Handel - 250th Anniversary Boxes - Album Review

by Charlotte Gardner
Harmonia Mundi's contribution to Handel's 250th anniversary wins both the size and luxury prizes hands down. They have cherry-picked a selection of Handel recordings for re-release, packaging them into five limited edition luxury box sets (which can be bought separately) - Operas, Oratorios, Famous Arias, Arias for…, and Concertos. I must confess to a certain amount of Handel fatigue as we near the end of his 250th anniversary year, but my eyes grew as round as gobstoppers when this lot landed on my desk.

With five box sets to cover, this review can only deal in the broadest of brushstrokes if it isn't to end up a War and Peace-sized epistle. This in mind, wasting precious words on the packaging may seem like lunacy but these boxes are things of beauty. Its rare that a CD case is an actual pleasure to hold in ones hands but these, with their flappable CD envelopes of black card, and smooth exteriors printed with scenes from Hogarth and the like, are extremely (worryingly, some might say) stroke-able.

The Operas set presents nine CDs of René Jacobs conducting complete performances of Rinaldo (Freiberger Barockorchester), Giulio Cesare (Concerto Köln), and Flavio (Ensemble 415). These are energised performances that bring the operas to life, particularly Jennifer Larmore's performance as Giulio Cesare. In addition, there are five bonus tracks of duets and cantatas, performed to great effect by the Concerto Vocale. A further CD carries the pdfs of all three libretti in Italian and German (Rinaldo/Giulio Cesare) and Italian and French (Flavio).

Oratorios features ovation-deserving performances of Messiah and Saul, also directed by René Jacobs. Saul is performed by Concerto Köln, the RIAS Kammerchor and a line-up of soloists including Rosemary Joshua, Laurence Zazzo and Gidon Saks. Messiah is performed by the Choir of Clare College, Cambridge, and the Freiberger Barockorchester with soloists Kerstin Avemo, Patricia Bardon, Lawrence Zazzo, Kobie van Rensburg and Neal Davies. Aside from the wonderful solo numbers, these are period performances of the finest order, sparkling with stylish energy and full of conviction.

Two of the box sets deal with arias alone, the first being Famous Arias, superbly performed by Lorraine Hunt, Dorothea Röschmann, Andreas Scholl and Mark Padmore, each of whom take a disc. For those interested in how the dramatic and vocal strengths and weaknesses of Handel's singers shaped his music, then the four Arias For… recitals, each centred on a different Handelian singer-superstar, are unmissable. Francesca Cuzzoni, Margherita Durastanti, Francesco Bernardi Senesino and Antonio Montagnana are represented by, respectively, Lisa Saffer, Lorraine Hunt, Drew Minter and David Thomas, in recitals replete with drama, virtuosity, variety and beauty.

Last, but by no means least, is Concertos, featuring concerti grossi op. 6 and 3, plus the Organ concertos op.4. These are performed by the Academy of Ancient Music, Andrew Manze and Richard Egarr, and their virtuosic performances combine crisp, vigorous delivery with heart-touching warmth.

This is a collection I will be returning to with great pleasure for many years to come.

The Whispertown 2000 - Swim - Album Review

by Jon Lusk
Although it's not clear where they got the name from, The Whispertown 2000 is an improvement on Vagtown 2000, the stage moniker that lead singer and songwriter Morgan Naylor used to go by. On first listen, this LA-based indiefolk band's second album sounds like a half-arsed, ramshackle mess fronted by a woman who can't hold a tune. Persevere, because Naylor's chameleonesque vocal persona soon begins to work its magic, and her inventive way with melodies starts making sense.

It's hardly surprising the first band to sign to Gillian Welch and David Rawlings Acony label should have an ear for semi-acoustic alt. country, and even backwoods hoedowns, but Whispertown 2000 also revel in light touches of psychedelia. Get past the throwaway playground chant of 103, and that becomes apparent in the backwards guitars and dreamy backing vocals of Done With Love. Naylor has a distinctive and appealing way of toying with words, first evident on the phrase, ''tell everyone I'm done with love'.

