 2.37
04. Allegro 3.41

Violin Concerto In E Minor, RV 273:
05. Allegro Non Molto 4.21
06. Largo 3.42
07. Allegro 3.43

Violin Concerto In B Flat Major, RV 371:
08. Allagro Ma Poco 5.00
09. Largo 4.35
10. Allegro 3.57

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Violin Concerto In C Major, RV 189:
11. Larghetto 0.31
12. Allegro Non Molto e Pianissimo 5.01
13. Largo 6.05
14. Allegro Molto 4.15

Violin Concerto In B Flat Major RV 367:
15. Allegro Ma Poco Poco 6.01
16. Andante Ma Poco 3.21
17. Allegro 3.54

Violin Concerto In F Major, RV 286 (Per la Solemnità di San Lorenzo):
18. Largo Molto e Spiccato 0.29
19. Allegro Moderato) 4.46
20. Largo 2.55
21. Allegro Non Molto 4.44

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Charles Lloyd – Wild Man Dance Suite (live at The Temple of Dendur, New York) (2015)

FrontCover1.jpgCharles Lloyd (born March 15, 1938 in Memphis, Tennessee) is an American jazz musician. Though he primarily plays tenor saxophone and flute, he has occasionally recorded on other reed instruments, including alto saxophone and the Hungarian tárogató.

Mr. Lloyd has been a notable solo artist in jazz for some 50 years, though his track record hardly suggests an unbroken line. He found fame in the latter half of the 1960s, selling more than a million copies of the album “Forest Flower” and becoming the first jazz artist to headline the Fillmore Auditorium. Then, at the height of his prominence in the early ’70s, he retreated into meditative seclusion in Big Sur, Calif. (The arc of his career forms the subject of “Arrows Into Infinity,” a recent documentary film directed by his wife and manager, Dorothy Darr, and the producer Jeffery Morse.)

Mr. Lloyd’s major resurgence as a jazz artist came about in the ’80s, with a series of tours and albums that includes the only other Blue. (artsbeat.blogs.nytimes.com)

In April 2015 he released a live Album, called “Wild Man Dance” (on Blue Note again) and it was original recorded in 2013:

Response was generally positive, with AllMusic calling it “a success on virtually every level.” All About Jazz noted that “While plenty of musicians tend to slow down as they get older, the opposite seems to be happening with this septuagenarian”, and said it “is every bit as magical as the best of Lloyd’s output.”[3] The Los Angeles Times stated “Here the dulcimer-like Hungarian cimbalom and the bowed lyra color the open-ended framework of a six-part suit (by wikipedia)

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And here´s another live version of this Suite … rerded live in 2015 to promote the original album.

Wild Man Dance Suite is a sweeping new masterpiece from Charles Lloyd. Blending traditional jazz elements with visceral sounds and textures from antiquity, Lloyd has created something altogether new and exciting. Composed for a quartet of piano, bass, and drums, with the addition of Greek lyra and the Hungarian gypsy cimbalom, the ensemble performs the six movements of the suite like a flowing orchestral unit. (metmuseum.org)

Charles Lloyd turned 80 on March 15.

Thanks to Lewojazz for sharing the HDTV webcast at Dime.

Recorded live at The Temple of Dendur, The Metropolitan Museum of Art, New York, NY; April 18, 2015. Very good audio (ripped from HDTV webcast).

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Personnel:
Eric Harland (drums)
Charles Lloyd (saxophone, flute, tarogato)
Miklós Lukács (cymbalom)

Jason Moran (piano)
Joe Sanders (bass)
Sokratis Sinopoulos (greek Lyra)

 

 

Wild Man Dance Suite:
Part 5 Rumination – Flying Over The Odra Valley
Gardener – Lark – The River – Invitation – Wild Man Dance

 

Tracklist:
01. Part A 16.42
02. Part B 8.08
03. Part C 10.19
04. Part D 8.42
05. Part E 15.08
06. Part F 9.59
07. Part G 7.15
08. Part H 6.06
09. Part I 11.48
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10. Video version 1.34.22

Music composed by Charles LLoyd

Charles LLoyd02.jpg

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