Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Nelson recommends some exceptional jazz artists to get an authentic live experience in the comfort of your own home.  

JOYS OF HOME LISTENING: BIG ENSEMBLE JAZZ TAKES CENTER STAGE

By Nelson Brill March 2, 2021

There’s something elemental, grooving and beautiful in the panorama of colors and sounds that flourish in a jazz orchestra performance. When recorded with care and experienced on a high quality home audio system, the kaleidoscope of sounds from a jazz orchestra immerses the listener in a special way. The following are a few delectable new recordings, in audiophile quality sound, that bring the blaze and inspired sweep of big band jazz into joyful focus.

First off is a CD that I reviewed in 2019 and continue to return to for its superb sound and its striding-forth grooves. Intrepid pianist and composer Ellen Rowe leads her stellar all-women Octet on Momentum – Portraits of Women In Motion [Smoking Sleddog Records; www.ellenrowe.com] in performance of originals that combine Rowe’s soulful lyricism with her playful joy. Great examples are the soulful opening “Ain’t I A Woman”, (a slow grooving pageant propelled by Tia Fuller’s leaping alto saxophone, Marion Hayden’s rubbery bass and Melissa Gardiner’s powerful trombone) and the churning gem “R.F.P. (Relentless Forward Progress)” riding on the steady pulse of Allison Miller’s creative percussive engine, her sparkling cymbals precise and light. Other highlights include the swank and swing of “The Soul Keepers” and the grooving pluckiness of “Game, Set and Match” (with Fuller’s alto sax and Ingrid Jensen’s trumpet crisp and funky in their blurting play).

Rowe is also interested in exploring the soft incandescent side of her soulful melodies, as on her beautifully flowing “Anthem” (slowly unfurling on Janelle Reichman’s sweet clarinet) and on the stately “The Guardians” propelled on the quiet bombast of Lisa Parrott’s baritone saxophone and Rowe’s twinkling piano (with Miller’s crisp cymbals always in stride). The recording delivers all of the up-front sparkle and layered tactile flow of this big band in confident bold flight.

Another gifted woman composer exploring the rich palette of the jazz orchestra is the incomparable Maria Schneider, whose original music casts a mesmerizing spell in its combination of unkempt beauty, glittering palette and underlying power of its narratives. The superlative “Maria Schneider Orchestra” (“MSO”) is composed of musicians who have been playing with Schneider for years, many of whom are gifted composers, teachers and band leaders in their own endeavors.

One of the MSO’s original members was the brilliant pianist, teacher and composer, Frank Kimbrough, whose sudden recent passing was a great loss to the jazz community. Kimbrough has a rich discography of his own that is worth exploring. For instance, Kimbrough was the inspired force behind one of my favorite LP labels, Newvelle Records, (check out their full subscription series catalogue at: www.newvellerecords.com) and was the first artist to record on Newvelle Records with his glowing 2015 recording, Meantime.

Another wonderful recording of Kimbrough’s is his camaraderie with the spirited tenor saxophonist, Noah Preminger, on Preminger’s quietly intrepid 2011 CD, Before The Rain [Palmetto Records; www.noahpreminger.com]. On this stellar recording, take a listen to the entangled beauty of Preminger’s lustrous breathy sax with Kimbrough’s soft punctuated rambles on his piano, accompanied by an ace rhythm section of drummer Matt Wilson and bassist John Hebert. Preminger’s burly high calls and creative tumbles nestle beautifully within Kimbrough’s dulcet piano explorations as they explore together the colorful windswept territory of Preminger’s vital, slow-brewing ballads.

I can also recall in my mind’s eye Kimbrough’s fantastic performance as a member of the MSO in their reveling concert held on a glorious summer night at Ozawa Hall at Tanglewood (www.tanglewood.org) a few years ago. On this special night, Schneider conducted the MSO in inspired fashion in performance of selections from their boundless recording, The Thompson Fields [ArtistShare; www.artistshare.com], still a favorite of mine in Schneider’s oeuvre. I can still recall the sound of Kimbrough’s piano twinkling in the rear of Ozawa Hall with his notes dancing in inventive dash and sunniness into the quicksilver acoustic of that glorious space.

