More jazz than not. (The Music).

Bruce Arnold: Give 'em Some (Muse-Eek MSK 116)

When was the last time you heard a of power trio dedicating a composition to Arnold Schoenberg? "Blues for Arnie" opens this all-instrumental CD with a tip of the hat to the 12-tone pioneer, as guitarist Bruce Arnold, bassist Ratzo B. Harris, and drummer Tony Moreno set off on another 12-tone expedition, skillfully melding jazz chops with sophisticated compositional technique to produce a session that is both entertaining and intriguing.

The closest comparison I can think of off the top of my head is the old Hot Rats album by the late Frank Zappa. Although that album was tonal, Zappa's guitar just kind of took off and flew, and some of the time signatures were a bit out there--but the music rocked from start to finish. The music of Arnold's trio, although the textures are much different from those created by Zappa's ensemble, creates much the same impression of exploring and rocking at the same time. This is the third album that Arnold has made along these lines, and it is the most energetic of the three.

This music really grooves, make no mistake about that, but as with most 12-tone music, you never quite know just where it is going to go. The best thing to do, then, is just sit back and enjoy the ride ... (If you can't find this CD at your local record store, try www.muse-eek.com.)

Bach: Sonatas for Violin and Harpsichord Giuliano Carmignola, baroque violin/Andrea Marcon, harpsichord (Sony Classical S2K 89469)

Carmignola and Marcon have teamed up before, most notably on a critically acclaimed recording of Vivaldi's Four Seasons on which Carmignola was the violin soloist and Marcon led his Venice Baroque Orchestra. On this recording it is the just the two of them interpreting the music of Bach.

Both the sound and the performances can be characterized as rich and full. The liner notes explain that both instruments used in this recording have something of a warm, full sound, but even before reading the liner notes the warmth of the instruments was one of the first things I noted. At first I was impressed by the rich sound and the expressive performances, but as I listened more, I began to feel as though the performers lacked that certain playful energy that can really bring the music of Back to life. This quality can be found in abundance on my favorite recording of this music, which features Mela Tenenbaum on violin and Richard Kapp on piano (ESS.A.Y Recordings CD1066/67). By comparison to that delightful account, Carmignola and Marcon seem too somber and serious.

However, if you enjoy this music and have been put off by the tinny sound emanating from many recordings of it, and if you like your Bach played richly and expressively, a bit romantically perhaps, then this new Sony two-CD set may be just what your are looking for. It is by any account a first-class production.

Bax: String Quartets Nos. 1 & 2 Maggini Quartet (Naxos 8.555282)

Sir Arnold Bax is probably best known for his symphonies and tone poems, but this new Naxos recording by Great Britain's Maggini Quartet (yes, the name sounds Italian--they took their name from a 16th century violin maker, Giovanni Paolo Maggini) presents Bax's two mature works for string quartet. Although I have not been a big fan of Bax's orchestral music, I grabbed this budget-priced CD off the shelf the first time I saw it for sale, and am glad that I did, for both quartets make for splendid listening.

Quartet No. 1 was written in 1918. The liner notes assert that "the quartet was probably the best-known British chamber work between the wars, twice recorded on 78s, but subsequently largely forgotten." The three movements comprise a sprightly allegretto first movement, a slow and expressive second movement, and an energetic, dance-like finale. It is a most pleasant and satisfying piece.

Quartet No. 2 was written in the winter of 1924-25. It is more serious in tone than its companion, demanding more attention from the listener. It will make you think--maybe even brood--rather than hum along or dance, but it is not without its charms.

If you enjoy string quartet music, then at the Naxos budget price it would most certainly be worth your while to take a chance on these seldom-heard compositions. The sound quality is excellent, the performances are polished, and this disk is an excellent way to introduce yourself to some rewarding music that you most likely have never heard before.

Tab Benoit: Wetlands (Telarc Blues CD-83530)

Here is yet another example of a CD that I did not expect to be recommending. Telarc releases quite few blues albums, but I have found most of them to be eminently forgettable. Wetlands, however, is a monster, combining the power of the blues and the passion of Louisiana music. The first cut, "Fast and Free," explodes out of the gate in a furious frenzy, the second cut, "Stackolina" summons the ghost of Professor Longhair with guitar rather than piano, and things just keep rolling along from there.

