African Heritage Symphonic Series: Volume III (Coleridge-Taylor Perkinson: Generations-Sinfonietta No. 2 for Strings; David Baker: Cello Concerto; William Banfield: Essay for Orchestra; Michael Abels: Global Warming.)
Katinka Kleijn, cello; Chicago Sinfonietta; Paul Freeman, conductor.
Cedille CDR 90000 066

Musical Performance
Recording Quality
Overall Enjoyment

In the 1970s, Paul Freeman guided the groundbreaking Columbia Records series of recordings devoted to the music of African-American composers. He has continued to champion African-American musicians now that he and his Chicago Sinfonietta are regulars on the Chicago-based Cedille label. For the third volume of his new series, Freeman has chosen some excellent music. My favorites are the Abels tone poem, which presents both sides of global warming, and the Baker cello concerto, ingeniously scored, using exotic percussion such as wind chimes and a full orchestra (with no cello section). The recorded sound is a bit dry, which seems to fit both the music and the sound of this virtuoso, moderately sized ensemble. What the sound lacks in overall warmth, it makes up for in clarity.  

Wojciech Kilar: Bram Stoker’s Dracula and Other Film Music (Koenig der letzten Tage; Death and the Maiden; The Beads of One Rosary; Pearl in the Crown)
Cracow Philharmonic Chorus; Polish National Radio Symphony; Antoni Wit, conductor.
Marco Polo 8.225153

Musical Performance
Recording Quality
Overall Enjoyment

In America, Polish composer Wojciech Kilar was discovered by Francis Ford Coppola, who asked him to write the music for Bram Stoker’s Dracula. That score was powerful and arresting; Kilar using his signature ostinato figures to great effect to heighten the drama. In addition to hammering ostinato, Kilar is given to modal treatments that often make his music seem related to that by the late Miklos Rozsa. The performances here, by fellow countrymen, are assured, polished, and dramatic. The sound is lush yet lean enough to let Kilar’s pounding rhythms come through with great force. Highly recommended to all who love colorful film or concert music.

Deep Forest: Music.Detected_
Sony International 506355

Musical Performance
Recording Quality
Overall Enjoyment

I consider the latest effort from this creative duo a disappointment. Save for three cuts, this isn’t a very compelling listen. The songs do favor a change of pace by way of rock influence, but the samples that float above the screeching guitars and punchy drums sound tired and familiar. Composers Eric Mouquet and Michael Sanchez have always been reliable and capable musicians with the unwavering ability to create stirring arrangements. But Music.Detected_ falls short of such promise. Listeners can hear evidence of their past successes on cuts like the wonderfully dramatic "Yuki Song," the desperate "Will You Be Ready," and the forcefully catchy "Dignity." However, the majority of songs go nowhere slowly, or sound like a five-minute gimmick with no soul. The recording is typical of this outfit -- clean and powerful with a little too much compression on the vocals. Pick it up if you want a complete collection. Otherwise try out their 1993 debut for a proper introduction.

Massive Attack: 100th Window
Virgin 81239

Musical Performance
Recording Quality
Overall Enjoyment

Coming off the spectacular Mezzanine, Massive Attack is a little lighter and a little happier, but that isn’t saying much for this melancholy trip-hop band. While Mezzanine is mired in absolute despair, this new album pokes its head out into the light with "What Your Soul Sings." Like Everything But the Girl’s Tracey Thorn, Sinead O’Connor’s vocals add a soulful quality that makes these densely arranged soundscapes connect with the listener. Every track O’Connor contributes her voice to is a winner, but "A Prayer for England" takes the prize as the most heartfelt and bone chilling. Another standout track is the hypnotic "Everywhen," with a catchy recurring bass line that builds with trance-like elegance. The sound quality of 100th Window is consistent with other Massive Attack efforts and benefits from a very smooth analog-like presentation with plenty of air and detail. Electronica doesn’t get much better than this!

Peter Gabriel: So (Remastered)
Universal 493284

Musical Performance
Recording Quality
Overall Enjoyment

In 1986 Peter Gabriel released So, which rose to classic status with the hits "Sledgehammer," "Big Time," and "Red Rain." The original recording was a disc that I often used to evaluate audio components. Its sharp detail and startling transients were perfect for weeding-out good electronics from the not so good. Unfortunately I found So sounded best on more expensive systems that struck the balance between transparency and smoothness. Now remastered, So is a more forgiving recording. Transients are quick, but not edgy, while the noise floor is greatly reduced. Gabriel’s distinctive vocals also benefit from added warmth and weight. However, what impresses me most about this re-release is how timeless cuts like "Don’t Give Up," "That Voice Again," and "Mercy Street" continue to be. Now fans will be able to enjoy these memorable songs without succumbing to listener fatigue.