Schneider and the MSO have now released a new 2- CD set of music, Data Lords, [ArtistShare; available exclusively at www.mariaschneider.com] and luckily for us, this new recording was produced before Kimbrough’s passing so we still get the chance to relish hearing Kimbrough’s artistry with his compatriots in the MSO. Data Lords, like its predecessor, The Thompson Fields, is a beautifully conceived package. Its striking graphic design is by Cheri Dorr; its fascinating artwork (prints of glowing leafs made from acrylic and gouache on masonite) is by artist Aaron Horkey and its inviting session photography is by photographer Briene Lermitte. The entire physical package is a joy to handle and explore, testament to the great craft and care given to this ArtistShare project.

The music of Data Lords is another dynamic work of art from the intrepid Schneider and the gifted musicians of her simpatico MSO. Schneider is focused on the nuances of her themes (our “Digital World” on CD #1 and “Our Natural World” on CD #2) where one might hear upbeat melodies (forging human connection and uplift) in the same measures as more prickly themes and forces that inhabit the beautiful tumult of her music.

For instance, on the “Digital World” side, Schneider composes “A World Lost” with lines of soulful, poignant beauty rising and falling against slow, unfolding mysterious forces of vastness and struggle, building upon Kimbrough’s soft repeating piano figures, Jay Anderson’s deep arco bass, Ben Monder’s electric guitar (like streaks across a night sky) and Rich Perry’s arching tenor sax. All this tension (between contrasting forces of beauty, human potential and struggle) are also embedded in the rambunctious pounces of Schneider’s “Don’t Be Evil,” a defiant indictment of corporate overlords (as Schneider discusses in compelling linear notes) with its spiraling Ryan Keberle trombone solo; Monder’s sweeping angular guitar spread (over a contorted version of “Taps”) accompanied by stomping brass in cacophonous up-roar. “Sputnik” is laced with the eerie beauty and vastness of space with the kinetic Scott Robinson carousing and fluttering deep on his inventive baritone sax, its path lit by the MSO rich brass choruses and Jonathan Blake’s sparkling cymbals. The title piece concludes the first disc in another blaze of colors slippery between the possibilities of human advance and connection (in the unspooling heights of Dave Pietro’s burning alto solo), and a vision of a robotic- dominated future portrayed by Mike Rodriguez’s acerbic trumpet tinged with electronic effects.

Schneider’s vision of our “Natural World” (on disc #2) also gushes with vital forces. On “Sanzenin”, the sparks of Gary Versace’s lithe accordion flow through a shimmering landscape of woodwind and brass colors (to paint Schneider’s leisurely stroll through a masterful Japanese garden) and on “Look Up”, Marshall Gilkes’ golden trombone leaps and falls (amongst brass choruses and Blake’s cymbal and snare flings) to offer beautiful lyrical wonderings inspired by Schneider’s own joys in taking time to stroll and observe Nature. Schneider’s pulsating landscape of colors on “Look Up” and “Braided Together”, a beautiful little ode (floating on the pulses of Kimbrough’s player piano and Pietro’s glowing sax) to the inspired writings of Pulitzer Prize winning poet, Ted Kooser, all remind me too of the indelible images of Nature by the writer Annie Dillard, from her eloquent classic, Pilgrim At Tinker Creek [Harpers Press, 1974). At one point, Dillard describes how she sees “the tree with the lights in it” – revealing the complexity and beauty of Nature all around us when we take the time to stop and look. Schneider’s “Look Up” and her “Bluebird” (another swirling colorful ode to birdwatchers and preservers of Nature everywhere buoyed by Steve Wilson’s shining, romping alto sax), is on a similar quest to get us to stop, look, refresh and contemplate.

