Telemann - Concertos - Soloits & Orchestra of the Czech Philharmonic - Vaclav Neumann (1988)
EAC Rip | FLAC (img + cue), LOG | TT 65:37 | Covers (jpg 300 dpi) | RAR 346 MB (3% Recovery)
Supraphon | Czechoslovakia | 11 0645-2 011 | 1988

Georg Philipp Telemann (1681-1767), He cast his concertos - almost a hundred are known to exist - in the traditional form of the four-movement suite (slow-fast-slow-fast), but also used the three-movement form established by Vivaldi. Although the slow movements disclose a greater degree of originality, the fast ones are more effective. In some of Telemann's concertos, the character of the themes and the structure of the movements point beyond the Baroque style to the early Classical period (e.g. the last movement of the Concerto for Oboe d'amore). The distinctive harmonies of some of the parts also underscore Telemann's opinion that, although the possibilities of melodic invention may become exhausted, it is always possible to vary the harmony.

One of the better McCoy Tyner records on Milestone, this live set from San Francisco features the masterful pianist playing solo on "Naima" and leading a strong sextet (with George Adams on tenor, flute, and soprano; Joe Ford on alto and flute; bassist Charles Fambrough; drummer Woody "Sonship" Theus; and percussionist Guilherme Franco) on four of his originals. There are remakes (quite different from the originals) of "Fly with the Wind" and "The Greeting" and two newer pieces, including the atmospheric "Hand in Hand." An excellent example of McCoy Tyner's playing in the 1970s. ~ AllMusic

By this, his 11th solo album, Colin Hay's records are as comfortable as a pair of old shoes that have held up for so many years you've forgotten when you purchased them. Naturally, that speaks to the cozy comfort of the fit, but it also speaks to the craft: Hay may not tread new ground but his compositions are so simple and sturdily constructed they're easy to take for granted. That's especially true on Gathering Mercury, which unfolds at an unhurried pace, the tempos never rushing, the dynamics never getting heated….

The Pasadenas stormed onto the chart scene with their first single"Tribute (Right On)" which peaked at no.5 in 1988. This is the reissue of the band's first album, which reached no.3. The band blended a modern pop/soul style with a nod of respect to the great all male vocal groups of the late 1950's and 1960's.

A household name since the early '70s, John McLaughlin was an innovative fusion guitarist when he led the Mahavishnu Orchestra and continued living up to his reputation as a phenomenal and consistently inquisitive player through the years. He started on guitar when he was 11 and was initially inspired by blues and swing players. John McLaughlin worked with David Bowie, Alexis Korner, Graham Bond, Ginger Baker, and others in the 1960s and played free jazz with Gunter Hampel for six months. His first album was a classic (1969's Extrapolation) and was followed by an obscurity for the Dawns label with John Surman, a quintet set with Larry Young (Devotion), and My Goals Beyond in 1970 which was half acoustic solos and half jams involving Indian musicians.

At first, Lisa Ekdahl's squeaky, girlish voice may seem inappropriate for the pop standards she has chosen to make her trade, but given some time, her voice and laid-back style become endearing. True, she occasionally seems mannered and borrows heavily from her inspirations (most notably Billie Holiday), but she shows signs of developing her own style throughout her second American album, Back to Earth. Like its predecessor, When Did You Leave Heaven, Back to Earth was recorded with the Peter Nordahl Trio and has a charming mellow vibe. ~ AllMusic

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