Erase The Lines takes the wiggyness further, with surreal lyrics (''spotted tiger spotted me''), unhinged whistling and a percussive crescendo. Both this and the carefree country strum of Lock And Key suggest an affinity with (fellow Californian) Ryan McPhun's band The Ruby Suns.

On the electric soul/blues gumbo of Ebb And Flow, Naylor's shrill tones seem to echo blue-eyed soul firebrand Laura Nyro, while on Mountain she's closer to an extra-sulky Cat Power offering a twisted take on The Rolling Stones' Love In Vain. So yeah, the 1960s live on in the 2000s.

Aside from a few guests, brothers Casey and Tod Adrian Wisenbaker play most of the instruments, with harmony vocalist Vanessa Corbala shadowing Naylor for much of the album, and sounding almost like a sister. When she’s absent,as on the stripped-down drawl of No Dope, Naylor's slightly contrived
tendency to sing off-key does grate a little. But if it were cleaned up and straightened out, this music might lose much of its appeal. Even so, the four-part vocal harmonies of Atlantis (also featuring Welch and Jenny Lewis) suggest that may not be the case.

source: bbc.co.uk/music

Henry Purcell - Dido And Aeneas - Album Review

by Charlotte Gardner
Forgive me a sweeping generalisation, but its fair to say that great British operas, pre-Britten, can be counted on one hand. Half a hand, even. However, what we lack in quantity, we make up for in quality, as illustrated by Henry Purcell's Dido and Aeneas. This new recording for Chandos from the Choir and Orchestra of the Age of Enlightenment is surely set for widespread critical acclaim.

The performance takes into account new developments in scholarly thinking, aiming to emulate more closely the court entertainment of Purcell's day. Most noticeable is the incorporation of other dance works by Purcell: a tune from Bonduca, the Almand from his G minor keyboard suite and, my personal favourite, two improvised guitar dances played by the OAE's plucked-continuo players. These inclusions do give the opera a different, more courtly feel to previous recordings; they open it out, allowing more contemplation on the unfolding action. The orchestra, directed by Steven Devine and Elizabeth Kenny, plays with rather more reserve than in Christopher Hogwood's Academy of Ancient Music recording, but this turns out to be no bad thing. In fact, it strangely enhances the dramatic punch.

Sarah Connolly as Dido is magnificent; from her opening ''Ah, Belinda'', she presents a queen emotionally removed from her surroundings, a subdued loner, predicting disaster even amidst present happiness. Her lament, the crowning climax of a weighty performance, is as vocally beautiful as her acting has been insightful. Lucy Crowe as Belinda, bright and pure of tone, is the perfect foil to Connolly's Dido, whilst Patricia Bardon’s Sorceress oozes stage presence. Carys Lane and Rebecca Outram as the witches are a more sophisticated 21st century pair than the traditional hags hopping around a fire: think Bewitched rather than Macbeth. I prefer the latter, but it's a matter of personal taste. Then, Gerald Finley as Aeneas is in fine voice, capturing to a T the hapless lover torn between war and his queen.

This truly feels like the 'Dido' for the 21st century.

source: bbc.co.uk/music

Diplo – Decent Work For Decent Pay – Album Review

by Louis Pattison
Decent Work For Decent Pay finds globe-trotting producer and sometime M.I.A beatmaker Wes Dipl’ Pentz on a remix tip, adding his own bass-heavy, ghetto-pop fingerprints to tracks by everyone from booty-rappers Spank Rock to whistle-along Swedes Peter, Bjorn & John. The result is an album that’s far from feeling like a complete statement, but at its best, there’s still much here to suggest Diplo is one of the more flexible, inspired producers at work today.

