First released in 1992 under the general title "Tangazo!" (after Piazzola's piece), this exceptional recital was the first in what promised to be a series of Argo recordings featuring Michael Tilson Thomas and his own New World Symphony. That project fizzled out when Argo did, as did this talented orchestra's subsequent deal with RCA. Still, collectors can take heart that these fantastic performances, including reference editions of the Chávez Sinfonia India, the Ginastera Estancia Suite, Revueltas' Sensamayá, and the Piazzola, are now available at budget price. The sonics were superb in 1992 and still are. Ten Twinkies and a Devil Dog chaser to all concerned. [7/17/2001]
–David Hurwitz

Jennifer Higdon is emerging as one of America's greatest living composers. Her music has the distinction of being at once complex, sophisticated but readily accessible emotionally.

This is a delightful disc and these recordings have been available for over 20 years. The opening theme of the Handel is a real joy, 'catchy' and very welcome. Marisa Robles captures the spirit if it to perfection and the larghetto is wonderfully controlled.

by Stephen Thomas Erlewine:
Atom Heart Mother, for all its glories, was an acquired taste, and Pink Floyd wisely decided to trim back its orchestral excesses for its follow-up, Meddle. Opening with a deliberately surging "One of These Days," Meddle spends most of its time with sonic textures and elongated compositions, most notably on its epic closer, "Echoes." If there aren't pop songs in the classic sense (even on the level of the group's contributions to Ummagumma), there is a uniform tone, ranging from the pastoral "A Pillow of Winds" to "Fearless," with its insistent refrain hinting at latter-day Floyd. Pink Floyd were nothing if not masters of texture, and Meddle is one of their greatest excursions into little details, pointing the way to the measured brilliance of Dark Side of the Moon and the entire Roger Waters era. Here, David Gilmour exerts a slightly larger influence, at least based on lead vocals, but it's not all sweetness and light – even if its lilting rhythms are welcome, "San Tropez" feels out of place with the rest of Meddle. Still, the album is one of the Floyd's most consistent explorations of mood, especially from their time at Harvest, and it stands as the strongest record they released between Syd's departure and Dark Side.

Sting :: Eric Clapton :: R.E.M. :: Alanis Morissette :: Page & Plant :: Paul Simon :: Sheryl Crow :: k.d. lang :: Chris Isaak :: The Corrs :: Kiss :: Bryan Adams :: Elton John :: Hootie & the Blowfish :: The Cure :: Alice in Chains :: Live

New age pianists split performance duties down the center on this holiday album. Each chose to perform an extended variation/improvisation, plus a shorter song — only four tracks in all. Jones performs an eleven-and-a-half minute variation on "Good King Wenceslas" and the radiant "Carol of the Bells." The "Wenceslas" variations are not the typical jolly-good version you might hear from carolers. Jones opens up the vistas of passages giving a sense of warmth. Then he will flit the melody like the wind swirling snowflakes. At these moments, you might forget about the tune, but of course the warmth of the noble melody is repeated. "Carol of the Bells" peals out the theme immediately, and Jones bases the variations on rhythmic patterns rather than the melody; he reinvites the melody in a somber tone. David Lanz's "What Child is This" is delicate and reverential. The album ends with a dynamic 12-minute variation on the famous theme from Pachelbel's "Canon in D Major." Because of the abstractions in the variations, this album will be suitable for those occasions where you want suggestions of Christmas, but don't want to go overboard.

Carol Wright, All Music Guide