ARVO PÄRT : Te Deum; Silovans Song; Magnificat; Berliner Messe (1993) FLAC (tracks+.cue), lossless

A richly realized collection of prayers that brings deep, resounding enlightenment to the ears. Everything about this compact disc feels like Arvo Pärt's master work, right down to the gorgeous photos in the accompanying booklet. "Te Deum" opens patiently and ominously, then proceeds to run the spectrum between overflowing swells and hushed contemplation. The Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir breathe as one under the magnificent direction of Tönu Kaljuste for this and "Berliner Messe," the closing mass that parts the clouds with its stark beauty and pious rejoicing (the third passage within the mass, "Erster Alleluiavers," is a brief teardrop of reverence that even atheists would ponder). Elsewhere, the a cappella chorus of "Magnificat" shines with vocals that embrace the church walls with chills and crispness, like a beam of moonlight through winter. One of the composer's strengths has always been to find the depth in simplicity. To this end, ever-present ECM producer Manfred Eicher's sparse and beautiful sensibilities fit Arvo Pärt like a glove, especially with "Silouans Song," which blossoms in stoic waves of strings. Such bittersweet longing resides here ("My soul yearns after the Lord") that a little sadness seems to slip out through all the reverence. This is uniformly his finest album, but by no means does it encompass all he has to offer. The compositions in Te Deum may not reveal Pärt's more eclectic and thunderous side, but few other albums carry such a consistent theme. by Glenn Swan

Tracklist:

1 - Te Deum (1984-1986)

2 - Silouans Song (1991) - 'My Soul yearns after the Lord...' 

3 - Magnificat (1989) 

4 - Berliner Messe (1990-1992) - Kyrie 

5 - Berliner Messe (1990-1992) - Gloria 

6 - Berliner Messe (1990-1992) - Erster Alleluiavers 

7 - Berliner Messe (1990-1992) - Zweiter Alleluiavers 

8 - Berliner Messe (1990-1992) - Veni Sancte Spiritus

9 - Berliner Messe (1990-1992) - Credo 

10 - Berliner Messe (1990-1992) - Sanctus 

11 - Berliner Messe (1990-1992) - Agnus Dei

ARVO PÄRT : Arbos (1987) APE (image+.cue), lossless

Pärt's 1987 release, Arbos, shows the composer working within his medium, bringing forth a body of music sacred in sound and message and presenting new compositional techniques. Utilizing a limited palette of tones, arranged in repeating patterns, these works are often (understandably) categorized with the works of Glass, Reich, and Riley. The tonal palette is often borrowed from European medieval styles, and this, in conjunction with the liturgical subject matter, make these new compositions feel centuries old. His Pari Intervello, originally scored in 1978 for wind instruments, is here recorded for solo organ. One of his more famous pieces, Stabat Mater, is presented here -- an airy piece that floats just on the threshold of awareness. Scored for vocal trio and string trio, this is a simply beautiful piece -- very expressive and lilting. by Mark Allender

ARVO PÄRT - Passio (1988) APE (image+.cue), lossless

Pärt's long-form The Passion of Our Lord Jesus Christ According to St. John dramatizes the apostle John's account of the arrest and crucifixion of Jesus. The form he adopts sounds as though it were centuries old, with its choral orchestration. But his choice of instruments, his choice of chords, his phrasing, and the basic construction of the piece itself are all based on 20th century ideas, most notably his own innovation, the "tintinnabuli" method. The overall sound is significantly bigger than the small ensemble performing it; this is an innovative work, despite the classic subject matter. The text is taken verbatim from the Vulgate. by Mark Allender