This comp’s at is best when Diplo’s working on tracks that play to his strengths: namely, rowdy, slightly sleazy party-starters with room for a heavier undercarriage. Immediately lovable are refixes of Spank Rock’s ‘Put That Pussy On Me’ and Bonde Do Role’s Solta O Frango, keeping the upbeat spirit of the originals but adding dirty bass and other sly production flourishes. An unlikely highlight, meanwhile, is the mix of Black Lips Veni Vidi Vic, which homes in on the drawled Latino vibe of the original, replacing dusty guitar twang with a martial, Baile Funk-influenced snare step.

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There’s other times, though, where you feel Pentz’s lack of affinity for the material results in tracks that don’t quite work. A remix of Bloc Party’s Where Is Home? falters somewhat, the original’s claustrophobic angst a weird fit to pounding 4/4 beats and wobbly bass. Elsewhere, he just about gets away with it, but only by all but obliterating the original track: a take on Hot Chip's Shake A Fist sees Alexis Taylor’s syrupy sing-song totally disassembled, while the mix of Daft Punk's Harder, Better, Faster, Stronger dispenses with everything but vocoder chorus, rebuilding the track with bursts of junglist drums and snappy snare.

Ultimately, Decent Work For Decent Pay is no more or less than its title suggests – a collection of individual commissions, executed well but not meant to work as a whole, and first-timers looking for a document of Diplo in party mode might do better to look to his still-peerless 2005 Fabric Live mix.

Catrin Finch - Bach Goldberg Variations - Album Review

by Michael Quinn
Catrin Finch's debut on the venerable Yellow Label offers an accomplished performance of her own transcription for harp of Bach's timeless Goldberg Variations.

First published in 1741 as an aria with 30 variations and originally composed for a two-manual harpsichord, the ever-amenable Goldbergs have been much and often treated (and occasionally mistreated) to a dizzying array of arrangements for everything, it seems, from jazz trio to woodwind ensemble, from accordion to chamber orchestra and, of course, modern piano forte.

Finch's arrangement is the first to transcribe all 32 sections for the concert harp, although the framing Aria has had at least one previous incarnation for the instrument, courtesy of Andrew Lawrence-King in 1998.

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Using Canadian maverick Glenn Gould's recordings of the work as an initial point of reference – a controversial choice in itself – Finch approaches the work with an appreciable sensitivity for its cut-crystal brittleness and deceptively delicate simplicity.

Dividing the work into three sections – the first culminating with the first minor key variation, No. 15; the third beginning with the bright two-part toccata of No. 26 – Finch offers a moderately paced account that comes in at just under 64 minutes.

She adroitly side-steps what would seem to be the harp's principal shortcomings compared to a keyboard – the absence of a sustaining pedal and the lack of a damping device – with a nimbleness that quietly cossets and coaxes with its straightforward hand-for-hand transcription.

The work's several hurdles are cleared with clean, crisply articulated playing that eschews showy effect and strives for colour and tone. Which may be where some are inclined to step away from this performance. If the harp is an acquired taste for you, there is much here that might entice and encourage you to stay, but the relatively limited tonal palette will not be one of them.

Finch proves a dexterous negotiator of the fifth variation's hand-crossing gymnastics (partly by choosing to measurably slow down its rapid pace) and, most conspicuously, the teemingly chromatic, darkly lustrous texture of the Black Pearl variation (No. 25). The two renditions of the Aria are sublimely pristine and intimate affairs.

Helge Lien Trio - Hello Troll - Album Review

by Chris Jones
A little like Macca, throwing himself into wedlock with Heather Mills so soon after Linda's death, it seems somehow just wrong to begin extolling the joys of yet another new Scandinavian piano trio. The sense of loss at Esbjorn Svensson's passing last year is still palpable. Surely to fall for another bunch of utterly tasteful, technically dazzling, modal merchants is just a tad fickle and unfaithful? Well, maybe, but unfortunately Hello Troll counters any such qualms by sheer dint of its brilliance. Face it, these guys are here to stay, and you WILL fall for them.

In fact, apart from the more ardent Norwegian watchers out there and a few Late Junction listeners you may not realise that pianist Helge Lien along with bass player Frode Berg and drummer Knut Aalefjær have been around for a fair while. Hello Troll is their sixth album in seven years and marks that crucial point where a band that know both their chops and each other finally ascend to a level of playing that on the surface looks easy and yet remains stunning.