Most of the cuts feature Benoit's trio, with Benoit on guitar, Carl Dufrene on bass, and Darryl White on drums. Guitarists Anders Osborne and Brian Stoltz join in on the final cut, Osborne's "Georgia." Benoit pens some striking original tunes in several styles, and on cuts 7, 8, and 9 he does a great job covering Otis Redding's "These Arms of Mine," Boozoo Chavis's "Dog Hill," and Professor Longhair's "Her Mind Is Gone."

The sound is fat and dynamic, making this a CD that can be played LOUD. If you like blues or R&B or swamp music, you've got to give Wetlands an audition. As I said above, it's a monster.

The Blues White Album (Telarc CD-83553)

The conceit of this collection is that a bunch of blues musicians have been gathered together to pay a kind of tribute to the Beatles, some of whose music has roots in the blues, by playing some cuts from The Beatles (which just about everybody refers to as "The White Album"). Hmm.

The album gets off to a bad start with a ponderous, leaden, dragging version of "Why Don't We Do It in the Road?," performed here by a group called "Jimmy Thackery and the Drivers." The very thing they seem to lack is drive; the drummer in particular seems to be holding the whole performance back.

The rest of the cuts feature various Telarc blues artists fronting a core group consisting of G.E. Smith on guitar, T-Bone Wolk on bass, Peter Re on bass, and Steve Holley on drums. Lucky Peterson does an OK job on "Yer Blues," making it sound more like a straight blues song and less like the over-the-top but undeniably entertaining rant that John Lennon gave us in the original.

Anders Osborne then takes us through "Happiness Is a Warm Gun," and I mean he just kind of takes us through it. It gets better as it goes along, as he tries to sound more like Lennon. But what's the point?

We next get a version of "Revolution" led by Kenny Neal, Lucky Peterson, and Tab Benoit. This is one of the better cuts on the album, with the organ adding a nice texture to the sound. These guys seem to be having fun with the tune, not trying to hit us over the head with it. Thanks, guys, especially Tab Benoit.

Maria Muldaur takes a really fun, lighthearted song, "Ob-la-di, Ob-la-da," and makes it sound, well, old and tired. Sad ...

Next up is Joe Louis Walker, who imbues "While My Guitar Gently Weeps" with a Memphis kind of sound. This is the longest cut on the album, at more than eight minutes; fortunately, it is also the best cut.

A real change of pace is T-Bone Wolk's rendition of "Don't Pass Me By." The arrangement sounds like a combination of country, blues, and reggae, with some organ thrown in for good effect. It's good clean fun.

Chris Duarte then takes a stab at "I'm So Tired." The end result sounds something like a David Bowie imitator jamming with a house band, which is not something many people would pay good money to hear. But it still beats the heck out of Jimmy Thackery and The Drivers.

Colin Linden does a nice job with "Blackbird," playing it straight vocally with some nice acoustic guitar work.

The CD closes with a pleasant but forgettable instrumental rendition of "Dear Prudence" featuring harmonica man Charlie Musselwhite and Colin Linden on guitar.

So there you have it--some good cuts, some OK cuts, some so-so cuts, and one or two real stinkers. For the Beatles completist, The Blues White Album may be worth a listen, but for most listeners, I doubt it would prove to be a keeper. (And oh, how I'd like to hear again the greatest Beatles cover performance of all time--Wilson Pickett's absolutely incendiary version of "Hey Jude," on which none other than Duane Allman provided instrumental support. Whew!)

Buffalo Springfield (Rhino R2 74324, 4-CD Box Set, HDCD-encoded)

Back in 1969 I used to wear a beat-up cloth jacket on which I had written in big, bright letters across the back, "Buffalo Sringfield Lives." I bring that bit of trivia up not to provide another piece of evidence that I misspent my youth, but rather to establish that I really did have high hopes of being bowled over by this release. Actually, it is Kevin East who should be writing this review, as I am sure he would be willing to go into more detail; however, I suspect that KE has more sense than to lay out more than $50 for this set, so the task has fallen to me.

