Word: horning
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Dates: during 1970-1979
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...tough, because you're responsible for pushing the lead guitarist to whatever heights he's trying to achieve, as well as keeping the music on an even keel by keeping the time and most of the beat, and most importantly, filling out the sound as though there was a horn section. Ask Keith Richards, he's the best around. But his energy and his unbounded onstage joy carry Poco, and seep into Timothy's bass playing. George's drumming, and Paul's guitar work, resulting in five people chanelling their creative energies into the joy of making music for people...
...clear that what he was actually fronting was a very good soul band, nearly of the caliber of the Motown house band. But in the last six or eight months, he has disbanded it, in favor of the six man band he originally started in 1965. (I found his horn section, nearly intact, backing Stevie Wonder at the Rolling Stones Concerts.) In 1965, Paul Butterfield formed the first, and maybe the best, integrated Chicago-style blues band. He had Mike Bloomfield and Elvin Bishop on guitars, Sam Lay on drums, Jerome Arnold on bass, and Mark Naftalin on keyboards. Magnificent...
...Wind Concertos (various soloists, the Berlin Philharmonic, Herbert von Karajan conductor; Angel, 3 LPs, $17.98). An exquisitely executed anthology for the Mozartean who has everything-or thinks he does. The selections range from what might be called the camaraderie concertos, the Sinfonia Concertante, K. 297b (featuring oboe, clarinet, bassoon, horn) and the Flute and Harp Concerto, K. 299, to the solo works for bassoon (K. 191), flute (K. 313), oboe (K. 314) and clarinet (K. 622). Von Karajan's soloists, drawn from the Berlin Philharmonic, are superb...
Mozart: The Four Horn Concertos (Barry Tuckwell soloist, Academy of St. Martin-in-the-Fields, Neville Marriner conductor; Angel, $5.98). As a solo instrument, the French horn lacks the innate variety of the piano or violin. That is a fact to be noted, then forgotten, while listening to this ravishing LP. Tuckwell plays the concertos as though they were as emphatically profound as anything Mozart ever wrote-which in the case of Nos. 3 (K. 447) and 4 (K. 495) is not too far from the truth...
Mozart: Eine Kleine Nachtmusik, Sinfonia Concertante for Violin and Viola, K. 364, Symphony No. 32 (Academy of St. Martin-in-the-Fields, Neville Marriner conductor; Argo, $5.95). Whether accompanying French-horn players (see above) or reinterpreting the Baroque repertory (the Bach orchestral Suites, the Handel Concerti Grossi, Op. 6), Neville Marriner is one of the best and busiest maestros on the London recording scene. His Mozart, an artful shading of sinew, sensuousness and sonority, is as good as anything he does. Indeed, Nachtmusik is the freshest, rosiest reading of that serenade to come along in years...