Jazz buffs are very familiar with Wynton Marsalis and his trumpet. Opera lovers know the quality voice of lyrical soprano Kathleen Battle. A perfect blending of these two performers, in the Baroque music, has been acheived in this CD. The match of human voice and trumpet seems to us, at the end of the Twenth Century, a mismatch. But to quote Ellen T. Harris, who wrote the liner notes, "The real and sympolic power of the trumpet makes its combination with the quieter instruments and voice seems, at first, imbrobable, but a softer sweeter style of playing in the high ("clarino") register was typical in art music for the trumpet…". Sounds simple enough, but Wynton is one of the few players who can do it well. So well in fact, that at several points Kathleen's voice and Wynton's trumpet blend into one voice, a balanced singularity, even duplicating each others vibrato exactly. A truely amazing accomplishment, which can only be fully appreciated by listening; but once you hear this glorious sound, you'll want to upgrade your stero system to capture its fullness…By A Customer
Recorded in the City of London in 2012, this album features the missing cantatas from the Bach Cantata Pilgrimage: the Ascension Cantatas. They were recorded live at St Giles Cripplegate (one of the original Pilgrimage venues) in two concerts entirely funded by the generosity of hundreds of donors across the world, following a heartfelt appeal from British comedian Alexander Armstrong.
Features 24 bit remastering and comes with a mini-description. Yusef Lateef's music from the early '70s commands large doses of both appeal and skepticism. At a time when funk and fusion were merging with the intensely volatile and distrustful mood of the U.S., Lateef's brand of Detroit soul garnered new fans, and turned away those who preferred his earlier hard bop jazz or world music innovations. Thus The Gentle Giant is an appropriate title, as Lateef's levitational flute looms large over the rhythm & blues beats central to the equation. Kenny Barron's Fender Rhodes electric piano is also a sign of the times, an entry point introducing him to the contemporary jazz scene, and on that point alone is historically relevant.
The Fairy Tale Trio plays a kind of hybrid music combining elements of Bulgarian folk music and jazz. Kaval player Theodosii Spassov has developed a style that allows him more chromatic and timbral possibilities than previously associated with that instrument, while soprano saxist Anatoly Vapirov can go from tricky folk melodies to Coltrane-like wailing in the space of a few notes. The trio is rounded out by percussionist Stoyan Yankoulov, who uses mostly the traditional tupan (a double-headed drum, played with sticks) with a few modern additions. The music, composed by the trio, makes full use of their resources.
What happens when you bring the worlds of jazz and Monteverdi together? Is there a musical meeting-point where the two can exist? Claudio Cavina clearly has been believing in this possibility for some time (witness some very "modern" moments in his recent Glossa recordings of the Scherzi musicali and L'incoronazione di Poppea). Yet this is not La Venexiana playing jazz: Cavina and his musicians do not change a note of the original scores.