TV Radio Mirror (Jan - Jun 1963)

Record Details:

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ON THE RECORD Your Monthly O IM R ECO RD Guide ing a comparison, ' as one follows the other on side-one, you find "Holy" is a twelve-bar blues in structure. It also sounds more like secular music than folk music. "The Saviour," on the other hand — though utilizing this same question-and-answer style — is most pointedly sacred. Roebuck's lead singing on "Holy" is sort of the key. It's more florid than the conventional gospel style. It harkens to country blues singing. I, personally, feel the admixture is a healthy and rewarding one. Young Mavis Staple turns in some vital lead-singing on "Sweet Little Jesus Boy" and "The Virgin Mary Had One Son." She is definitely a singer to watch. Possessing both talent and beauty can only mean stardom in time. Her voice is one of dark and striking moments. Loose and florid her style, and strong her intent. Brother Pervis and sister Yvonne fill out the rest of the group. Other Yule tunes included are: "Go Tell It on the Mountain," the very spirited "Last Month of the Year," "There Was a Star" and three classic Christmas gems, "Joy to the World," "Silent Night" and "Little Town of Bethlehem." Of these standard Christmas vehicles, only "Silent Night" is realized to the same degree as the "Gospel" tunes herein. I hasten to add, the material is difficult to mold into their style. As albums of the Christmas variety go, this is a MOOD MUSIC ■A"Ar*In a Sentimental Mood, Hugo Montenegro and His Orch. (Camden) — When you think of rain pattering on , your window, a warming drink in your hand and reflective thoughts in your head, this album is just the added dash of music to complement your solitude. Found here are charming melodies with arrangements which do them credit, and an unobtrusiveness rarely found among the current output of high-powered albums. Several classic Ellington tunes are done beautifully. The title tune, with its subtly mournful alto saxophone blanketed against choirs of strings and woodt winds, sets the attitude for what fol* lows. It's all highly professional and R tasty. "Sophisticated Lady" finds a solo violin singing the melody, as does the 32 beginning of "In My Solitude." The one change of character occurs on the overly-Latin "Lady of Spain"; this cut utilizes the usual paraphernalia of castanets, Spanish-type unamplified guitar, tambourine, etc. The rest of the standards — such as "My Old Flame," "Lady in Blue," "Sleepy Time Gal"— all stay in the relaxed groove of the other tracks. The one arrangement this reviewer thought most enchanting was the beautiful classic, "Sweet and Lovely." This album is, incidentally, on RCA Victor's Camden label and, if I'm correct, is their $1.98 line. If so, it's certainly a good buy. CLASSICAL ****Mozart Concertos, No. 21 in C, K. 467, and No. 23 in A, K. 488, Artur Rubinstein, pianist; Alfred Wallenstein, cond. (RCA Victor) — It appears Artur Rubinstein has discovered the fountain of youth, if we are to believe our ears. Here, playing the music of Mozart, his years of maturity express themselves through his marvelous readings, but also present is the enigma of a youthful spirit, which is present and obviously also Rubinstein. I must confess that he has an uncanny knack of pointing the way to the core of a work. In the andante section of the Concerto in A Major, he has realized the poetic and sorrowful Mozart as no one else has, to my knowledge. It's not that he plays them in a syrupy way, but rather that he simply deliberates and is ever so conscious of dynamic levels. In this same work, in the finale, he sets not just a tempo but a pulse. Strangely, because of Mozart's rather difficult piano writing, these piano works sometimes are played in a "rattling-off" manner. It is a tragedy, but I believe recordings like this will in someway rectify things. (It certainly will influence younger pianists.) Wallenstein is one of the finest (and most under-rated) conductors in America today. The orchestra — which I have no doubt is the Symphony of the Air, without name — works beautifully here in both roles of soloist and accompanist. The recording technically is first-class. About the genius of Mozart, one need only add that he was the most naturally RUBINSTBN A moza«t ooMGSwras %' ? Y ff'U gifted musician-composer ever to have lived. Clarity is his hallmark. A clarity unrivaled. Lines that weave in and out and never tangle. Form so clear and meaningful that both Concertos are marvels of expression. As to my own taste, I prefer the A Major. This is definitely an album to add to your collection. *100th Anniversary Frederick Delius: Brigg Fair/ On Hearing the First Cuckoo in Spring/In a Summer Garden and Dance Rhapsody No. 2, The Philadelphia Orch., Eugene Ormandy cond. (Columbia) — This album, ever so pointedly, brings to light the fact that Sir Thomas Beecham is no longer with us. When one listens to Mr. Ormandy's completely insensitive handling of these fragile and reflective glimpses of life set to music, you are suddenly and overwhelmingly brought to re-evaluate . . . how important is the conductor? In this particular