Nicely enough, when their latest album came out yesterday, I was immediately hooked.
If you want to know more about the style of GoGo Penguin, click on any of the links above, but just to quickly summarise, we’re talking about the setup of a traditional Jazz piano trio here, but with music that clearly takes cues from EST, but is equally influenced by Philipp Glass type minimal music, and probably even more by the beats of contemporary Electronica.
GoGo Penguin: Ocean In A Drop (Music For Film) (BlueNote 2019)
So here’s the genesis of this album. Apparently the thee artists of GoGo Penguin, Chris Illingworth, Nick Blacka, and Rob Turner, really liked the Philipp Glass written soundtrack to the 1982 film Koyaanisqatsi.
They liked it so much that they played their own soundtrack to the film. Everything was recorded live while watching the movie.
Yes, this may remind you of another famous movie soundtrack that was recorded in a similar manner (which is a great album and should be discussed on these pages at some point), but I digress.
This music was never intended to be released. Nicely though, enough people in their immediate entourage bugged them enough, so now we have a new fantastic album.
It is quite short, EP-style, only 22 min (and one could argue, a bit expensive for the duration), but the music is just fantastic, very inspired. We’re back to the mesmerising mix of fast rhythms and beautiful minimalist melodies that I so loved on Man Made Object.
I haven’t written a lot about Max Bruch yet. To be a bit more precise, there is not a single blog entry in 5 years that is dedicated to Max Bruch.
Why is that? Maybe because he’s the 19th century equivalent of the One Hit Wonder. Do you know any work beyond his violin concerto (which is to be precise his violin concerto no. 1, but nobody knows the two others)?
Maybe occasionally you’ll find a recording of Kol Nidrei, a orchestral work with a solo cello part. Even more rarely, you’ll get the Romance in F (sometimes coupled with the violin concerto no. 1).
And beyond this, you have to be a proper classical music buff, if you’ve heard his symphonies, his chamber music works, or even his choral works. All pretty much disappeared today. And by the way, not only today, even while he was alive, Bruch complained that he was always reduced to this work, and apparently became quite bitter about it.
Overall, he should probably not have complained to much, his violin concerto no. 1 is still considered part of the list of the 4 great German violin concertos, the others being Beethoven, Brahms, and Mendelssohn.
So what triggered me to write about this concerto right now? Well a nice coincidence of two of the media I follow for classical music inspiration talked about it at the same time.
The first one is the Swiss radio program Disques en lice, from the French speaking part of Switzerland, which usually compares 6 versions of a given work, with 3 experts in a blind test. If you do speak French, I strongly encourage you to seek this program out, you’ll get it twice per week on their worldwide live stream (select Espace2) or if you are lucky enough to pass through Switzerland, you can even download the podcast (unfortunately the podcast has a rather strict geolocating feature).
So, as mentioned Disques en lice covered Bruch’s concerto on September 23, 2019. At the very same time, the most recent September issue of the French magazine Classica that I subscribe to on my iPad has a monthly section Ecoute en aveugle (blind listening) in which they go through pretty much the entire history of recordings of a given work, select what they believe are the 8 most promising ones, and then again proceed to a blind listening session comparing said 8 recordings.
So, which albums got selected?
Let me start with Disques en lice.
The host, Jean-Luc Rieder, had a hard time choosing, so ended up selecting 8 instead of the usual 6. So during the 2h30 of the program, we compared some legendary classics (Christian Ferras and Jascha Heifetz) from the 1950s, two recordings from the 1980s and 90s, Shlomo Mintz and Kyung-Wha Chung, and four more contemporary versions, notably Renaud Capuçon, Nicola Benedetti, Daniel Hope, and Janine Jansen.
Interestingly enough, the selection by the Classica reviewers Stéphanie-Marie Degand, Fabienne Bouvet and Michel le Naour ended up selecting a choice with only one overlap: Itzak Perlman, Isaac Stern, Nathan Milstein, Maxim Vengerov, Ida Haendel, Isabelle van Keulen, Salvatore Accordo, and the overlap being Mintz.
Now, who won at Classica: the top 3 are Perlman (with Haitink), Stern (with Ormandy), and Milstein (with Barzin). As much as I usually agree with Classica’s reviews, I checked out the winning recording with Perlman, and really didn’t like it.
So, who then is my favourite recording you are going to ask after all this intro?
Well, while often I don’t agree with the winning choices of Disques en lice (I much prefer the winning recordings of the Swiss German equivalent by SRF2, Diskothek im 2.), in this particular case I fully agree with the winning album.
