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For over two decades, the Hi-Hat Club occupied a choice location among the jazz clubs of Boston’s South End district, at the corner of Columbus and Massachusetts Avenue. After the end of World War II, lesser luminaries took over the band-stand, and after a while entertainment practically stopped altogether. Dave Coleman, a jazz promoter, had taken over management of the club in 1949. Through Coleman’s personal initiative, the Hi-Hat enjoyed its most successful years, and by 1951 it was the only club featuring a consistent policy of presenting modern jazz.
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Arthur Goldman is a rich Jewish industrialist, living in luxury in a Manhattan high-rise. He banters with his assistant Charlie, often shocking Charlie with his outrageousness and irreverence about aspects of Jewish life. Nonetheless, Charlie is astonished when, one day, Israeli secret agents burst in and arrest Goldman for being not a Jewish businessman but a Nazi war criminal. Whisked to Israel for trial, Goldman forces his accusers to face not only his presumed guilt–but their own.
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…The European influence in these works seems to me very clear, and Ives manages to absorb this idiom and at the same time be forward looking and original.
As with the companion disc, Litton seems to me a conductor fully inmersed in Ives complex world of sound. His Dallas orchestra is quite excellent, and the recordings are faultless.
Booth and the Bad Angel was a music project based around the collaborative efforts of Tim Booth (lead singer with the British alternative rock band, James) and the American film composer, Angelo Badalamenti. Featuring Bernard Butler on guitar, the project's eponymous album was released in July 1996.
A neat little psychological thriller in the Barbara Vine tradition, debut novelist Stephen Booth's smart, spare suspense story introduces Detective Constable Ben Cooper, an up-and-coming English policeman who fears he'll never be able to fill the shoes of his father, a police sergeant who died a hero's death on the job in Ben's own precinct.