CLASSICAL Strauss, Richard: Symphonia domestica, Op. 53. Vienna Philharmonic, Lorin Maazel, conductor. (Deutsche Grammophon digital 413 460-1 [LP]; 413 460-2 [CD] -- with Macbeth, Op. 23) -- Strauss was roundly roasted in 1904 for ``daring'' to put his family life into a sprawling tone poem. Over the years, this piece has shared, with the ``Alpine Symphony,'' the neglect of all but the staunchest Strauss conductor. But the barriers are breaking down, and there have been, over the years, at least eight recordings of the wo rk, with this Maazel reading being the latest. And until RCA reissues the classic Reiner/Chicago Orchestra performance, this will be the ``Domestica'' of reference. It was recorded live, though the audience is unusually quiet. Maazel keeps the balances remarkably clean and textures clear, and he has a fine sense of the architecture of this huge work. A few moments of arbitrariness intrude, but hardly in a damaging fashion. The slightly dry acoustic of the recording is an asset for Maazel. The CD is a parti cular pleasure to listen to, and it has the added bonus of Maazel's gripping account of ``Macbeth.'' -- Thor Eckert Jr. Tchaikovsky, Peter Ilyich: Symphony No. 5 in E minor, Op. 84. Rimsky-Korsakov, Nicolai: March from ``The Tsar Sultan.'' Royal Philharmonic Orchestra, Andr'e Previn, conductor. (Telarc digital DG-10107 [LP]; CD-80107 [CD]) -- This is Telarc's first venture overseas, and a handsome one at that. Andr'e Previn is now music director of the Royal Philharmonic, and one hears in this orchestra elements of what made his recordings with the London Symphony in the '70s so special. The fire of the '70s Previn has been noticeably reduced these d ays, and this Fifth lacks the sheer strength and volatility it really needs. But there is a gentle persuasiveness to this performance that is a nice alternative to the hyper-emotive approach that the digital recording medium might revel in. The sound on the CD is smooth and unobtrusive, and it does particular justice to Previn's elegant phrasing and careful balancing. -- T. E. Jr. JAZZ/POP/ROCK ``International Sweethearts of Rhythm.'' (Rosetta Records 1312); Dinah Washington: ``Wise Woman Blues -- Rare and Early.'' (Rosetta Records 1313) -- These two releases from Rosetta Records are further proof of the excellent quality and format of the Rosetta reissues, the Women's Heritage Series, which focuses on early female blues singers and jazz instrumentalists -- the famous as well as the lesser known. In the case of the International Sweethearts of Rhythm -- the first racially mixed, all-w oman jazz band -- the label ``lesser known'' is simply the result of lack of media coverage, since the band was well known and loved by black audiences in the United States and by troops overseas during the 1940s. This is the first complete LP of the Sweethearts' music, and it is an excellent collection that clearly delineates the solid jazz feel and strong rhythmic pulse of this talented organization. The music speaks for itself, with its tight, swinging ensemble and fine solo work, particularly by trumpe ter Tiny Davis. Leader Anna Mae Winburn contributes some hip and sassy vocals.

The Dinah Washington album is a joy, not only because of the amazing vocal and stylistic maturity of her early years, but because of the wonderful instrumental backing -- Lucky Thompson's All-Stars and the Lionel Hampton and Duke Ellington Orchestras, with trumpeters Snooky Young, Cootie Williams, and Cat Anderson and saxophonists Arnett Cobb, Johnny Hodges, and Paul Gonsalves, to name a few. As always, the liner notes are detailed, engrossing, informative, and fun. Records can be ordered direct from Ro setta Records, 115 West 16th Street, New York, N.Y. 10011. -- Amy Duncan The Everly Brothers:200 EB '84 (Polygram 822 431-4 M-1) -- Popular with country-western and pop audiences, the Everly Brothers recorded such '50s classics as ``Bye Bye Love,'' ``Wake Up Little Susie,'' and ``Bird Dog.'' Having survived the golden days of rock, the English invasions, and the psychedelic era, the Everlys have tapped their experience and nurtured their talent, making this new release rank with their hit albums of the past. Except for a more complicated weaving of guitar harmonies, their music hasn't changed since th e '50s. Paul McCartney's contributions are integral to this record's potency. The song ``On the Wings of a Nightingale,'' which he wrote, gracefully glides through prisms of harmonies, sprinkling a little magic over the album. Because McCartney enjoyed the Everly Brothers in their prime, it seems fitting that he make his mark here. Bob Dylan's ``Lay, Lady, Lay'' almost escapes tarnishing this album's polished luster of synchronized harmonies. But the song's rough-hewn flavor doesn't quite mesh with its fell ow tunes. Dave Edmonds, another figure from the golden rock era, was producer. -- Roger Dean du Mars Kevin Eubanks: ``Opening Night.'' (GRP A-1013) -- The talented young guitarist is joined by a bevy of talented jazz players, including tenor saxophonist Branford Marsalis, alto flutist Kent Jordan, pianist Kenny Kirkland, bassists Buster Williams and David Eubanks, percussionist Big Black, and drummers Tommy Campbell and Marvin Smith. Eubanks has written all the material, and shows himself to be a skillful composer inclined to complex song forms in a contemporary style. But it's his improvisations that make this album wo rk. He employs both acoustic and electric guitars in an individual way, reflecting both jazz and classical influences (Wes Montgomery, Bartok, and Mahler are all mentioned in the liner notes). The settings are perfect -- note especially Kenny Kirkland's beautiful lines and Branford Marsalis's vigorous tenor solos. Eubanks is particularly effective on acoustic guitar. -- A. D.

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