The art and morality of the transcription was a hotly disputed question until very recent times; a climate of artificial purity in concert programming conveniently ignored the historical fact that virtually every Western composer since Pérotin has felt the necessity to use other men’s music, either to change the musical forces employed or to alter, embroider or vary the original material. Sense has prevailed, and even some of the more outrageous potboilers in the demi-monde of the virtuoso salon encore have gained perhaps even greater respectability in revival than they actually had as the Gebrauchsmusik of their day.

Nimbus are a steadfastly faithful label. By this I mean that even the products of their vinyl twilight days have been transferred to CD and kept in the catalogue. On the other hand they are not given to discounting. Their products remain confidently at premium or upper middle price except in the case of their occasional forays into jumbo boxes. Sofia-born Marta Deyanova has been a name long associated with Nimbus alongside those of Shura Gehrman, Hugues Cuénod, Youra Guller and Vlado Perlemuter. A graduate of the Bulgarian State Conservatory, she first appeared in the UK in 1975 at the Wigmore Hall.

There's all sorts of beauty. There's Mozart's beauty and Bach's beauty and there's Debussy's beauty and Bartók's beauty. But Mozart's beauty is not Bach's beauty and Debussy's beauty is not Bartók's music. So while one can admire the hard beauty of Zoltan Kocsis' 1988 recording of Debussy's recording, it is impossible to approve of it. Kocsis' playing is beyond reproach: whatever is on the page comes out of the piano, every nuanced dynamic, every glancing grace note, every subtle rhythm. But his clarity is cold and his lucidity is cruel. Reflects dans l'eau is frozen into crystal. Cloches à travers les feuilles rings clangorously. Poissons d'or glints but does not gleam. Reverie is sleep with no rest and the Berceuse héroïque is a last post over a dead fort in the desert. It is all very beautiful, but it is all an awful beauty. Philips' early digital piano sound is clean, dry, and efficient.

Dans ce disque paru en 1996 (qui est aussi l'année de son anoblissement par la reine Elisabeth II), Felicity Lott ressuscite le répertoire léger français de la première moitié du XXe siècle. “Dame Felicity’s collection of lollipop-encores, with the faithful Graham Johnson at the keyboard, is a jolly affair, not to be taken in one gulp. Any one or two of these songs and arias might be indeed often have featured at the end of their recitals. “

"…this anthology represents the celebrated pianist at his most humanly sympathetic. There is a feeling that he has captured the essence of what Liszt wished to convey in these, the most faithful of all of his reworkings. Der Muller und der Bach is unparalleled in its transcendant beauty; the langour of Bolet's approach, unfettered by any hint of mannerism is magical. He tends to understate the emotional content behind the melodies, but this heightens their dignity. The recorded sound captures even the most ethereal touches with sensitivity, the roulades of accompanying figures coming off the pianist's fingers in great washes of colour."

I must applaud Nikolai Petrov's imaginative approach to programme-planning. After the remarkable CD of Paganini-inspired piano works containing his stupendous account of the 1838 version of the Liszt Paganini Etudes ( OCD144 12/87), we now have two more discs that also follow a thematic format. The contents of each have been chosen so as to give a historical survey of a particular aspect of piano music, thus continuing the tradition set by Anton Rubinstein in his historical concerts of the mid-1880s.

"A Fable" by Tigran Hamasyan is a masterful blend of intricate jazz harmonies and Armenian folk influences, showcasing his virtuosic piano technique and expressive vocals. Released in 2011, the album navigates a wide emotional landscape, from the contemplative mood of "Rain Shadow" to the lyrical beauty of "A Memory That Became A Dream." Hamasyan’s rhythmic inventiveness, melodic sensitivity, and harmonic sophistication are evident throughout, making "A Fable" a compelling journey through modern post-bop infused with personal storytelling and cultural depth."