Sitting at the final turn of Data Lords is “The Sun Waited For Me”, a slow- brewing marvel grounded in the MSO’s regal brass power flowing underneath the passion of Gilkes’ trombone and Donny McCaslin’s charging tenor sax. I have had the good fortune of catching McCaslin at the New England Conservatory of Music in Boston (“NEC”) in celebration of his music with the students of the NEC Jazz Orchestra and it is always a joy to hear his creative solo inventions. Here, on “The Sun,” McCastlin gifts us with his swanking R&B and bluesy side with his tenor sax pumping and soaring in dance with Schneider and her vital MSO – upwards and onwards in sunny glory.

Saxophonists Steve Wilson and Dave Pietro, both long time members of the MSO, have also jumped on board to contribute their impeccable swinging presences to another new big ensemble recording, one that shines with the grooving delights of classic big band jazz. On his new 2-disc recording, New Life [Jazz House Records;], legendary guitarist Peter Leitch leads the Peter Leitch New Life Orchestra in performance of originals and standards in rollicking, high-energy fashion. The recording quality here is superb with particular kudos to the recording team for ensnaring all the colors of a sprawling big ensemble (spread on a nicely lateral and impressively deep soundstage), with each player imaged and positioned in their own natural space and air. All instruments have a vivid, dynamic presence on this recording with excellent tactile detail and crisp timbres (with the only exception being Peter Zak’s twinkling piano set back a bit too distant to hear his instrument’s full weight and body).

Leitch’s originals teem with fresh combinations of sounds and colors. He has this great feel in his music to allow the space and time for his intrepid musicians to stretch out and frolic in each other’s company. For instance, if you are into trombone glory, look no further than Leitch’s soulful “Back Story”, combining the unique colors of bass trombone, (plied in growling glory by Max Siegel- testing your loudspeaker’s woofers at every glorious plunge!) with Matt Haviland’s regal trombone in a stirring, bluesy promenade. Other great highlights are the two grooving Leitch originals that launch each set, “Mood for Max (For Dr. Maxim Kreditor)” and “Exhilaration”, both frolicking with loose and grooving solos from Wilson’s cascading alto sax; Zak on his nimble, expressive keys and Duane Eubanks on crisp, soaring trumpet (contrasted nicely with the mellow hues of Bill Mobley’s flugelhorn).

Leitch also brings an agile compositional touch to his creative ballads. For instance, he blends the soft lilt of Tim Harrison’s flute with deep brass choruses and an inspired soprano sax solo from Wilson to propel the surging and beautiful ballad, “Elevanses.” Leitch’s “Long Walk Home” is the capstone highlight to this generous set of music. Its laid-back jam session feel gives everyone a chance to step out and soar, aided by the supple and pungent bass work of Yoshi Waki (whose lines are beautifully recorded here without compression), and the anchored-down foundation of drummer Joe Strasser’s creative stick work. This is one gushing joy ride of big band boogie and buoyant companionship swinging under Leitch’s inspired baton.

And, speaking of a gush of joy, lets end this big band home listening session with a boisterous, brilliant big band treat from another of our jazz treasures, bassist extraordinaire Christian McBride, leading his gleeful Big Band on their rollicking new recording, For Jimmy, Wes and Oliver [Mack Avenue Records; www.mackavenue.com].

Similar to Leitch’s New Life recording, McBride also focuses on placing a small core of players within the context of a big band sound to explore all the glowing funk and grooves in this rich chemistry. Joining McBride’s prodigious bass in his small core of players is the swashbuckling organ of Joey DeFrancesco, the intrepid, spinning guitar of Mark Whitfield and the sparkling drums of Quincy Phillips. This zestful quartet perform alone on a few swanking numbers on this new disc, including a breezy version of Freddie Hubbard’s “Up Jumped Spring” (lightly swinging on Phillips upward swishes of brushes on his tactile snare) and on “Don Is”, a funk fest on the rubbery pulses of a nimble McBride bass solo and DeFrancesco organ runs filled with his patented funky organ quips and bluesy, slippery holds.

On all these impeccably funky tunes, Whitfield and DeFrancesco swing with irresistible force. I was fortunate to catch Whitfield a few years ago performing at the Berklee Beantown Jazz Festival in Boston and I still recall him standing off demurely to one side of the street stage (joining his son, the dynamic pianist, Davis Whitfield) and captivating the crowd with the leaps of his guitar: spidery yet powerful, slippery and sparkly – all in the inventive service of swing.

