Ukraine - Journey to Freedom
A century of classical music for violin and piano
Street Date February 12 2016
Compositions from Ukraine for violin and piano written over the course of a century. The first collection on CD featuring the dynamic duo of violinist Solomiya Ivakhiv and pianist Angelina Gadeliya in stunning performances from two highly motivated musicians.
The music on this CD represents many of the musical styles and currents that dominated in the years 1919 to 2014: Kosenko’s unabashed late romanticism and Borys Lyatoshynsky’s expressionistic Violin Sonata; the 1960’s neo-folklorism of Myroslav Skoryk; Yevhen Stankovych’s romantic blending of expressionism and ethnographic sources in his work of 2013; the cool neoclassicism of Ivan Karabits even when exploring the improvisational style of the 1970s; the most recent examples of contemporary virtuoso writing of Bohdan Kryvopust and the expressive structuralism of Alexander Shchetynsky’s current music. The program includes the “Post scriptum” sonata (in the composer’s words, “a post script to Mozart, and more generally, to classicism”) by Ukraine’s most celebrated composer of our time, Valentyn Silvestrov.
Angelina Gadeliya / Schnittke and His Ghosts
Music of Tribute Vol 8
Street Date April 14 2015
Alfred Schnittke, the outstanding maverick of Soviet music in the late 20th century, was a man haunted by the ghosts of his predecessors – classical, twelve-tone, Russian mystical and otherwise. Trapped in an oppressive Soviet Union (his passport was taken away and he was not allowed to travel abroad), he made his living writing film music and developing a unique ‘polystylistic’ technique which blended classicism, modernism, Russian tradition and his own personal mysticism.
Angelina Gadeliya, born in Soviet Georgia and brought up in the Ukraine, later emigrated to the United States where she became a leading advocate of Schnittke’s music and, at the same time, an expert in the influences which shaped his musical personality. This unique program includes music by Mozart, Webern, Shostakovich (based on Glinka) and Scriabin as well as two impressive works by Schnittke himself (his Variations on a Chord and Sonata No. 2), everything performed with virtuoso skill and panache by this outstanding keyboard artist.
THE BLUES & SALVATION
Street Date September 9 2014
A new compilation of previously unreleased tracks featuring the iconic Reverend Gary Davis,
whose enormous impact on American roots music influenced many of the most revered troubadours of our time including Bob Dylan, Dave Van Ronk, Townes Van Zandt, and many others. Joining the Reverend are the equally iconic Sonny Terry & Brownie McGhee, the best known blues duo to ever emerge, and the unforgettable Louisiana Red, the last of the giants from the classic age of blues noted for his abundant guitar skills and soulful singing. Also prominently featured are blues singer George Higgs, multiple Piedmont blues winner, and veteran folk singer Jemima James singing songs of “loves lost, looked for, and longed for” (AllMusic). with a sense of authenticity that is striking.
With Rev. Gary Davis at the helm, this collection is nothing short of magical. It rises to heights seldom heard in these days of electronic stratagems. This is the real stuff, as good as it gets.
Jukebox in the Tavern of Love
A Modern Madrigal
Libretto: Valeria Vasilevski
Street Date April 29 2014
MEREDITH MONK AND ERIC SALZMAN JOIN FORCES WITH THE WESTERN WIND AND VALERIA VASILEVSKI TO PRODUCE TWO CONTEMPORARY MASTERPIECES ON LABOR RECORDS.
Monk’s BASKET RONDO and the Salzman/Vasilevski madrigal comedy JUKEBOX IN THE TAVERN OF LOVE, both created for The Western Wind, are now paired in a new recording by the celebrated New York vocal ensemble.
BASKET RONDO is a unique creative collaboration between composer and performers that is evocative of (to quote the composer) “a pre-industrial community of people … working together” and also “a natural kind of resonance” and “a sense of nature or space.”
JUKEBOX IN THE TAVERN OF LOVEis a modern version of a Renaissance art form in which six people – a bartender, a nun, a rabbi, a poet, a dancer and a Con Ed worker -- are stranded in a NY bar during a storm and blackout and pass the time by telling their own personal stories of love, earthly to spiritual.
These one-of-a-kind works show the ensemble’s talents in a manner that has been called “powerful…evocative” (Vivian Schweitzer, NY Times) as well as “fresh and entertaining…challenging and refreshing” (Howard Kissel, NY Daily News).
João Carlos Martins / Bach
Anna Magdalena Bach Notebook
Street Date July 30 13
Volume 6 of The Complete Keyboard Works of J.S. Bach performed by the legendary Brazilian pianist João Carlos Martins, is the latest reissue in the Labor Records' 15-volume/19 CD monumental edition. The new CD features the Italian Concerto, a prime showcase for Martins' impressive technique, combined with some of Bach's most intimate work: 20 pieces from the "Anna Magdalena Notebook" and two sets of Little Preludes. Martins does not hesitate to give this music a romantic tinge when such treatment seems appropriate and occasionally he launches an all-out display of pure virtuosity which can be dazzling. The result is a unique glimpse into the musical life of the Bach household.