Tracklist:
1 Passio Domini Nostri Jesu Christi Secundum Joannem 70:52
Credits:
Baritone Vocals [Evangelist Quartet] – Gordon Jones
Bass Vocals [Jesus] – Michael George
Bassoon – Catherine Duckett
Cello – Elisabeth Wilson
Choir – The Western Wind Chamber Choir
Composed By – Arvo Pärt
Conductor – Paul Hillier
Countertenor Vocals [Evangelist Quartet] – David James
Ensemble – The Hilliard Ensemble
Oboe – Melinda Maxwell
Organ – Christopher Bowers-Broadbent
Producer [Produced By] – Manfred Eicher
Soprano Vocals [Evangelist Quartet] – Lynne Dawson
Tenor Vocals [Evangelist Quartet] – Rogers Covey-Crump
Tenor Vocals [Pilate] – John Potter
Violin – Elizabeth Layton

JOHN CAGE : Complete Piano Music Vol. 1 (1997) 3CD / APE (image+.cue), lossless

FRANK ZAPPA - Zappa : The London Symphony Orchestra, Vols. 1-2 (1983-1995) 2CD / FLAC (tracks+.cue), lossless

When Frank Zappa teamed up with renowned conductor Kent Nagano and the London Symphony Orchestra for three days in January 1983, he was expecting to walk away with a set of stellar performances of some of his most challenging contemporary classical pieces, as done by one of the world's top symphonic ensembles. What he got instead were bad attitudes, terrible work habits, unforgiving union stipulations and a hard lesson in preconceived notions -- showing him that working with unschooled but enthusiastic rock musicians also had its advantages, and giving rise to his well-documented love/hate (mostly hate) relationship with symphony orchestras thereafter. According to Zappa, the LSO crew were hardly expecting a hard day's toil from the works of a ‘rocker,' resulting in so many screw-ups that much of the material had to be heavily edited after the fact in the studio. This 1995 edition combines the two London Symphony Orchestra volumes released on vinyl in the mid-80's into a single 2-CD set, even re-sequencing the material to reflect Frank Zappa's original, idealized performance order -- all of it made possible by the wonders of compact disc technology. Therefore, for fans of Zappa's so called ‘serious' music (i.e. not rock-based), London Symphony Orchestra Vol. I & II offers both premier ("Sad Jane," "Bob in Dacron") and re-arranged compositions taken from his massive past oeuvre ("Pedro's Dowry," "Bogus Pomp"). Though not as fulfilling as 1993's fantastic The Yellow Shark, this set will still has plenty going for it in the eyes of committed fans. by Eduardo Rivadavia 

RICHARD GALLIANO - French Touch [1999]

Tango accordion has a clear icon in the late Astor Piazzolla, but these days Richard Galliano is making a strong case for being the premier jazz accordionist. He's as lyrical as one needs, swings like mad, or brings tempos down to a sensual jog with passion and soul. When called upon, he can play a gut-wrenching tango or two himself. For this effort he's joined by two different crack rhythm sections, the brilliant Jean-François Jenny-Clark and Daniel Humair (seven tracks), or the slightly cut below Remi Vignolo and Andre Ceccarelli (four tracks), bass and drums respectively. It's not hard to hear a distinctly French but improvisationally Americanized sound. The lone standard, "You Must Believe in Spring," is one of many waltzes, but this one jumps from second to fifth gear, Galliano rapidly flying through the changes. The title track is also quick, with "Augusta" more a sprightly 3/4, while "L'Envers du Décor" is an easier modal three beat. Nods to Brazilian Hermeto Pascoal are heard on his composition "Bébé" and the mallets on drums and heavy conga beat-based fanfare and theme of "Passarinho." Galliano plays his accordion and whistles in unison on both tracks. Soprano saxophonist Michel Portal swings with Galliano, Humair, and Clark on the 6/8 "J.F.," while Clark duets with Galliano on "Sanguine," which is far from bloody, more like sweet sangria. "Heavy Tango" is as it is titled -- hard-driving and no holds barred -- and there's a slow samba, "Sanfona," one of nine of Galliano's written works. Even when the swing is light, as on "Caruso," Galliano's button pushing is active, pulsing, and popping. There's much to like on this, Galliano's most engaging CD. Perhaps some will beg for more variation, like the Portal cut. But these rhythm sections, especially Europe's finest Clark and Humair, push Galliano's artistry to greater heights, providing the listener with a unique experience in a jazz and even more so in a world music context. Highly recommended. by William Ruhlmann   
Tracklist:
1 Bébé 3:22
Hermeto Pascoal
2 A French Touch 3:08
Richard Galliano
3 J.F. 6:31
Richard Galliano
4 Caruso 3:33
Lucio Dalla
5 Heavy Tango 4:04
Richard Galliano
6 Sanguine 3:51
Richard Galliano
7 Augusta 5:21
Richard Galliano
8 You Must Believe in Spring 4:19
Alan Bergman / Marilyn Bergman / Jacques Demy / Michel Legrand
9 Passarinho 2:25
Richard Galliano / Dudu Tucci
10 Sanfona 3:09
Richard Galliano / Egberto Gismonti
11 L 'Envers du Décor 4:24
Richard Galliano
12 Tacot Blues 3:25
Richard Galliano / Daniel Humair
Credits
Accordion – Richard Galliano
Acoustic Guitar – Jean-Marie Ecay (tracks: 1, 10)
Double Bass – Jean-François Jenny Clark (tracks: 2 to 4, 6, 7, 11, 12),
                     –  Rémi Vignolo (tracks: 1, 5, 8, 10)
Drums – André Ceccarelli (tracks: 1, 5, 8, 10), Daniel Humair (tracks: 2 to 4, 7, 9, 11, 12)