The positive vibes and boundless solos continue on For Jimmy, Wes and Oliver when this zestful core of players meet up with the rest of the stellar Big Band in collective, fun-filled flights. Here’s the deeply pulsating “Medgar Evers’ Blues”, the quick cannonball shots of Miles Davis’ “Milestones” and the gutsy trombone-launched “Pie Blues” – a special highlight that ends the disc with everyone in the band, (including a pumping Carl Maraghi on his brawny baritone sax aided by sharp trombone choruses) scorch the blues in slow-brewing delight. For Jimmy, Wes and Oliver is all about the blues, the dance, the funk –in the hands of a razor-sharp big band primed for adventure and joy.

You can read more of Nelson’s concert reviews at www.bostonconcertreviews.com.

Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Nelson looks at different ways that music lovers can continue to see live shows virtually and how they can further their at-home listening experience by using Nordost’s Blue Heaven Headphone Cable! 

JOYS OF HOME LISTENING CONTINUE – NEW RECORDINGS TO SAVOR

By Nelson Brill August 9, 2020

Getting lost in the rejuvenation that home listening brings, (taking time to listen without interruption to one’s favorite music on a quality high-end audio system) is a special gift in these tough and challenging times. I’ve been enjoying my time listening to the new reference high-end audio system that I reviewed last month (consisting of the Goldmund Telos 590 Integrated Amplifier partnered with Seidenton STB Studio Allnico loudspeakers and an Ensemble Dirondo CD player). I’ve also been listening to my headphone system to catch all of the terrific online concerts to benefit musicians and arts organizations worldwide.

IMPROVE YOUR HEADPHONE SOUND:
If you enjoy listening to headphones, (either through a computer or through a dedicated headphone amplifier), here’s a simple, upgrade tip: think about swapping out that generic headphone cable and invest in a quality headphone cable. I highly recommend Nordost’s Blue Heaven headphone cable, (http://www.nordost.com); $350 per 1.25 meter). Switching out the generic cable that came with my Sennheiser HD650 headphones for the Blue Heaven cable, I heard instant sonic improvements: a much quieter noise floor (that allowed more tactile and inner details of music to emerge); an overall improved tonal balance; an airier and wider stereo image and a greater coherency to the HD 650’s limited mid bass and upper bass. The Blue Heaven headphone cable took my modest HD 650’s to a new level of enjoyment and immersion – more toe-tapping and less listener fatigue (an important consideration when wearing even the best quality headphones for long periods).

ONLINE MUSIC RICHES:
So grab a pair of good quality headphones and equip them with a quality headphone cable like Nordost’s Blue Heaven and get more enjoyment out of all the vital music online to support musicians, local venues and arts organizations. Here are some upcoming online events that I will be checking out on my headphone rig:

-A celebration of the music of Jerry Garcia (on the 25th anniversary of his passing), to benefit the Rex Foundation, an organization that the Grateful Dead and friends started in 1983 to support local arts, science and educational organizations. [http://www.dazebetween.com];

-Weekly concerts, dance performances and artist conversations presented by Arts For Art as part of their ongoing “Crisis Fund Benefit” [http://www.artsforart.org];

-A series of concerts presented by irrepressible trombonist and humanist, Delfeayo Marsalis, as he organizes a new online benefit, (named after his late father, Ellis Marsalis Jr.), to help sustain New Orlean’s rich culture and its musicians [http://www.KNOMA.org];

-A series of weekly Sunday concerts to support the international music and art scene in vibrant Provincetown, MA. [www.ptownmusic.com];

-Online concerts to benefit local music venues such as the weekly online jazz concerts presented by the venerable jazz club, Village Vanguard [www.villagevanguard.com] or the terrific weekly online listening sessions presented by Newvelle Records in support of their artists and their sterling recordings [www.newvelle-records.com);

-Online performances to help support local orchestras like the inspiring online Tanglewood Festival presented by the Boston Symphony Orchestra. [www.tanglewood.org]. The recent Tanglewood Gala featured a moving online tribute to the legendary violinist, Isaac Stern, with animated performances and conversations with many musicians touched by Stern’s genius and humanity. Catch it again if you can online – along with all the other weekly concerts and classes from the new Tanglewood Learning Institute– all to benefit the BSO’s vital activities and music.