Martins puts considerable muscle into some items of the Anna Magdalena Bach Notebook. But there is plenty of compensation in the form of elegantly molded phrases.
Some of the most disarming examples of his artistry – and imagination – occur in what may be the least likely items: The Little Preludes. Many a piano student may think of these miniatures as mere busy-work, but not Martins. From the gorgeous, misty colors he achieves in the first of the Twelve Little Preludes, to the startling rubato he works into the final measures of the first of the Six Little Preludes, the pianist is in his element. And what he does may be a little crazy, but who cares–it’s terrifically entertaining.
“Entertaining” may not be an adjective some people associate with Bach, but if his music ever sounds stuffy and mathematical, that’s invariably the musician’s fault–not the composer’s. In compelling fashion, João Carlos Martins reveals the spontaneity and joy behind each contrapuntal flourish–the structural brilliance of each piece.
– National Public Radio
His dynamic prowess is frequently breathtaking.
– The New York Times
"As always, Martins is intense and exuberant in his approach, which works best for the outer movements of the Italian Concerto and the faster little preludes. The easy movements from the Anna Magdalena benefit from somewhat sly, humorous readings where the expression is sometimes a little overdone, the way a teacher might emphasize the details of an interpretation to a young student. The tone is excellent, varied, and always appropriate for the music. Some musical choices offer a welcome new perspective on the familiar music, as for instance in the slow and intimate D-major Prelude and the soft, understated closing for the F-major Prelude."
– American Record Guide
Street Date February 26 13
Out of the cross-currents of Central and Eastern European post-modernism, minimalism and mysticism comes this collection of new works for virtuoso piano, solo recorders and string quartet featuring music by the Greek Yannis Xenakis, the Estonian Arvo Pärt, the German Walter Steffens, the Pole Pawel Szymański and two Bulgarian composers, Gheorghi Arnaoudov and Georgi Minchev.
www.jsitop21.com (see review #7 down)
Gapplegate Modern-Music Review
Louisiana Red (1932-2012) / When My Mama Was Living
Street Date October 30 12
16 never before released tracks of Louisiana Red at his peak–the true Louisiana Red, with all of his intensity and raw talent exposed. Also featured, guitar wizard Lefty Dizz and harmonica legend Peg Leg Sam.
The International Review of Music (PDF)
ABS Magazine (PDF)
Soulbag France (PDF)
Blues Matters! UK
www.cadencejazzmagazine.com (PDF/Page 217)
Eric Salzman / The Nude Paper Sermon & Wiretap
Street Date October 30 12
THE NUDE PAPER SERMON
"The Nude Paper Sermon" is a ground-breaking multi-media music-theater work in sound and one of the first and finest works of contemporary music to be written specifically for multi-track recording. It was also one of the first new works to be written for Renaissance ensemble (Nonesuch Consort under Joshua Rifkin) in half a millennium in a dramatic and thrilling multi-style mix of singing voices and early instruments with chorus, electronics and the highly charged voice of an actor (Stacey Keach) who brilliantly declaims original texts by Steven Wade and John Ashbery.
“…a sustained power to comment on our convulsive time…a wide-ranging mind
at work, one that serves as a tonic function when the arts are becoming increasingly mindless.”
New York Times
"The simple but touching vocal parts borrow from madrigals and plainchant,
to which Tony Elitcher's beautiful clarinet adds a nice counterpoint" (Helix). Larynx Music is a wonderful piece...wonderful record.”
Heiner Stadler / Brains on Fire
Street Date February 28 12
Brains On Fire Reintroduces Jazz Listeners To One Of The Visionaries Of The 1970s
With Two Discs Of Exciting Jazz Composition.
HEINER STADLER'S MASTERWORK FEATURES PERFORMANCES BY SOME OF THE GREATEST PLAYERS FROM AMERICA AND EUROPE, INCLUDING DEE DEE BRIDGEWATER, REGGIE WORKMAN, JIMMY OWENS, TYRONE WASHINGTON, JOE FARRELL, LENNY WHITE, MANFRED SCHOOF, WOLFGANG DAUNER AND ALBERT MANGELSDORFF
Brains On Fire presents, for the very first time on two compact discs, some of the innovative early works of pianist/composer Heiner Stadler. These works, written and conceived over 40 years ago, are examples of what are arguably some of the most creatively and unjustly neglected amalgamations of the jazz and contemporary classical traditions. The follow-up release to the critically acclaimed Tribute To Bird And Monk (LAB 7074), Brains On Fire features groundbreaking compositions recorded between 1966 and 1974 that still sound as fresh and stimulating today as when they were first performed. The eight original compositions comprising this remarkable set reveal the mindset of the highly innovative Stadler in his utilization of the instrumental and improvisatory skills of some of the day’s most accomplished players from both the United States and Europe. In bringing together artists of distinctly varied backgrounds and reputations, Stadler defied the separatist system of the time that divided performers into virtually warring camps: classical versus jazz, mainstream versus avant-garde. Composition and improvisation come together, in a confluence that realizes some truly amazing music
Noted author Howard Mandel contributes the illuminating liner notes
www.gapplegatemusicreview.blogspot.com (May 2012)
www.italia.allaboutjazz.com (All About Jazz Italia)
The New York City Jazz Record (PDF)
Michael Sahl and Eric Salzman / Civilization & Its Discontents
Street Date January 31 12
Civilization & Its Discontents is a lively and biting satire in the form of a music-theater work with words and music created jointly by Michael Sahl and Eric Salzman. It was originally a prize-winning off-off-Broadway music theater piece, a music-theater recording for National Public Radio that had one of the largest air plays of any work of its kind, and a Prix Italia winner. Carlos Arachnid invites us to join him and his friends in Club Bide-a-wee whose motto is "If it feels good, do it!". Dancing alternates with 'freeze-frame' moments of high anxiety, angry words and sexual come-ons. Scene II is in Jill Goodheart's bedroom where a seduction scene is interrupted by a constant string of phone calls, the arrival of Jill's boyfriend and the deus ex machina appearance of Arachnid who brings us back to Club Bide-a-wee for a deconstructed dance orgy and an ironic morality.