RICHARD GALLIANO - French Touch 

[1999] Dreyfus Jazz / CBR320k / scans

O Púbis da Rosa

JIM O'ROURKE - Terminal Pharmacy [1995] Tzadik / FLAC

With Terminal Pharmacy, Jim O'Rourke creates a soundscape so calm and minimal that some people, lacking patience for the seeming formlessness, could do entirely without it, while others will find themselves repeatedly putting it in their CD player at home, work, or wherever they need warmth dispersed throughout the air. Seeping steadily from the edge of silence comes crackles, thin fuzz, and extended string tones. Less narrative than what "electro-acoustic" usually refers to, "Cede" hums at the back of your mind. Given almost a minute of silence in between, the second piece then begins; sounding like a very quiet improvisation, the instruments whisper bowed rounds, a conversation in tininess that grows bolder at moments.  by Joslyn Layne
Tracklist:
1 Cede  41:32
Bass Trombone – Jeff Cortazzo
Clarinet – Tony Burr
Drums [Drum Set] – John McEntire
2 [Silence] (no audio) 0:59
3 Terminal Pharmacy   8:21
Accordion – Isha Suftin, Rob Prosser
Acoustic Guitar – Jim O'Rourke
Alto Flute – Lisa Hemmer, Sue Oberg
Cello – Dan Loch, Hattie Franck, Mike Dockter, Robert Keckmary Labreque, Stan Saderk
Clarinet – Tony Burr
Flute [Bass] – Jim Vanden, Wendi Lev

JIM O'ROURKE - Terminal Pharmacy 

[1995] Tzadik / FLAC / scans

O Púbis da Rosa

STOCKHAUSEN - Stimmung [1986]

"Stimmung," translatable as "tuning" or "being in tune with," is a long-form exploration of vocal harmonics for six vocalists and six microphones. The entire piece is based on a low B flat, from which the vocalists spread out harmonically using overtone singing. Clocking in at over one hour in duration, the effect on the listener is simply hypnotic and is similar in many ways to the works of the so-called "minimalist" composers. The overtones of the voices take on the sounds of wind instruments, like a flute or a bassoon. Over the course of the performance, the vocalists are singing meditations on numerous deities from the all over the world, interspersed with various spoken "recitatives" with a somewhat juvenile sexual subject matter. Vocal group Singcircle, an avant-garde vocal sextet based in England, perform flawlessly, their eerie overtones floating high above the fundamental notes. by Mark Allender

STOCKHAUSEN [1928-2007]

 Stimmung [1986]

Singcircle Version / Gregory Rose, ‎Dir.

CBR320 / scan

O Púbis da Rosa