"The Three Sounds + Gene Harris Of The Three Sounds" is a rich compilation that highlights the soulful piano artistry of Gene Harris, both within the iconic trio The Three Sounds and in featured performances under his own name. This 2012 release brings together a diverse selection of tracks that blend jazz, soul, and jazz funk elements with smooth grooves and expressive melodies. The first part showcases The Three Sounds’ signature style, combining tight rhythm section interplay with Harris’ blues-inflected piano lines. The second part expands the musical palette with interpretations of standards like "Django" and "Emily," alongside groove-driven pieces such as "Listen Here" and "Killer Joe." The album captures the warmth, accessibility, and rhythmic vitality that define Gene Harris’ enduring legacy."

"Stick-Up!" by Bobby Hutcherson is a standout hard bop session that highlights the vibraphonist’s distinctive voice and compositional strength. Recorded in 1966, the album features an exceptional lineup including Joe Henderson on tenor saxophone, McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums. The music blends rhythmic sophistication with melodic clarity, showcasing Hutcherson’s ability to balance accessibility with innovation. Tracks like "Una Muy Bonita" and "Black Circle" reveal rich harmonic structures and fluid improvisation, while "Verse" stands out as a more expansive and contemplative piece. With its cohesive ensemble interplay and refined sound, "Stick-Up!" remains a key recording in the Blue Note catalog and a testament to Hutcherson’s artistry."

"Rubisa Patrol" by Art Lande is a distinctive ECM release that blends contemporary jazz with folk influences and chamber-like sensitivity. Featuring a quartet with Mark Isham on trumpet, flugelhorn, and soprano saxophone, Bill Douglass on bass and various flutes, and Glenn Cronkhite on drums and percussion, the album explores a wide range of textures and moods. Lande’s piano work is both lyrical and exploratory, guiding compositions that shift between structured themes and open improvisation. Pieces like "Celestial Guests / Many Chinas" and "Bulgarian Folk Tune" highlight the group’s global influences, while "A Monk In His Simple Room" offers a reflective and intimate conclusion. The album captures ECM’s signature spacious sound and artistic depth."

"Once Is Not Enough" by the Frank Wess Nonet is a refined and swinging modern jazz recording that highlights the legendary saxophonist and flutist’s enduring artistry. Leading a stellar nonet featuring accomplished musicians such as Terell Stafford, Steve Turre, and Ted Nash, Wess delivers a program of original compositions alongside timeless standards. The arrangements are rich and sophisticated, blending the elegance of swing with the harmonic depth of post bop. Tracks like "Once Is Not Enough" and "You Made A Good Move" showcase tight ensemble interplay, while interpretations of "Lush Life" and "Fly Me To The Moon" reveal a lyrical sensitivity and expressive nuance. The album stands as a testament to Wess’s ability to balance tradition and innovation with effortless style."

"Donna Lee" by Anthony Braxton is a striking example of early 1970s avant-garde jazz, combining free jazz experimentation with structural complexity and reinterpretation of jazz tradition. Featuring Braxton on alto saxophone alongside Michael Smith on piano, Peter Warren on bass, and Oliver Johnson on drums, the album explores a wide range of sonic ideas and improvisational frameworks. The title track offers a bold and deconstructed take on the bebop classic, while compositions such as "H-204 3=HF G Composition No - 23L" and "60666 C -66M Composition 23K" highlight Braxton’s unique compositional language. The two-part rendition of "You Go to My Head" provides contrast, blending lyricism with abstraction. This album stands as a significant document of creative jazz innovation and artistic freedom."

"Dancing By A Rainbow" showcases Eddie Harris at the height of his inventive and soulful powers. Blending hard bop with elements of soul jazz, Harris leads the ensemble on tenor saxophone, vocals, and piano, supported by Nolan Smith on trumpet and flugelhorn, Ronald Muldrow on guitar, Jeff Chambers on bass, and Gaylord Birch on drums. The album offers a compelling mix of high-energy grooves, melodic sophistication, and rhythmic drive. Tracks such as "Mean Greens" and "Set Us Free" highlight the ensemble’s tight interplay, while the title track "Dancing by a Rainbow" and "An April to Be Remembered" reveal Harris’ lyrical sensibilities. This recording exemplifies a vibrant, expressive, and accessible modern jazz experience."