NEW CD RECORDINGS TO SAVOR:
Back in the listening room, here’s a new batch of audiophile quality CD’s that have been in heavy rotation for their smart musicianship, fresh sounds and superb recording qualities –all to lift our spirits!

First up is a CD from a trumpet maestro and great teacher who died recently and will be sorely missed: Wallace Roney. Roney’s 2019 Blue Dawn – Blue Nights [HighNote Records] is a gem of a recording powered by Roney’s mighty trumpet and his gift for bringing together young talent to feed off his exuberance. The opening number, “Bookendz”, is a great example: elemental bass and drums propel a bracing trumpet solo from Roney (his stippled bursts crackling with heat) along with bold solos from pianist Oscar Williams II (spinning carefree, light runs) and reedman Emilio Modeste (ranging with glee on his expressive soprano sax). Legendary drummer Lenny White contributes his dashing propulsion on his own tune, “Wolfbane”, his protean drums igniting a piercing Roney solo and another bluesy frolic from Modeste on his tenor sax. On other numbers, Roney’s talented nephew, drummer Kojo Odu Roney, brings his fresh energy to his drum kit where his cymbal/snare combinations resound with spacious, airy flow that foster the band’s pulsing groove and spunk.

In addition to propulsive nuggets like a jostling version of Dave Liebman’s “New Breed” (sweet and tart on Roney’s muted trumpet) and a frenetic “Venus Rising” with the band firing on all swinging cylinders, Roney and his young lions also dig deep into several heartfelt ballads. The softly caressed “Why Should There Be Stars” features Roney’s plaintive meditations where he utilizes silence between his notes as effectively as his crisp, clarion calls.

Roney’s shining trumpet is cushioned in Paul Cuffari’s warm bass lines (coherent to their purple depths) and Williams’ lightly patterned piano runs that resemble the spinning of a delicate spider’s web. All of these fresh sounds and grooves are captured in a wide-open and layered soundstage recorded in legendary Van Gelder Studio by Maureen Sickler and her team along with David Darlington’s talented mastering. Blue Dawn-Blue Nights is Roney’s parting gift: his trumpet keen and charging ahead (into posterity) with steadfast passion and playful joy, his encouragement of young talent insuring the future of the music.

Speaking of playful joy, there’s a lot of joy and sustenance to be discovered within the timeless songs of composers Alan Lerner and Frederick Loewe, an exemplary team that was equally at home writing for Broadway or for the jazz stage. Many of their timeless songs have now been re-imagined by an impeccable jazz band led by the vivacious woodwind maestro, Adrian Cunningham on his new CD, Adrian Cunningham & His Friends Play Lerner And Loewe [Arbor Records, ARCD 19470]. Cunningham is joined by reveling companions-pianist Fred Hersch, bassist John Hebert and drummer Eric McPherson- to deliver this garland of Lerner and Loewe songs teeming with swing and soul.

Cunningham leads with a supremely assured presence. He shifts effortlessly between his magnetic clarinet, sax and flute to mine the heart of each tune with a taste for slippery adventure that always returns to the irresistible pulse of these great melodies. Hersch, joined by his two trusted journeymen, Hebert and McPherson, is also an inspired force. It is a joy to listen to him at his keyboard as he unspools gossamer runs, melodic twists and gusts of low notes. Arbor Records’ Rachael Domber and her recording team bring their careful craft to capture the full harmonic body of Hersch’s piano, (a rare recording feat), the breathy flights of Cunningham on his woodwinds and all the crackling, alive drama in this zestful session.