“…a brilliant amalgam of jazz, pop, blues and classical forms, cleverly developed and timed to make the satiric points stand out in the most vivid musical and theatrical terms.”
–Peter G. Davis, New York Times
“…a work that builds up its own undulating momentum and sustains it so thoroughly that the audience boogies long after the music stops. A skillful, rhythmic integration of words, music and movement is responsible for the compelling power of this stunning show.”
“…jazz and pop elements in an understandable idiom, in addition to avantgarde traits originating in the NY experimental scene…swinging melodies that seem to stem from Gershwin, combined with strong, somewhat abrupt but exciting harmonies and surprising rhythmical accents that are reminiscent of Thelonious Monk…Kurt Weill for our time.”
–Doron Nagan, Algemeen Dagblad (The Netherlands).
“…a delightful, tuneful satire…not everything is funny (as) the underlying subject is something very real…This is a wonderful work.”
–Rita H. Mead, Newsletter of the Institute for Studies in American Music.
"...highly entertaining...The music...gets deeply into your head. So does much of the text.... Everyone works hard to put across Sahl and Salzman’s sarcastic rant against … well, against something. (The stars of Seinfeld could have performed this opera.) To be honest, they succeed. Furthermore, every single word of the text can be understood. Civilization and Its Discontents is too clever for its own good, maybe, and it plucks awfully low-hanging fruit, but I keep coming back to it, and that must mean something."
Raymond Tuttle, Fanfare
Javor Bračić / Music of Tribute Vol 7 - Haydn
Street Date Oktober 25 11
In 1909, six great French composers—including Ravel, Debussy, Dukas, Vincent d’Indy and Reynaldo Hahn—created new works based on a musical spelling of Haydn’s name in celebration of the hundredth anniversary of the death of the great Viennese master; eighty-nine years later, the English composer George Benjamin added his own homage based on the same theme. All these tributes plus a Sonatina “Homage à Haydn” by the Croatian composer Davorin Kempf and a rollicking Capriccietto after a rough Viennese folk song (that had been previously treated by Haydn) by the German composer Wolfgang Hochstein have been wrapped around three sparkling piano sonatas by the master himself, including the late, great C major Sonata, all brilliantly recorded by the young Croatian pianist Javor Bračić.
This is the seventh in the Music of Tribute series from Labor; music by and in homage to Heitor Villa-Lobos, Claude Debussy, Gabriel Fauré, Domenico Scarlatti, Johann Sebastian Bach, and Alban Berg were the earlier releases in this much-lauded ongoing series.
Heiner Stadler / Tribute to Bird and Monk
Street Date April 26 11
LABOR RECORDS REISSUES A PIONEERING CLASSIC
Heiner Stadler's Tribute to Bird and Monk, featuring a sextet of cornetist Thad Jones, tenor saxophonist George Adams, trombonist George Lewis, pianist Stanley Cowell, bassist Reggie Workman, and drummer Lenny White, takes six compositions by Charlie Parker and Thelonius Monk as reimagined by Stadler with out-of-the-box improvisations by some of New York's greatest instrumentalists of the 1970s and remixes them to modern standards by the brilliant engineer Malcom Addey. The result is a critically acclaimed tribute that sounds as fresh and daring today as when it was originally released.
“Tribute is a brilliant mixture of arranged and free jazz, with the strength of the compositions providing a firm foundation.”
DOWN BEAT ***** Five-Stars (top rating)
“The result is a giant step bridging the avant-garde of the ‘forties, bebop, with the avant-garde of today.”
www.gapplegatemusicreview.blogspot.com (May 2011)
(see near bottom of page)
(see review #6 down)
(see bottom of page)
(see bottom of page)
The New York City Jazz Record
www.italia.allaboutjazz.com (All About Jazz Italia)
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