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Late '60s let's-make-lots-of-money British mainstream studio action flick here (The Italian Job), generally well regarded for the acting and the action. John Marks of The Tannhauser Gate (http://www.thetannhausergate.com) discards the husk of the film and enjoys the fruit of the opening credits theme song by Matt Monro. As always, his choices and commentary are a... Read More »

In this week's "Vault Treasures," our trusty musical guide John Marks shares with us a jazzic voice that I was not familiar with:  Blossom Margrete Dearie, AKA "Blossom Dearie." Last week's brief essay covered Julie London, a person of real renown; but this week's "Blossom Dearie" is likely to provoke a "Say what?!" even from... Read More »

John Marks is a lover of fine music videos. In our generation, a major new blessing has been the marriage of high-quality audio with high-quality video to provide us with both the sights and sounds of major performers presenting us with their artistry. It started with videotape and NTSC resolution, but progressed to DVD, and... Read More »

When the heads of Warner's headquarters learned of the sale of Polish Recordings, then—as Bartek Chaciński writes in the article Marka dużej wagi—they asked only whether it is a company that has Krzysztof Komeda's Astigmatic in their portfolio. This album is still among the best jazz recordings—not only in Poland but all over the world.... Read More »

The Avalanches, Wildflower Astralwerks 2547900289 $19.99 for the two LP set "Is that serious music?" I remember my first wife asking me that question back in 1989 when I brought home Pixies' Doolittle and gave it an inaugural spin. I'd gotten all the way to the eighth song on the album, "Mr. Grieves," to the part where... Read More »

In this week's cross-published installment of "Vault Treasures" from his site, The Tannhauser Gate (http://www.thetannhausergate.com), John Marks shifts his attention to one of the lesser-known (today) singers of the 1950s, Julie London. Her story is a Hollywood-classic "I was discovered while doing something pretty mundane, and then I became a star." But her natural singing ability, unschooled... Read More »

It's refreshing not to have to cringe at a "new" singer's technical flaws, as I find myself doing more and more. Klaus Florian Vogt, in a program is mostly drawn from the Heldentenor (heroic tenor) repertoire, offers a clear, compact tone, a reliable legato, and some interpretive smarts. Vogt's actual instrument sounds, as recorded, more... Read More »

This week, John Marks touches on one of the truly great popular singers of the 20th Century, Frank Sinatra. Where Are You? comes to us from the later 1950s, and shows Sinatra maturing in his mastery. It also shows us just how great the recording arts had already progressed by this time. With his "Vault Treasures"... Read More »

For this week's "New Music" selection, John Marks shares with us Sergey Schepkin's Bach:  The Six Partitas. I agree completely with John when he writes "Familiarity with at least some of Bach's masterworks is a matter of core Cultural Literacy..." Amen! Think of it as a matter of "cultural critical mass"...the truly worthy things that you... Read More »

"Carmine said one boy, here are two!" – Larry London, The Freshman I'm not sure why I started hearing the late Maximillian Schell's heavily accented voice in my head the first time I listened to Jane Ira Bloom's new CD, Early Americans. I suspect it had something to do with reviewing Todd Hunter's Eat, Drink,... Read More »

For John Marks' initial cross-publication to Positive Feedback of his Tuesday offerings on great recordings from The Tannhauser Gate (http://www.thetannhausergate.com), we offer the first of his columns:  Clifford Brown with Strings. As usual, John enriches our lives with recorded gems that we should all be aware of...and this time is no exception. Read on! Dr. David W. Robinson... Read More »

Delmoni & Martorella: Chopin/Milstein One of the categories of music reviewing and commentary that John Marks brings to Positive Feedback from The Tannhauser Gate is that of music videos. With the global explosion of online videos driven by YouTube, music lovers and audiophiles have been given a great opportunity to see as well as hear great performances, and... Read More »

John Marks' first cross-published music review from The Tannhauser Gate (http://www.thetannhausergate.com) is of a composer near and dear to my heart for many years now:  Ottorino Respighi. I have many of his recordings various formats, including LP, CD, and SACD, but am always pleased to find a new recording that renews my delight with his creative... Read More »

I absolutely adore Ingvild Koksvik. A small part of that is because she's this beautiful and almost ethereal creature wandering through vast Norwegian landscapes and singing in this clear and goosebump-inducing voice that is sounds like it's from a dream, one of your favorite dreams, the kind that make you regret you eventually woke up—and... Read More »

Fiona Joy - Into The Mist I have been spending some time with several new titles from Cookie Marenco's Blue Coast Records, all in Quad DSD. One of them was by an artist that I've developed a great deal of affection for, Fiona Joy. The album is entitled Into the Mist, and for me, that... Read More »

Tchaikovsky, Symphonies 1, 2, and 5. Royal Liverpool Philharmonic Orchestra. Vasily Petrenko. Onyx 4150 (2 CD's) Vasily Petrenko found the poetry in Shostakovich—what will he find in Tchaikovsky? Symphonies Nos. 1 and 2 are my favorite of the six and we seldom hear them: Winter Dreams and the Little Russian. People of my generation know... Read More »

Like most audiophiles who are into jazz, I tend to reach way back into history for my sonic fixes. I'm talking late '50s and early '60s, of course, and maybe a few Three Blind Mice titles from the mid-'70s just to mix things up. The idea of choosing a modern jazz piece as a reference,... Read More »

When listening to this album, I found it difficult to do so with a strict, examining state of mind. I wanted to capture all of the technicalities and mechanical bits within each song, so that I could later articulate what those ingredients did to either help or hurt the album. I wanted to listen to... Read More »

One of the advantages of writing about LPs and turntables for the last 18 years is that sometimes records just show up in my mailbox without warning or reasonable explanation. I know nothing about Chicago's Milk Factory Productions, and even less about The 3.5.7 Ensemble, but my intuition tells me that the same intrepid individual... Read More »