(And allow me to brag a little bit, I actually did recognise that recording blindly, together with my other favourite, Jascha Heifetz).
It turns out to be Janine Jansen’s excellent2006 recording with Riccardo Chailly and the Leipzig Gewandhaus.
This recording is just perfect to me. It combines the appropriate level of romantic engagement with Chailly’s perfect leadership of the magnificent Gewandhaus.
To be fully transparent, this isn’t the first time I write about this album. It is actually featured in my 25 Essential Classical Albums post, but I must admit I focused much more on her Mendelssohn recording in my comment there than on her equally outstanding Bruch.
So you get it, this album is an absolute must have.
And on top of one of the best ever recorded versions of Mendelssohn’s concerto, you even get Bruch’s Romance in F (op. 85).
I get a lot of comments, both on the site itself and via direct message. And I truly appreciate every single element of feedback. It is what keeps me going now 5 years in a row.
Recently you told me you’d like more reviews of Jazz albums, and also encouraged me to write more critical reviews. I often tend to shy away from them, as my reviews clearly are very subjective opinions, and I really don’t like to critisize great musicians just because I don’t like some of their albums.
That said, the next musician won’t mind, a) he’s passed away a long time ago, and b) he’s one of the most brilliant musicians ever and nothing I’ll write here will take anything away from this
Miles Davis – Rubberband (Warner 2019)
This is a negative review that is more of a warning. Stay away from this zombie at all cost.
In the 1980s, Miles Davis had finally left his long term label Columbia to sign up with Warner. He then started recording some tracks. For several reasons, these tracks were never fully finished, and ended up in a drawer somewhere.
Now, somebody decided, let’s take these tracks, complete what Miles didn’t complete, and let’s see if we can still milk the Miles Davis brand.
First of all, people think of Miles Davis as a Jazz musician. Let’s be clear, in the 1980s had moved on, to a style much more influenced by funk and pop. Nothing wrong with this, it’s not really my cup of tea, but Tutu an album that was recorded shortly after this, is a modern classic. It will never get a lot of playtime on my system, but I understand why some people like it.
Rubberband really never should have been published in my opinion. Without Davis’ trademark horn popping up every once in a while, it would have just been a very bland synthetic late funk / 80s pop album. So if you’re interested in 1980s funk jazz, get Tutu (or some Herbie Hancock stuff from that era). But really avoid this “album” at all cost.
My rating: 1 star (this is now officially my first 1 star review in 5 years and more than 300 posts)
If you still want to check it out, you can find it here (Qobuz)
Mirabassi is Italian, but has been living in Paris for many years. As mentioned above, he trio output (mainly with Gianluca Renzi and Leon Parker) is fantastic, but he’s also collaborated with some excellent singers, e.g. Angela Elvira Herrera Zaparta and Maikel Ante Fajardo on Adelante, and on Sarah Lancman’s previous 2018 albums A Contretemps and Inspiring Love. Both albums only featured Sarah on the title, now we have a recording where both Lancman and Mirabassi share the cover. The two already met in 2015 and have toured together.
Sarah Lancman is a young French singer, who studied in Paris, and has released three albums so far.
There is no shortage of excellent Jazz singers today, but still, Lancman has a very recognisable, unique voice. Not suprisingly, she won the first price in a jazz contest hosted by Quincy Jones.
Giovanni Mirabassi – Sarah Lancman – Intermezzo (Starprod 2019)
So what do you get? Well, you could argue, is this still Jazz?
You basically get beautiful duos where Mirabassi plays in a very intimate and connected way with Sarah, who singing exclusively in Italian (note the album cover kind of gives it away) on this album.
Every once in a while, Olivier Bogé joins playing the saxophone, with a sound somewhat reminiscent of Stan Getz. So who cares if this is Jazz or not?
All of this is just hugely enjoyable, beautiful, intimate music, and really worth checking out.
Schumann’s symphonies have long been underrated. The idea of “Schumann cannot compose for orchestra” has been going around in musicology circles for many years.
I really disagree. OK, he’s no Beethoven or Brahms, but I still really like his symphonies, especially no. 3 and 4.
To be fair, there are excellent recordings already out there, e.g. from Gardiner, Nezét-Séguin, or, a bit more unorthodox, Thomas Dausgaard, (mentioned in My 25 Essential Classical Albums).
