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2024-04-24
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2024-04-15 03:30:00
3 Shades of Blue/Kind of Blue (Book/CD Review)
by Karl Nehring Kaplan, Janes. 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans, and the Lost Empire of Cool. New York: Penguin Press, 2024. Miles Davis: Kind of Blue. So What; Freddie Freeloader; Blue in Green; All Blues; Flamenco Sketches. Miles Davis, trumpet; John Coltrane, tenor saxophone; Julian “Cannonball” Adderley, alto saxophone; Wynton Kelly, piano (Blue in Green only); Bill Evans, piano (all other tracks); Paul Chambers, bass; Jimmy Cobb, drums. Columbia/Legacy CK64935 In a couple of recent posts I have shared some thoughts by jazz musicians concerning the influence of classical music on jazz (you can find those posts here and here). In his new book, 3 Shades of Blue, James Kaplan tells the interlocking life stories of three key figures in jazz: trumpeter Miles Davis, saxophonist John Coltrane, and pianist Bill Evans. Those with even a passing knowledge of jazz history are no doubt familiar with at least one of those three names, while those with a bit more knowledge will likely recall […]
2024-03-18 03:30:00
Ravel Orchestral Works (CD Review)
by Karl Nehring Valses nobles et sentimentales; Ma mère l’Oye (Complete Ballet); Daphnis et Chloé, Suites Nos. 1 and 2; L’Éventail de Jeanne: Fanfare. St. Olaf Choir; Minnesota Orchestra; Stanisław Skrowaczewski, conductor. VOX-NX-3037CD Many classical music lovers of a certain age are no doubt familiar with Vox, a budget label that produced some real gems that provided the music lover on a budget an excellent way to expand their classical LP collections at a reasonable price. I can offer a quick example from my own experience: I’ll never forget a day back in the mid-1970s when I was strolling through a Sears department store one afternoon and came across an aisle display that featured the newly released 4-LP Vox Box of Ravel’s orchestral music featuring Stanislaw Skrowaczewski conducting the Minnesota Orchestra. I was back in college on the G.I. Bill after serving 4½ years in the Army, with a wife, two kids, a pair of Bose […]
2024-03-14 03:30:00
Recent Releases No. 72 (CD Reviews)
by Karl Nehring Mahler: Symphony No. 8. Carolyn Sampson/Jacquelyn Wagner, sopranos; Sasha Cooke/Jess Dandy, altos; Barry Banks, tenor; Julian Orishausen, baritone; Christian Immler, bass; Minnesota Chorale; National Lutheran Choir; Minnesota Boychoir; Angelica Cantanti Youth Choir; Minnesota Symphony; Osmo Vänskä, conductor. BIS-2496 SACD This recording of Mahler’s Symphony No. 8, a work for which to provoke public interest the organizer of the first public performances, an impresario named Emil Gutman dubbed “Symphony of a Thousand,” was made at the occasion of the final concert in the 19-year tenure of Finnish conductor Osmo Vänskä (b. 1953) as music director of the Minnesota Orchestra. He is now music director laureate, with Danish conductor Thomas Søndergård (b. 1969) succeeding him as music director. At Minnesota, Vänskä has recorded for BIS all of Mahler’s numbered symphonies except for No. 3; the following links will direct you to our reviews of Symphony No.1, Symphony No. 7, and Symphony No. 10. Those reviews were all positive, […]
2024-03-11 03:30:00
Messiaen: Turangalîla Symphony (CD Review)
by Karl Nehring Marc-André Hamelin, piano; Nathalie Forget, ondes Martenot; Toronto Symphony Orchestra; Gustavo Gimeno, conductor. Harmonia Mundi 905336 Those relatively new to classical music who may be unfamiliar with the Turangalîla Symphony.by the late French composer Olivier Messiaen (1908-1992) are in for quite the ear- and mind-expanding experience when they first encounter this expansive, expressive, exhilarating 10-movement, 80-minute piece that is scored for piano, ondes Martenot, and orchestra. Nor may many music lovers reading this review be familiar with the ondes Martenot, an electronic instrument with a sound similar to that of a theremin (more information here ). In general, Messiaen blends the sounds of the ondes Martenot and the piano with the sound of the orchestra rather than featuring either instrument in a concerto-like fashion, even though in concert performance, both instruments take their place in front of the orchestra, as they would for a concerto. There are passages, however, where Hamelin, one of […]
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