Take a listen to the intoxicating duet between Cunningham and Hersch on their beautifully woven, “The Heather On The Hill”, or to the band’s “I Talk To The Trees” for music that sings with sultry, melodic spirit. Let this impeccable band swing you away on their arrangements of “I Could Have Danced All Night”; “I Was Born Under A Wandering Star” and “They Call The Wind Maria” – all graciously swinging gems highlighted by the comic slurs and growls from Wycliffe Gordon’s trombone (his embouchure captured tactile and slurry) or the brazen glow of Randy Brecker’s trumpet. The finale, “Brigadoon”, lands on tender ground easing us into another day with the curvaceous dignity of Cunningham’s glowing sax, Hersch’s soft keyboard caresses and the combination of McPherson’s circular brushes on snare joining Hebert’s bass lines, deep and embracing. This music is all about delivering the life-affirming spirit and wonder of Lerner and Loewe’s irresistible creations; it is a bundle of playful joy from start to finish.

It is also a treat to explore the music from a vocalist and composer who clearly treasures the stellar companionship of her band as much as her own vocal explorations. Singer, arranger and composer Susan Tobocman has released a new CD, Touch & Go” [Soliterra Records; www.susantobocman.com] and exploring all if its wistful and swinging terrain is a joy on a quality audio system. From the opening deep bass/piano rumba driving Tobocman’s arrangement of Irving Berlin’s “What’ll I Do” to the swerving grooves of Tobocman’s original, “Make Believe”, there is fresh adventure with Tobocman’s improvisory playfulness and the superb companionship of her band: keyboardist Henry Hey (a creative presence throughout, unpredictable and fresh); guitarist Pete McCann (a marvel on his cool and vibrant strings); saxophonist Joel Frahm (delivering inspired grooves and churning, soulful heat); Matt Pavolka on his rich and vibrant bass; Dave Eggar on his radiant cello and Michael Sarin holding it all down with his fluid, propulsive engine. Tobocman’s vocals, lithe and expressive, float above this swashbuckling musical drama, her voice clarion and adventurous ensnaring the essence of each song with spunk and charm.

Tobocman is also a talented composer and arranger. Her original instrumentals on Touch & Go are a verdant landscape for her talented band to linger and stretch out. The band soaks up every chance to explore the creative nooks of Tobocman’s smart arrangements as on her swinging arrangement of “You Only Live Twice”, (taking the James Bond theme into rollicking new territory) or on her “I Could Get Used To This”, a bluesy walk on the pump of Frahm’s sax, Pavolka’s dapper bass and Sarin’s crisp cymbal hits. Her two delectable arrangements of the Beatles’ classic, “Help!” capture the beauty and verve of her writing. The first version is a quiet, cello-deep pool of soul with Tobocman’s stirring vocals lithe and restless. Her second version closes the album with fiery energy, power chords and vocal molten heat from this dynamic band – always looking for the next fresh moment to evolve in Tobocman’s creations.

Turning to a global canvas of shape-shifting beauty, we find the creation of dynamic pianist, composer and arranger, Ryan Cohan, who leads a stellar big band joined by the Kaia String Quartet in performance of his original compositions on the CD, Originations [Origin Records; www.originarts.com]. This is music of open-eared exploration with a wide-open musical terrain where Arab melodies and rhythms meld with jazz and classical roots to inspire and beguile. The music allows capacious space for each musician to delight in their own instrument’s colors and textures to transform Cohan’s globe-spanning creation. The superb recording captures all of the diverse energy and dynamic contrasts in Cohan’s music with an up-front, crisp presence that delivers all the airy timbres and textures of this unique collective.