Rattle is now on his way out from the Berlin Philharmonic, with Kirill Petrenko coming.
I’ve not always been a fan of Rattle’s work at the BPO, but he has left some very good recordings, so I was very interested when I recently rediscovered this 2014 cycle which launched BPO’s own label (I had missed it at the time).
Schumann: The Symphonies – Simon Rattle – Berliner Philharmoniker (BPO Recordings 2014)
So, what do we get? Overall, a very convincing package. I really enjoy every single symphony on this box. My favorite is actually no. 1, subtitled “spring”; where Rattle takes a very fresh and precise approach.
Potentially the weakest of the 4 is symphony no. 2, which I found slightly incoherent in certain parts. The “Rhenish” (my other favorite), and no. 4 both are presented in a way that combines on one hand a good view of the big picture, but really looks at many exciting details.
Overall, Rattle was clearly influenced by the historically informed movement, and the BPO doesn’t sound like during the Karajan era any more. Everything is much lighter and transparent.
If you’re following this blog on a regular basic you know I’m not a specialist of Early Music (to simplify, most anything before Bach), and don’t listen to it very often.
Therefore, there is not a lot of coverage of the 16th century on this blog, and I want to put out a disclaimer that my review below is even more subjective than my regular ones, I’d certainly say my judgment is more educated in the 18th and 19th century than here.
But this brand new album has particularly touched me, so I still wanted to write about it. It’s been some weeks since my last review, because most of the recent new releases didn’t particularly motivate to write about them. This is the first one that does.
Paolo Pandolfo is one of the leading soloists of the Early Music movement, but also plays a lot of baroque. His recording of the Bach cello suites is really quite beautiful and worth checking out. He plays both the cello, but also the Viola da Gamba, a string instrument that nearly disappeared around the 18th century.
Regina bastarda – Paolo Pandolfo – La Pedrina (Glossa 2019)
So what’s the “bastard queen” in the title all about? Well “alla bastarda” was basically an improvised version of popular songs and madrigals played on a solo instrument like the Viola da Gamba.
And that really is what we get here, a lot of solo improvisations of a true master of the Viola da Gamba of several composers of the 16th century.
To lighten the mix, the solo improvisations (which are not truly solo, there is a “continuo” of other instruments supporting Pandolfo (played by the excellent La Pedrina), are mixed with Madrigals from the same period, mostly by Palestrina.
Overall, this results in a mesmerizing mix of fascinating music, that will draw you in and require all your attention. This is not background music, but requires your full dedication. You won’t regret it!
I’ve checked, and to date, I’ve only mentioned John Coltrane twice on my blog. Let me clarify: this lack of coverage is not for lack of admiration, it is after all not by chance that I’ve listed the amazing album My Favorite Things in My 25 Essential Jazz Albums.
It is just that overall, so much more has been written about the Jazz legends, both online and offline, than about current contemporary musicians.
Therefore, I try to focus a lot of my Jazz writing here on recordings of the last 2 decades.
That said, every once in a while the record industry finds a smart way of re-releasing existing content, which gives me a nice excuse to write about it.
Coltrane’58 – The Prestige Recordings (Prestige Remaster 2019)
To make it clear: there is no new content on this box that hasn’t been released previously. What is interesting about it is essentially two things: a remaster of the original recordings, and the chronological ordering of all of his recordings.
You get 37 tracks, all recorded in the year of 1958 when Coltrane signed with Prestige, and started to emerge as the star and legend he was bound to become in the following years. They are taken from albums such as Soultrane, Lush Life, or Kenny Burrell & John Coltrane.
Personally, I don’t think this year is as great as some of his all time masterpieces, be it Giant Steps (1959), My Favorite Things (1960) or obviously A Love Supreme (1964).
That said, this is nevertheless a box of thoroughly enjoyable music, uniting such fantastic musicians such as Tommy Flanagan, Red Garland, Paul Chambers, Jimmy Cobb, Louis Hayes or Art Taylor as the rhythm section, and great soloists such as Kenny Burrell and Freddy Hubbard.
Furthermore, the remastering really is quite well done, apparently taken directly from the original master tapes. Prestige unfortunately never was one of the “audiophile” labels, that said, for a 60 year old recording, this entire box really is fully enjoyable.
Before buying it, you may want to check out which of the original albums you may already own, or if you already (like me) have the Complete Prestige Recordings box set, in which case the only reason for buying would be the remastering.
If you don’t have any of these albums yet, this is a purchase I can recommend without any hesitation.