The first couple of tracks do, in fact, put you in mind of the kind of fast-paced Jarrettisms that EST were so adept at, yet to call HLT derivative is a huge disservice. Lien's modal approach owes as much to the original source, Bill Evans, as it does any of his fellow near-countrymen. By track three (Radio) Berg's bowed bass propels this mysterious number into unknown territory. Like the cover image of a dark forest's interior, this is interior music made by men who, like most Norwegians, hold a deep respect for the pristine wilderness that surrounds them.

The dancier numbers here: Troozee, Diverted Dance or Snurt, contain enough catchy riffs to make them trusted friends upon repeated listens, while on Halla Troll Lien's use of dissonance is a fabulous counterpoint to the jagged time signature.

By the gorgeous closing In The Wind Somewhere you've forgotten that there ever was an Esbjorn, Brad Meldhau, Tord Gustavsen or whoever. This is a world perfectly created by Lien and his pals. Get over it and just enjoy...

Source: bbc.co.uk

Bikram Singh - Tip Top - Review

by Tajpal Rathore
The one and only Bikram Singh, the American Bhangra artist is mainly known for the superb chart-topping album, American Jugni, produced in conjunction with Tigerstyle and Ravi Bal (2005); Kawan, with vocals by Gunjan, was named 'track of the year' and he hasn't looked back since. His latest album promises to be yet another mega instalment, with both familiar and equally unfamiliar names featuring. Can Mr Singh deliver?

First and foremost, the album needs to ride high on the back of some inventive and highly addictive dhol beats, which mesmerised music buffs on American Jugni. The opener Naagni absolutely delivers on this front. The dhol keeps the song flowing, supported by Bikram's electric vocals; shades of Kawan abound. This is also true for Aashiqan De Dil, which has a rhythm similar to that prevalent in tunes by Tigerstyle.

The deservedly-loved Gunjan makes an appearance on Ik Waari Aaja, permeating the song with the effervescent vocals that have become such a regular feature on the BBC Asian Network. Josh makes the only other special appearance in Akhiyan’eh Tu Vasdi with its truly original and exquisitely arranged beat line. Only the singing leaves something to be desired.

An ample dose of traditional vibes for the hardcore listeners next: Gidhian Di Rani, Tip Top Put Jatt Da, Telephone and Dil Sanu De Mutiyare are all worthy of notice. Solwa Saal even includes the esteemed tumbhi sound, which characterises most traditional Punjabi music, while Mein Boli Punjabi (a rare gem), is a narrated song that is virtually a lost style in our 21st century; this one will appeal to those who love a wholesome ballad. And if that wasn't enough, Pehle Tor Di Sharaab is reminiscent of the type of now-classic jukebox tunes that used to be produced by old-skool bhangra icons like Alaap and Malkit Singh.

A highlight comes in the end, in the form of the Come Back remix which is Bikram saying ''there's more to come''… and boy, will we be waiting; a tip top album for sure!

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Roy Orbison The Soul Of Rock And Roll

Artist: Roy Orbison | Released: 13 October 2008 | Catalogue number: 88697055372
by Chris Jones

Roy Kelton Orbison departed this earth in 1988. This permanently be-shaded man of mystery was only 52 and had only, despite a career resuscitation towards the very end of his life, success between the late 50s and early 60s. Yet, like a true giant, his shadow was huge and his influence keenly felt by at least two generations of popular musicians. So, for any young people who have yet to discover exactly what spell 'The Big O' - the slightly sinister figure with the quavering voice - held over his peers you are directed to download, purchase, borrow or just plain pilfer this glorious box set. It holds the key to the man's majesty and will also serve as a timely reminder for anybody who forgot just how amazing he was.

