Every major conductor, and most not-so-major ones, comes around to recording Eine kleine Nachtmusik, but not so many do it as well as George Szell and the Cleveland Orchestra strings. And let’s face it, you won’t find a period-instrument ensemble that plays with anything like this level of polish. The fact is, Szell’s conception of Mozart was not terribly far from “period” sensibilities: restrained use of vibrato, incisive rhythms, crisp ensemble, lively tempos, but also a welcome degree of warmth to the sound and of course incredible ensemble discipline and some of the best players on the planet. And he had real period instruments, meaning performers who owned top quality old violins and bows, not inferior modern reproductions of them. The result is as lovely a performance of Mozart’s perennially delicious Serenade as we are ever likely to hear.
Interrelated traditions of keyboard and lute playing that flourished in German-speaking lands in the age immediately predating the invention of music printing have fascinated us ever since our very first encounter with the surviving repertoire that originated from these traditions. Fifteenth-century music for keyboard and plucked stringed instruments is without doubt an exciting area in the early history of European instrumental music, but one paradoxically seldom visited by performers and thus virtually unknown to the wider public. Many pieces are recorded here for the first time, and it is our hope that the present disc may contribute to restoring the remnants of a once flourishing and highly refined art to the place they deserve in the awareness of music lovers.
Sam Gallagher (Pat O'Brien), a former foreign correspondent and now a United States Government agent, gets a job through his brother Jeff (Chester Morris), whom he has not seen in seven years, in the Seaboard Shipyards as a "pileback" in order to track down a gang of Nazi spies who are plotting to sabotage the shipyards. Jill McCann (Carole Landis),an FBI agent, poses as Sam's wife, and two children, 6-year-old Paul (Richard Lyon), and 4-year-old-Joan (Carol Nugent),complete his "cover family." THe set-up looks fishy to Jeff, and he imparts his suspicions to Lea Damoran (Ruth Warrick, the girl both brothers had courted in the old days. Meanwhile, Sam works hard and makes friends with most of the men in his crew. He gets a line on the saboteurs and one by one, their identities are revealed to him. The Nazis, led by Brownell (Tom Tully)who, in reality, is Colonel Von Braun of the German Gestapo, plan to blow up the yard while an aircraft carrier is docked there.
The last great Kraftwerk album, Computer World (Computerwelt) captured the band right at the moment when its pioneering approach fully broke through in popular music, thanks to the rise of synth pop, hip-hop, and electro. As Arthur Baker sampled "Trans-Europe Express" for "Planet Rock" and disciples like Depeche Mode, OMD, and Gary Numan scored major hits, Computer World demonstrated that the old masters still had some last tricks up their collective sleeves. Compared to earlier albums, it fell readily in line with The Man-Machine, eschewing side-long efforts but with even more of an emphasis on shorter tracks mixed with longer but not epic compositions.
Sanborn's '83 release brought a new meaning to late night or midnight music listening ! By no means is this elevator muzak, either ! In fact, Sanborn was on the cutting edge in using drum machines and synthesizer arrangements without stifling his sax playing or throwing the whole project out of whack. Sanborn's playing is very upfront and sharp ! While the recording may sound dated, it is only in a very good positive way to demonstrate what is lacking in some of today's so-called pop-jazz or r & b instrumentalists.