MomsMobley

Rozhdestvensky!

Ancerl 1962 Zappa 1967

ever hear of this band, so much excellent underknown Prokofiev of course

Robert Carver Mass Dum sacrum mysterium cond. Alan Tavener Telemann Brockes Passion cond. Rene Jacobs

I meant then contemporary black culture, i.e. these records made by, marketed (see Chicago Defender ads e) and sold almost exclusively to black people- sold very important in # of ways because you had to sell some to keep making more. Of course this mediated by white record companies, and often (mostly?) white owned retailers... A&R majority white with some notable exceptions... If you mean contemporary as of NOW then Bumble Bee Slim / Amos Easton has the same resonance of nearly all his peers, which ain't much but I'd ask Ishamel Reed or Robin D.G. Kelley +++ what they think first. (We can and should review the careers of all the "Blues Queens" whose brilliance has been misleadingly compressed to just Bessie.) the astonishing Tampa Red-- whom Bumble Bee records with-- & is course virtuoso where Amos is proficient / genial / sly another example. And Tampa almost made it straight through... 1929 --> 1951 Damn!

Thanks for mentioning West Coast Bumble Bee / Amos-- was going to get to that but since we're here, what professional blues musician recorded longer more or-- in the 1950s certainly less-- continuously? Amos' first session c. October 1931 for Paramount... I love Lonnie Johnson, Victoria Spivey etc and though their own stories remarkable... I should clarify too Bumble Bee / Amos had individual tracks anthologized on Yazoo etc but without a career-spanning compilation to summarize his range & ability...

Baldassari chop suey Kah-Ming Ng explains ("almost like jazz") & damn right, red shoes DO make it--

Moving away from imagined "heros" of white boy blues (Robert Johnson etc) and into bluesmen who were oft recorded and popular among black folks of the 1930s... Amos / Bumble Bee not the king of anything, nor the "best" either, if Leroy Carr got there first, there's a great deal to be said for Bumble Bee the performer & his very consistent discography with tons of great sideman from Scrapper Blackwell, Tampa Red, Charlie McCoy etc etc on up / down. That Bumble Bee was never properly anthologized by Columbia, RCA / Bluebird or Yazoo etc has kept his brilliance-- and its reflection of, resonance within contemporary black culture-- at unfortunate remove. Chicago 4 April 1935 Chicago 22 June 1937... whoa!

I'm coming back to Messiah and though I'd still not consider it THEE ultimate Handel oratorio, it's pointless to argue against its real achievement, power, however baleful (and sometimes salutary) its influence on the later Engish choral rock tradtion. Picked up Hickox cheap recently he recorded so much, it's sometimes easy to think Hickox too generalist but this is pretty damn strong I think, Collegiam Musicum usually a step or two above their Brit colleagues (though peak Hogwood can be quite good) Joan Rodgers we of course adore for her Russian repertoire too

The analogy isn't exact (none are) & though it's impossible to overrate Haydn, I believe it's useful for us to begin thinking of CPE Bach a la Haydn-- though in doing so we can regret he didn't write (much) more chamber music. Still, the keyboard concertos alone-- especially the Spanyi / BIS series and much smaller but brilliant Remy / CPO issues... And damn, I'd not seen this before, how many light years across the Omniverse from 21st century ASMF that JSngry saw recently? We all knw Les Musiciens du Louvre from many superb recordings under Minkowski's baton, natch.

some of my favorite 'make out' music

Wolpe, whom you already know from his jazz students ++, here's Bridge to give you mo'

Magnard 4 Jolivet 3 (really)

you deserved but could not in 2015 or many years prior expected better. Neville Marriner could be zippier and more interesting than many of the dull hacks foisted upon the record world by po' faced major label flogging British press and their American imitators / epigones but that was then. ASMF ain't 'state of' anything but the tired ghost Brand Name Classical PR Machine etc. If people who didn't know better, for whatever reasons-- the lack of access to alternatives, mostly-- believe otherwise, 'bully' but you have no need for such nostalgia or false piety. Dig on Marriner's Rossini, for example, back yonder and also some highly laudable sidesteps like these, don't be dissuaded by Delius' seeming gentility, he's anything but--

'60s Boulez >>>>

Yakov Kasman, not grave, allegro ______

+ Varese + Bach / Schoenberg in the 1960s

how low can go you, very interesting to SEE Christophe perform this--

the great Robert Ronnes in Jolivet + one of Ronnes own compositions, everything comes up bassoon!

LK, the BIS 'Complete Early Divertimenti' box contains the contents of four Koch/Schwann discs remastered plus a fifth of pieces rec. 2005-2009; note there's NOT one to one correspondence because program new pieces added here/there + extra disc. I haven't heard the Koch/Schwann originals but almost certainly worth picking up. CN, did you know the Schneider from 78s &/or LP? Certainly a notable project & signpost of Haydn revival, what I've sampled has been hit & miss, I felt I got "burned" when younger spending $$$ on Pro Arte 4tet Haydn boxes on Testament, which are mostly enjoyable but not... the more in every direction that Haydn demands? Aeolian 4tet mostly makes me want to take off my 'earth shoes' and throw them at the stereo, makes the Amadeus seem taut & frisky. And it's shame because the age needed Haydn then, badly but... Here's Marriner's Paukenmesse btw, certainly an excellent performance of its kind... a little March, also from the BIS set above