Jerome Moross: Frankie and Johnny; Those Everlasting Blues; Willie the Weeper
Melisa Barrick and Denise Edds, sopranos; Diane Kesling, mezzo-soprano; John DeHaan, tenor; Hot Springs Music Festival Chamber Chorus and Symphony Orchestra; Richard Rosenberg, conductor.
Naxos 8.559086

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Born in New York, in the same neighborhood that produced Aaron Copland and George Gershwin, Jerome Moross composed music for the movies that indelibly identified him with the Wild West. His theme for The Big Country immediately leaps to mind when one mentions music for Western film, but the composer’s other music showed urban and jazz influences. All three works on this delightful disc were written, in one way or another, for the dance, though singers are included in the orchestral complement. They are genuine Americana discoveries, and are well played and recorded on this CD, part of Naxos’ American Classics series. The young American singers make a fine impression. The recorded sound is detailed and stereo is deftly used to keep everything clear.

Vivaldi: Concertos for Mandolin; Concertos for Diverse Instruments
Europa Galante, soloist; Fabio Biondi, violin and director.
Virgin Veritas 45527

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Vivaldi, the Baroque composer who became well known to the contemporary public thanks to the use of his music in mainstream movies like Kramer vs. Kramer, wrote for every conceivable combination of instruments. The different arrays of solo groups on this CD are tantalizing just to see in print, and remarkable to hear. Where else can you find a concerto for three violins, oboe, two "flauti diritti," two "viole all’inglese," salmoe, two celli, two cembali, and two violini "in tromba marina?" Oh yes, and the better known concerto for two mandolins, too! The performances are committed, strong, and full of zest and joie de vivre. The recording captures the glorious din with detail and welcome warmth. In his recordings over the past two years, Fabio Biondi has identified strongly with Vivaldi, almost as if he was the composer reincarnated, and this delectable CD upholds that fanciful impression.

Sinead O’Connor: Sean-Nós Nua
Vanguard 79724

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Sinead O’Connor hasn’t had an easy go of it. After a promising beginning, her career was sunk by unpopular political grandstanding and lackluster musical efforts. More than a decade later this once-cynical vocalist seems to be finding some peace by way of her Irish roots. The result is Sean-Nós Nua, a collection of traditional Irish songs rearranged with O’Connor’s distinct vocals at the helm. The overall effect is a record that places this impassioned singer in a mellower, but no less compelling, light. Every song is beautifully recorded and orchestrated and O’Connor’s voice has never been more assured or involving. Many people say that age has a way of putting things in perspective. In the case of this artist’s ode to her roots, her newfound maturity suits her art and disposition well.

Soundtrack: The Lord of the Rings: The Two Towers (Original Score)
Reprise 48379

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Although the score for The Lord of the Rings: The Fellowship of the Ring leveraged familiar devices used in other films such as Conan the Barbarian, it continues to be an incredibly satisfying musical experience. The Two Towers ups the ante by offering wonderful guest vocalists and a beautiful and original theme in support of the Kingdom of Rohan. Like its predecessor, this score will cause the hairs on the back of your neck to stand on end. Howard Shore’s affinity for stirring brass and choral arrangements -- such as in "Foundations of Stone," the majestic "The Riders Of Rohan," and the expressively complex "Helm’s Deep" -- makes this effort an emotional powerhouse. I even find the music eclipsing the onscreen action in some instances. This recording also surpasses the first with boundless dynamic bite and snappier bass response.

Paul Simon: Songs from the Capeman
Warner Brothers 46814

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If I hear something I like, it doesn’t take long for me to buy it. This was the case when I recently picked up Paul Simon’s 1997 release, Songs from the Capeman. While this Broadway musical may have failed on stage, each song is an infectious tapestry of music and lyrics. A mix of influences from Puerto Rico and '50s rock, Simon’s story of a murderer turned poet is energetic and inventive. This recording is also one of Simon’s best. The music and vocals have astonishing presence and an effortless flow that envelops the listener. In many cases instruments sound so real it’s frightening. Listeners should be aware that Simon does make liberal use of profanities, but his choices fit in the context of the story’s characters and mood. This CD is a jewel that is readily available on the used market. I think it’s time to give it a second chance.