Of the four disks in this set, only the final two merit any sort of repeat listening. The first two have their moments, but overall there is just too much demo material and filler that sounds awfully weak. Disk 3 is an interesting assortment of alternate cuts, demos, and hits, and the 4th disk contains remastered versions of the group's first two albums. Particularly enjoyable on Disk 3 are some early versions of tunes that Neil Young would later record on his solo album.

The booklet consists largely of old press clippings, and is somewhat disappointing in not providing a more in-depth history of the group. (And hey, whatever happened to Jim Messina? None of his music is included in the four disks.) All in all, there some interesting things to be found in this box, but when you get right down to it, the music of Buffalo Springfield sounds better when played back in the imagination than on a 21st-century stereo system.

Michel Camilo: Triangulo (Telarc Jazz CD-83549)

Triangulo is a satisfying Latin-inflected piano trio recording by pianist Michael Camilo, who is admirably supported by Anthony Jackson on bass and Horacio "El Negro" Hernandez on drums. Six of the 10 cuts are by Camilo, plus there are tunes by Mike Manieri, Dizzy Gillespie, Ernesto Lecuona, and Chano Dominguez. As good as Camilo is on piano, it is Hernandez who really steals the show with his energetic, imaginative, but never overbearing work on drums. Whether the tune is slow or fast, things seem to cook right along, with the three musicians working together to keep the drive alive.

The cover proclaims that Triangulo is a DSD recording; curiously enough, however, the liner notes assert that the recording formats included 2" 24-track (!) analog, 15 IPS Dolby SR, and Sony DSD. In any event, the sound quality is up to the usual Telarc standards.

Jerry Goldsmith: Christus Apollo; Music for Orchestra; Fireworks London Symphony Orchestra/Anthony Hopkins, narrator/Eirian James, mezzo-soprano/London Voices (Terry Edwards, chorus master)/Jerry Goldsmith, conductor

This is a spectacular recording in all respects, a recording that I hope does not get overlooked by classical music lovers because of the film score reputation of Jerry Goldsmith. The opening piece, Music for Orchestra, is composed in 12-tone style. Sounding something like a cross between Mahler and avant-garde film music, it will give your audio system a workout. Goldsmith notes that he wrote it at a time of great personal anguish; it is not easy listening, but all but the most conservative of orchestral music fans should find it listenable, if a bit challenging.

We then get to the title piece, Christus Apollo, with a text by Ray Bradbury. The subject is Christ, with a view to imagining His reign and influence extending not only over this earth, but over yet uncharted depths of the universe. I would imagine that some Christians might find the piece discomforting, but Latter-day Saints and science fiction fans with a religious foundation should find the text to resonate strongly within their minds; indeed, had I not known the text was written by Ray Bradbury, my first guess would have been Mormon science fiction writer Orson Scott Card. The music is composed in 12-tone style, but is quite listenable, seeming appropriate to the mind-stretching scope of the text. Hopkins does an appropriately reverent reading of his part, and the sound quality is simply superb.

How best to end a program that starts with anguish (Music for Orchestra) and continues with hope (Christus Apollo)? How about celebration? Fireworks (subtitled "A Celebration of Los Angeles") closes the program with an orchestral romp in high spirits and more traditional tonality, bringing this truly spectacular CD to a truly spectacular close.

Hats off to Bruce Botnick for his excellent engineering, hats off to all the performers, and hats off to Telarc for taking a chance in releasing this music when they could have released yet another orchestral warhorse. It is my hope that audiophiles and music lovers will respond with enthusiasm to this superb new recording, which is also available as a surround-sound SACD.

Pat Metheny Group: Speaking of Now (Warner Bros. 9 48025-2)

As a long-time fan of the Pat Metheny Group, I had been eagerly awaiting the release of this new recording. Metheny had put together a new group, retaining only keyboardist Lyle Mayes and bassist Steve Rodby from his former crew and adding vocalist/percussionist Richard Bona, trumpeter/vocalist Cuong Vu, and drummer Antonio Sanchez. When I picked this recording up I could hardly wait to hear what it sounded like, and was all set to write a quick review that I could get into Issue 90.

