"Wonderful music conjuring up pastoral England before four wheel drives and second homes. Sound generally very good with wide dynamic range and lush string tone, although the orchestra sounds a little constrained particularly in the Tallis Fantasia, and there is audible background noise in quieter passages. Solo instruments very realistic…" ~sa-cd.net
"…Thanks to Marek Janowski's inspiring direction, the singers' commitment and the peerless sound quality, this recording sets a new benchmark for Tristan und Isolde in the 21st century and undoubtedly it is one that all Wagnerites will wish to investigate. Unreservedly and enthusiastically recommended." ~SA-CD.net
"…Stockfisch has reproduced the live feel of this extraordinary group with great precision. The separation of the instrumentation (especially between guitar and violin, and accordions) eliminates the occasional dint of live recording. The balance of the sound seems proportionate. Vocals never impinge on the music, and vice versa. Live At Stockfisch Studio is a towering achievement." ~audiophile-audition
"…The disc’s exceptional, state-of-the-art recording draws you in right close, with Allan’s very special and intimate delivery cocooned by the immaculately judged and empathic contributions of a handful of other musicians (guitar, dobro, accordion, banjo, bowed psaltery, fretless bass). I feel sure that Leaving At Dawn will come to be judged as one of Allan’s finest ever collections." ~folk roots
Just prior to signing with RCA/Novus, John Pizzarelli recorded two sets for Chesky that featured him playing in the swing style that he would soon make quite popular. Although joined by all-stars (pianist Dave McKenna, bassist Milt Hinton, drummer Connie Kay, his father, guitarist Bucky Pizzarelli, and flugelhornist Clark Terry) rather than his regular trio, Pizzarelli's likable vocals and relaxed guitar solos are not overshadowed. In fact, this is a delightful date, with memorable renditions of such songs as "I'm An Errand Boy for Rhythm," "Lady Be Good," "The Best Man," "Gee Baby Ain't I Good to You" and "Candy." Easily recommended to John Pizzarelli fans.
Vibraphonist Cal Tjader is in typically fine form on this live set from 1968. His quintet at the time featured Armand Perazza on congas and pianist Joe Kloess and his repertoire ranged from Afro-Cuban jazz to occasional straightahead tunes. Six of the eight selections on this date are originals by band members or Gary McFarland. Although Tjader had been playing this style of music for 15 years by this time, he still was quite creative and enthusiastic, and is heard throughout in excellent form.
Whether in its original serial form in the 1940s, in the low-budget films of the 1950s, in the television series of the 1960s, or even in the overgrown re-imaginings for blockbuster movies in the 1970s and beyond, the science-fiction genre on film (and videotape) has always had something cheesy about it, and that is part of its appeal. Even when the technical wizards at director George Lucas' Industrial Light and Magic are dreaming up the next Star Wars movie, there is, at heart, a sense of the earliest, silliest versions of the genre still present. In that spirit come Neil Norman's souped-up and synthesized treatments of the various scores for sci-fi films and TV…
When he recorded this album, his lone date as a leader, trumpeter Tommy Turrentine (who was a member of Max Roach's group along with his brother, the soon-to-be famous tenor Stanley Turrentine) seemed to have a potentially great future. Unfortunately, ill health would eventually force his retirement. Turrentine's set for Time (which has been reissued on CD by Bainbridge) actually features the musicians of Roach's quintet (including brother Stanley, trombonist Julian Priester, bassist Bob Boswell, and Roach himself) plus pianist Horace Parlan. The trumpeter contributed five of the seven songs (which are joined by Horace Parlan's "Blues for J.P." and Bud Powell's "Webb City") on this fine straight-ahead hard bop set. All of the musicians play up to par and the results are swinging and fit securely into the modern mainstream of the time.
This was Jimmy's best selling album ever but the title is very misleading in that these are all studio recordings, not live recordings, which means they weren't recorded at Carnegie Hall, but the tracks are in the order he performed them at a Carnegie Hall concert one week prior to recording the first dozen in the studio of this double album. This is actually the first time all of the original master tapes of this album were used as the songs recorded in mono were on all previous issues in rechanneled stereo while the true stereo tracks…
Donovan first emerged as part of the ruling class of 1960s singer-songwriters. More than just "England's answer to Bob Dylan," Donovan's music evolved from its folk roots into something truly unique and has endured the test of time. It encompasses a full blend of social commentary, introspective trippiness and, yes… cosmic sounds. This collection showcases the talents of the artist and his art. Combining Donovan’s Pye/Hickory recordings and his Epic label releases, this musical collection is a journey into the world of a musical poet….the world of a storyteller….the world of Donovan.