"De la négociation pour être référencé à l'obligation de fournir l'ensemble des succursales, ce qui élimine d'office les petits, la livraison, le stockage et surtout toutes les opérations promotionnelles que la grande surface jugera bon d'organiser, vous saurez tout sur des pratiques commerciales qui n'en ont plus que le nom. …[/quote
Charlie Christian's career was all too brief, lasting a mere five years. After catching the attention of John Hammond, who recommended him to Benny Goodman, he appeared on fewer than 100 sessions between 1939 and 1941, mostly broadcasts, plus a few privately recorded sessions issued on various labels over the years, in addition to his well-known studio recordings and with Goodman. While the music in this compilation has been previously available, this collection has to much recommend it. First of all, new digital transfers have been made from original acetates from the Jerry Newhouse collection, rather than relying on later generation sources. Frank Driggs' detailed liner notes provide a wealth of historical background and there are also lots of photographs. But the most important factor is the music itself.
Lillinger und der tiefe Grund: Viel zu entdecken gibt es in dieser Musik, die nicht ganz einfach ist - aber auf ungemein reichhaltige Art zeigt, dass es sich für den Hörer sehr lohnen kann, Hürden zu überwinden. Eine hochkomplexe Schönheit entsteht in dieser Musik, bei der sich Stück für Stück immer mehr herausstellt, dass sie von einer hingebungsvollen Empfindsamkeit geprägt ist. Und die so vertrackt virtuos sein kann, dass einem der Atem stockt.
Universal Music France pays homage to one of the greatest French violinists of the 20th century with an outstanding 10-CD box set (at budget price). This is, in fact, the first large-scale anthology devoted to the violinist. For the first time, this set takes his complete recordings for Deutsche Grammophon, including the Bach Concertos with Karajan and Serge Nigg’s Concerto, previously unreleased on CD.
As an enlightened king during the first half of the 17th century, Christian IV gave Denmark an unprecedented splendour. Added to diplomatic and military ambitions was a rich artistic life, especially in music. The Copenhagen court was rich with singers and instrumentalists, and therefore became an important place of passage for the European composers. In order to discover this astonishing activity and the unfairly neglected composers, the Witches invite us to listen to their recording. Not only for the sentimental memories, but also for the sheer pleasure of combining instrumentation of the Witches plus the unique tone of the Compenius organ, installed in the chapel of the Frederiksborg Castle by Christian IV in 1617.
Where the typical ECM continental European chamber sound has been associated with Norwegian pianist Christian Wallumrod, Fabula Suite Lugano adds a new, expansive flavor to what might be expected. This rather ambitious program features a core ensemble, but the sounds are bigger or smaller depending on the inspiration or thematic concept. At the center of many tracks is the violin and viola of Gjermund Larsen and cellist Tanja Orning, but the Baroque harp, as played by Giovanna Pessi, adds more bright colors, while the lone horn (trumpet) of Eivind Lonnig completes the cycle of mystery to this spatial, in-the-main haunting music.
Christian Escoude combines elements of gypsy jazz, bop, and a contemporary flavor during these 1989 sessions that also include fellow guitarists Paul Challin Ferret, Jimmy Gourley, Frederic Sylvestre, accordion player Marcel Azzla, cellist Vincent Courtois, bassist Alby Cullaz, and either Billy Hart or Philippe Combelle on drums. The presence of so many players sometimes muddies the sound, especially when Azzla is too prominent in the mix. Several of the works were written by Escoude's late uncle, the popular accordion player/composer Gus Viseur, who had worked with Django Reinhardt and Stéphane Grappelli in the Quintet of the Hot Club of France, though the switch to electric guitars and addition of percussion indicates this is not your father's gypsy music.
This performance of the fiery Fantasy in G minor for violin and orchestra, Op. 24, of Josef Suk, with violinist Christan Tetzlaff catching the full impact of the irregular form with its dramatic opening giving out into a set of variations, is impressive. And Tetzlaff delivers pure warm melody in the popular Romance in F minor, Op. 11, of Dvorák. But the real reason to acquire this beautifully recorded Ondine release is the performance of the Dvorák Violin Concerto in A minor, Op. 53, a work of which there are plenty of recordings, but that has always played second fiddle (if you will) to the Brahms concerto. Tetzlaff and the Helsinki Philharmonic under John Storgårds create a distinctive and absorbing version that can stand with the great Czech recordings of the work. Sample anywhere, but especially the slow movement, where Tetzlaff's precise yet rich sound, reminiscent for those of a certain age of Henryk Szeryng, forms a striking contrast with Storgårds' glassy Nordic strings. In both outer movements as well, Tetzlaff delivers a warm yet controlled performance that is made to stand out sharply.