That plan fell apart. I simply could not believe how disappointed I was in this release, which sounded remarkably uninspired. Thinking maybe I just needed some time to get used to the new PMG lineup, I decided to keep listening to the CD to see whether it would grow on me over time. It hasn't.

Perhaps I have listened to too much PMG music over the years, but to my ears, the first few cuts just seem to be marking time. It is though we have heard all this before. Previous PMG releases have tended to sound similar, but there was always a sense that the band had something new to say, and had come up with some great new riffs and textures. But not this time.

To my ears, the only cut that seems to have anything interesting to say is the fourth cut, titled "The Gathering Sky." The other cuts just seem to meander along pleasantly and professionally but perfunctorily. The melodies seem generic, the vocals seem generic, and no matter how many times I listen to Speaking of Now, I can't help thinking how much I would rather be listening to We Live Here or Imaginary Day, which feature essentially the same instrumentation but seem to do so much more with it, spinning gorgeous melodies and stimulating your imagination.

The sound quality is first-rate. Perhaps other PMG fans will like the music much more than I do, but for me, Speaking of Now is a major disappointment in all but sonics.

The Reiner Sound (JVC JVCXR-0215-2)

This is one of those classic albums that have been on many many folks' must-purchase list for quite some time. Originally released back in the '50s, The Reiner Sound gained increased desirability when Harry Pearson waxed ecstatically about it back in the '70s. Here we are in the 21st century, and the recording has appeared as one of JVC's XRCD releases. From a sonic and musical perspective, there is plent of excitement here, but still with that slightly closed-in, slightly dry and harsh sound that so many audiophiles seem to swoon over; however, one cannot deny the power of the performances nor the impact of the engineering. For the Ravel (Rapsodie Espangole and Pavan for a Dead Princess), though, Boulez reigns supreme in both performance and sound, and as for Rachmaninoff's Isle of the Dead, all I can say is that I wish they had made this an all-Ravel recording to make the whole thing musically worthwhile. And now that I have managed to offend a number of audiophiles and Rachmaninoff fans in one short paragraph, I will attempt to make amends by saying that yes, this is a truly classic recording, and in the CD era, this JVC release is the version to have, so for those who simply must have it, this is the must-have version.

Jonathan Richman: Action Packed: The Best of Jonathan Richman (Rounder Heritage Series 1166 11596-2)

If you're one of those people who thinks that music, even rock music, ought to be Serious Business, this is not the CD for you. But if you think that even rock music can have a sense of humor, then you really ought to give Jonathan Richman a listen. This Rounder anthology features more than 70 minutes of fun, with Jonathan taking off on everything from organic farming to human relationships to Reno to bus rides to Fender guitars and so on and so forth, all done not only with a smile but with a good beat so that you can dance to it. Except for the several country cuts, which feature a full country band (and are a hoot!), most of the music sounds pretty stripped down, but is still--as the title of this anthology suggests--action packed. You'll laugh, you'll cry, but you won't hurl.

Schubert: Sonata in E Major, D. 157; Sonata in G Major, D. 984; Der Muller und der Bach, S. 565 (arr. Franz Liszt) Arcadi Volodos, piano (Sony Classical SK 89647)

Although the opening piece in this recital, Schubert's youthful Piano Sonata in E Major is certainly pleasant listening, the real meat of this program is the Piano Sonata in G Major, a work of Schubert's maturity that epitomizes Schubert's gifts for melody and dramatic expression. Like the major sonatas of Beethoven, this work flows along like a mighty river, sometimes threatening to overrun its banks with its elemental power. Volodos plays powerfully and expressively, and the sound has been well captured by engineers Andreas Neubronner and Andrew Grainger. Incidentally, the liner notes report that the recording sessions for this CD were the last ever held in Vienna's famed Sofiensaal, which was destroyed by fire in August, 2001.

