Record Reviews D.J.H.

It is a shame that Denmark's favourite son, Carl Nielsen, is suffering from so much neglect at present. The lack of recordings of his works is a hindrance both to the record-buyer who Is a confirmed Nielsen enthusiast and to people interested in getting to know them.

Within the last year there has been a slight but significant increase in the number of new recordings. It is heartening to notice that Leonard Bernstein is becoming a champion of the composer—in May. 1965, he went to Denmark for the Nielsen Centenary celebrations and recorded Symphony No. 3 (The Espansiva) with the Royal Danish Orchestra.

There were also two new versions of No. 4 (The Inextinguishable) released, one by Max Rudolf and the Cincinatti Symphony, the other by the Royal Danish Orchestra conducted by Igor Markevilch. Obviously, there is hope for some new recordings of his other works in the near future. However, until this occurs we are dependent on early recordings, most of which have been deleted from the catalogues.

HMV have issued on their cut-price Ace of Clubs label Thomas Jensen conducting the Danish State Radio Symphony Orchestra in Symphony No. 1 Op. 7 (ACLM 279 Mono). The disc was first released as far back as 1952, but the new transfer has been remarkably clear. Jensen, a noted interpreter of the composer, conducts an orchestra famed for its Nielsen recordings. The performance is very good—I was especially impressed with the playing of the wind and brass sections. This particular symphony, with its apparent Dvorak influence, would be an ideal introduction to Nielsen. Highly recommended. One can only hope that HMV will reissue on the same label the Danish Radio Orchestra's recordings of The Espansiva (with Tuxen) and No. 5 (with Jensen).

I recommend a Decca release (SXLM 6210 Stereo) to those people who think that Rossini's entire musical output consists of The Barber Of Seville and overtures to The Silken Ladder. Cinderella, The Thieving Magpie and William Tell. The disc consists of highlights of I'Italiana In Algeri—an early work of the composer (1813). The selections have been taken from the complete recording (which has not been released here) and Decca have been successful in choosing a series of episodes which effectively link the rather complicated plot.

Mustafa, Bey of Algiers, tires of his wife Elvira and plans to marry her off to Lindoro, an Italian slave. The Bey desires an Italian girl and his pirate chief brings Isabella back from Italy for him, but she happens to be in love with Lindoro, who is to marry Elvira, who is the Bey's wife, who is . . . oh, never mind!

The music is charming and Teresa Berganza and Luigi Alva are most impressive as Isabella and Lindoro. The orchestral and chorus work (by the chorus and orchestra of the Maggio Musicale Fiorentino, conducted by Silvio Varviso) is up to the high standard of the rest of the disc. Recording, made in the Teatra della Pergola, Florence, is very good.

It seems rather irrelevant to begin a record review with comments on the design of the jacket, however, when artists such as Peter, Paul and Mary release a number of lps, all with superb covers and sleeves, comment does become appropriate.

Mary's husband, Barry Fenstein, has been responsible for the photography on all the discs (for example the dynamic photos on See What Tomorrow Brings (Warner Bros. WBS 1615 Stereo) and Peter, Paul and Mary in Concert (Warner Bros. WBS 1555 Sterio) and Push Pin Studios have done all the jacket design. The latest Fenstein Push Pin effort on Album (Warner Bros. WBS 1648 Stereo) is right up to standard with a hilarious spoof of an ancient family photo on the front (Mary in long skirl and huge, frilly bonnet) and a sleeve which consists of nine assorted photos.

The musical performances differ from other PP&M albums. The main change is In the instrumental backing—the trio has gone the way of other "folkies" and use everything from cor anglais and bass flute to piano, drums and organ. For entertainment value the three are unbeatable—Paul's hilarious Norman Normal, with his imitations of everything from a crowd to a "Fuzz" bass and lead guitar, is a far cry from their attractive version of Kisses Sweeter Than Wine which immediately precedes it. However, the material all fits together extremely well and provides a most enjoyable trip.

I have often found that the relative musical ability of various popular Rhythm and Blues groups is inversely proportional to their degree of loudness—for example, the ear-piercing, sloppy playing of the Pretty Things and the Downliners Sect.

This doesn't apply to the Yardbirds, who would possibly be the loudest of all—in their recent Town Hall performance even columnists who are avid pop fans couldn't stand the noise as lead guitarist Jeff Beck pounded his sound through three interlinked amps producing over 230 watts!

On their latest record. The Yardbirds (Columbia MSX 60063 Mono) they demonstrate their noise level, but also show that they are a group of most accomplished R. & B. musicians.

The sleeve note, written by drummer Jim McCarty, says: ". . . It has often been said that Jeff Beck is one of the leading guitarists in the country," and I'm inclined to agree with him. The fault with the lp is a lack of contrast. Everything except Turn Into Earth and Farewell is a pounding up-tempo tune played In the characteristic Yardbirds manner, which has become so much a part of them that they won't change it. Best tracks are Over, Under, Sideways, Down; The Nazz Are Blue; I Can't Make Your Way: Rack My Mind; and He's Always There.

All in all, one of the best pop records I have heard for some time.