Following a fairly standard career in rockabilly in his native Texas (scoring an early hit with the fun, if lightweight, Ooby Dooby), in 1957 after meeting writer Joe Melson, he gave the world the dramatic rock ballad. Up until this point rock 'n' roll was a metaphor for hedonism, good times and raucous fun. With Only The Lonely (1960), his second single on Fred Foster's Monument label (and backed by the Everly Brothers), Orbison introduced the tragic, lonely figure whose misery fuelled his astounding haunted voice. Almost operatic in their intensity, Roy's vocals drove a series of mini epics into the top ten. Blue Angel; Running Scared; Crying (Roy did a lot of crying in his songs); Dream Baby; In Dreams and of course, the career-defining zenith (written with Bill Dees), Oh Pretty Woman. The latter even bucked the trend of Beatlemania by knocking the Fab Four off the top spot in the States. Indeed, Roy was close pals with the Liverpool boys, leading to his recruitment by George Harrison in the 80s into the Travelling Wilburys.

Naturally, such a mannered confection could not weather the storms of psychedelia and changing trends and despite an enduring popularity in middle and eastern Europe his popularity waned. Added to this was a whole heap of personal woe (his first wife's demise, followed by two of their children). By the 70s he was down to ill-advised shots at disco and aborted reunions with his old label. Luckily most of this period is passed over on this set in favour of the last stage of his career. Luckily the use of In Dreams in David Lynch's Blue Velvet, his adoption by Harrison, Jeff Lynne et al as well as his famous 1987 Black And White Night TV special (where he was joined by Bruce Springsteen among many others) meant that mere months before his death he reached his apotheosis. The posthumous Mystery Girl, featuring the lovely She's A Mystery To Me, penned by Bono and The Edge, was that true rarity: a really fine final album.

The Soul Of Rock And Roll has it all. The faltering rockabilly sides, the tear-soaked slices of genius and his wondrous rebirth. He may have been the strangest looking dude to have toted a guitar, but he truly was the epitomisation of rock's sensitive side. He will always be the Big O.

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Micah Blue Smaldone The Red River

Artist: Micah Blue Smaldone
Catalogue number: IMMUNE002CD

by Sid Smith
It's been something of a purple patch when it comes to singer songwriters coming up with the goods. In a year that ushered in the transcendent meditation on loss and hope that was For Emma, Forever Ago by Justin Vernon aka Bon Hiver, we now have Micah Blue Smaldone – not a pseudonym but the real life moniker belonging to American ex-punk rocker turned philosophical troubadour.

Like Bon Hiver's album, this too contains a sparse production, and tremulous introspective vocals. However, Justin Vernon's record was a response to self-imposed back-to-nature isolation. Smalldone's work springs from his travels and encounters around Eastern Europe.

At first glance you would be forgiven for thinking that this is an agreeably sedate album, essentially acoustic in nature, adorned with an occasionally jazzy inflection or a jangling folk-rock style that is sometimes reminiscent of the quaint fragility of P.G. Six's 2007 record, Slightly Sorry.

But beneath the veneer of dusty Americana there's a song-cycle carrying a heart-of-darkness travelogue filled with terse observations about the malevolent force within us all that slips off the leash with a depressing regularity.

Smaldone's words craft vivid images without any unnecessary histrionics or invective; paradoxically they’re delivered with a deceptively restive grace that belies the undercurrent of lurking violence. The opening track, A Guest, pulses with an ominous dread as he painstakingly describes a nightmare meal with an unwanted guest, covered with the gore of something freshly slaughtered.

Similarly, the title song (imbued with a finger-picked motif suggestive of Planxty's elegiac West Coast Of Clare) resonates with an evocative symbolism. Detailing the corruption, excesses and guilt that scar both civilians and soldiers in times of conflict; the river is not red with something benign as the rays of a rising sun but with blood. Upon seeing a woman bathing in the maw, he asks why she chooses to swim in such a foul place, ''I cannot bathe in waters clear, until such is my conscience''.

Avoiding any crass preaching, Smaldone sings quietly of terrible things. Yet his absence of cynicism suggests these are ultimately songs about, and of, hope.

Source: bbc.co.uk