Louis Sclavis: Dans la nuit (ECM 1805 314 589 524-2)

Clarinetist Louis Sclavis's background includes playing avant-garde classical music with Pierre Boulez, then branching into jazz. Dans la nuit is music that Sclavis composed to accompany a silent film of the same name, music that sounds like an amalgam of classical and jazz. But no, it does not sound "avantgarde" at all; indeed, it is quite listenable and should appeal to a broad spectrum of musical tastes. Besides Sclavis on clarinet and bass clarinet, the recording features Dominique Pifarely on violin, Vincent Courtois on cello, Francois Merville on marimba and drums, and Jean Louis Matinier on accordion.

At times, the music seems to suggest motion, often with a little shuffle rhythm in the drums that brings a train to mind; at other times, the music seems to freeze, catching a mood and lingering with it until leaping off in another direction. It is fascinating to hear the music gradually change in mood from jazz to chamber music and back, sounding at times mostly improvised and at other times carefully composed.

Taken either as jazz or as chamber music, Dans la nuit is highly entertaining, original, and refreshing. The engineering is not by the usual ECM engineering crew (it was recorded in France by Gerard de Haro), but the sound is up to the usual high ECM standard.

Louis Sclavis Quintet: L'affrontement des pretendants (ECM 1705 159 927-2)

Based on my enthusiasm for Sclavis's Dans la nuit, I thought it would be worthwhile to audition some more of his work. L'affrontement des pretendants was released in 2001. Besides Sclavis on clarinets and soprano saxophone, it features Jean-Luc Cappozzo on trumpet, Vincent Courtois on cello, Francois Merville on drums, and Bruno Chevillon on bass.

Although the music still has a sense of both jazz and chamber music about it, the jazz element is more in the forefront on this outing. The combination of clarinet, cello, and trumpet makes for some unusual sonorities, the trumpet bringing the feel of jazz, the clarinet and cello sometimes bringing the feel of chamber music, and the bass and drums driving things along with some complex rhythms. The musicians are bursting with energy, making this a truly dynamic and exciting recording that has a sound like no other recording in my collection.

No, this is not easy listening jazz (or easy listening chamber music, for that matter), but if you enjoy jazz and are willing to stretch your ears a bit, you really ought to give this CD an audition. Sclavis is a musician with a unique background (not too many jazz players have spun off from Pierre Boulez's band ...) and a fascinating musical vision. The French engineering crew does a heck of a job, too, providing powerful sound for this powerful music.

True Bluegrass and Bluegrass Mountain Style (Rounder 1166-11615-2 and 1166-116-16-2)

The success of the movie O Brother Where Art Thou? seems to have kindled an increased interest in bluegrass music amongst the general population. Rounder Records have been recording bluegrass for a long time, so who is to blame them for coming out with a couple of bluegrass anthologies in hopes of riding the bluegrass wave? Both these anthologies are nicely done, with over an hour of music on each, and booklets that list the players for each cut, along with a listing of other recordings by the artists. Fair enough.

Note that these are not "classic" bluegrass oldies; instead, these are more contemporary performances by bluegrass artists of today such as Ricky Skaggs, Sam Bush, Jerry Douglas, Tony Rice, Boone Creek, et al. For those who have not really listened to much bluegrass before but find the music interesting, these anthologies offer an excellent way to get an overview of the genre, and if you find yourself inspired to purchase a few more bluegrass CDs after hearing these disks, I'm sure Rounder won't mind.

John Williams and Friends: The Magic Box (Sony Classical SK 89483)

The premise for this recording is spelled out on the back cover of the CD packaging: "Guitarist John Williams discovers the continuing tradition of guitar music in Africa and Madagascar." He is joined on this musical adventure by Paul Clarvis on hand drums and other percussion, John Etheridge on guitar, Richard Harvey on various woodwinds, Chris Laurence on bass, with Francis Bebey and the Africa Children's Choir providing vocal support.

This music has a wonderfully rich texture to it, with a wealth of rhythmic and timbral variety and interplay. The music also has a remarkable feeling of joy associated with it, the joy of making music and the joy of living life. It will bring a smile to your face if you give it half a chance. The liner notes offer an overview of the music, the sound is clean and clear and well balanced, and overall The Magic Box is magic in a CD jewel box.

-KWN