Each chapter of Originations contains surprising gifts of rhythmic beauty and melodic grace. Cohan’s inventions include soft shimmering ballads, such as his willowy “Heart,” propulsive and inviting on its dipping string caresses and the soaring colors of Tito Carrillo’s flugelhorn. The ensemble can also dance and soar, as on Cohan’s playful “Sabra” that swarms with staccato string lightness and teeming percussion, with Geof Bradfield’s pungent bass clarinet weaving its breathy, serpentine drama. “The Hours Before Dawn” evolves slowly on tremulous strings, plucky piano and the deep throb of bass clarinet alongside Michael Raynor and Omar Musfi’s rousing percussion. The prickly “Imaginary Lines” moves in quick pulses with John Wojciechowski’s clarinet nestled in Carrillo’s crisp trumpet calls. The adventure concludes with Cohan’s magnetic centerpiece, “Essence”, where a beautiful calm is followed by a dashing, dancing riot of instrumental colors. Here is a coiled blast of the blues, a pulse of a rhumba and a dash of bebop (in Wojciechowski’s playful flute solo) all dancing to Cohan’s sprawling vision. Palestinian, Israeli, Jordanian – there are no borders to Cohan’s music: optimistic, rambunctious and flowing in its boundless quest for unity, light and dance.

The verve and beauty of Cohan’s music leads me to recommend one final CD in this latest roundup of audiophile quality recordings. This new classical gem is from another gifted composer, Jonathan Leshnoff, in his delectable exploration of the unique sounds created when a solo clarinet and bassoon join forces with a sparkling orchestra. Leshnoff’s Concerto For Clarinet and Bassoon is performed by the venerable Pittsburgh Symphony conducted by their Music Director, Manfred Honeck, and recorded on a new hybrid CD/SACD in sterling fashion by the recording team of Sound/Mirror in association with the Fresh! label of Reference Recordings [www.referencerecordings.com].

This recording gem (like so many other Reference Recordings) is a superlative example of how careful recording can bring the images of a full orchestra to vital life on a quality high-end audio system. Accompanying the notes to the recording, there is a photo of the Pittsburgh Orchestra on the stage of the Heinz Hall for the Performing Arts in Pittsburgh. When one listens to this recording on a quality high end audio system, (like on the Goldmund, Seidenton, Ensemble audio system), each section of the orchestra is imaged precisely in proper position and height as they are pictured in their group photo. One can distinctly hear instruments layered in front or behind each other- a rare feat of recording. There is delight in hearing those clarion trumpets (positioned on low risers on the far-right of the Heinz stage) in all their regal glory. This is the essence of the audiophile thrill: to listen at home and re-create, as close as possible, the immersive experience of a live concert event.

Leshnoff’s Concerto For Clarinet and Bassoon, with this performance’s reveling soloists, clarinetist Michael Rusinek and bassoonist Nancy Goeres, is a questing piece taking full advantage of the spikey-sweet sounds of clarinet and bassoon in musical dialogue with a kinetic orchestra. Its three short movements offer trim, airy inventions that combine skittering melodies and runs (Leshnoff loves the sound of echoing ascending riffs that have clarinet and bassoon leaping in supple woody glow), with moments of soulful serenity. Leshnoff’s creation reminds me of the sunny and soulful music of another great American composer, Aaron Copland. I hear in Leshnoff’s inviting music elements of Copland’s open-hearted lyricism and an adventurous play with instrumental colors. Leshnoff leads his intrepid bassoon and clarinet creation into sprite new territory that both soothes the spirit and challenges the ear.

Manfred Honeck and the Pittsburgh Symphony also bring an immersive combination of soul and litheness to their performance of Tchaikovsky’s Symphony No. 4. This galloping and deeply moving piece sounds fresh and alive in the handsome timbres of the Pittsburgh’s string sections and in the bombastic crispness of the brass and horn sections that light up Heinz Hall with their regal, airy calls. Turn the volume up (with Reference Recordings their natural recording levels allow for this without compression), and hear how the Pittsburgh and Honeck mine each of Tchaikovsky’s stirring moments with deliberation and a great feel for momentum and pacing. Every nook and cranny of this majestic music is deeply explored in this performance. Highlights are many and include the beauty of the lithe curlicue motifs passed amongst the woodwinds in the First Movement; the dancing, resonant deep string pulses of the Second Movement and the Final Movement’s galloping rush of brass fury. Tchaikovsky’s masterpiece still delivers goose bumps and spiritual uplift as proven in this new Fresh! Pittsburgh Symphony recording that renews our spirits (bathed in its final trumpeting glory) for another day.

You can read more of Nelson’s concert reviews at www.bostonconcertreviews.com.