Album Reviews

Do you need to add yet another Beethoven symphony cycle to your record collection? What's that you say, you don't have even one? That's not good. Every record collection should include at least one set of Beethoven symphonies even if you don't like classical music.

It is difficult to grasp the date this session was recorded: December of 1956. That makes it almost 50 years old. Yet the music is as utterly fresh and full of surprises and good humor as it was in 1956. And the sound remains vibrant and full bodied as well; the highs extended and crisp, the transients sharp and clean. In fact, this double 45rpm set positively kills the Riverside original in every way: I know, because I’ve owned a copy since the mid ‘60s. During my first year at Cornell in 1964, either Riverside was going out of business or needed some quick cash, because the book store had what seemed like the entire Riverside catalog on sale for $1.98. I bought as many as I could afford.

My initial plan was to follow the original 3500-word review with a later update on the vinyl edition’s sound quality, but plans change. I got a bit of exclusive information from Jack White about “ARE WE STILL FRIENDS?”, which I reported on, but even more happened with this LP. As advance copies of IGOR’s CD edition circulated, word spread that Tyler quietly dropped a physical-only (vinyl, CD, and cassette) “bonus track” entitled “BOYFRIEND.”

A fabulous new retrospective collection being released via BMG on November 4 that celebrates Jamaican-born jazz pianist Monty Alexander is the latest offering from the Montreux Jazz Festival archives. Called simply Monty Alexander: The Montreux Years, this 180g 2LP set is a fine addition to this important archival series, which curates the finest performances from the Swiss festival’s acclaimed, vast catalog of recordings between 1993 and 2016. Read on to see why Alexander’s Montreaux Years on vinyl deserves to be a part of your upcoming rotation. . .

Few jazz musicians attain pop star status while retaining credibility with their "base." Louis Armstrong managed and of course so did Miles Davis. Stan Getz was another.