As a composer Pergolesi’s productive career began at the age of twenty, and by twenty-six (March 1736) he had died of tuberculosis. During his lifetime Pergolesi’s fame was restricted, in the main, to Rome and Naples, yet after his death, his reputation eclipsed most other composers in the second half of the eighteenth century. The whole of Europe developed an increasing curiosity for his compositions. His posthumous celebrity status was such a magnet in the music world that, hoping to reap large financial profits, publishers and opera directors alike attributed his name to hundreds of vocal and instrumental works by lesser-known composers. Following Pergolesi’s death the Stabat Mater became one of the most celebrated and frequently printed works of the 18th century.

When four veterans like Coleman Hawkins, Buddy Tate, Eddie Davis, and Arnett Cobb get together, no longer young bucks that have to prove themselves, they still like to assert their musical masculinity. It is like four old friends in their shirtsleeves or T-shirts, having an old fashioned bull session over beer and pretzels or an equivalent. There is talk of old times, back-slapping, head-shaking, low humor and high hilarity. Troubles of the present are forgotten temporarily as old bonds are reweaved.

Grigory Sokolov: a living legend of the piano whose public performances and recordings are as rare as the man is secretive. He stepped away from the limelight years ago, refusing to be idolised by a society avid for imagery. Under the winged fingers of the giant you hear the vibrancy of an inner song, wordless but not illegible. June 7 1990: concert and recording of Chopins Preludes by Grigory Sokolov, still relatively unknown in France.

Saxophonist Jerry Bergonzi can be depended upon to release a quality mainstream jazz album every year and this one is no different. The change is in the accompaniment, in which he employs Renato Chicco on organ and Andrea Michelutti on drums. This gives the well-known standard songs a new polish and allows the musicians leverage to interpret them in their own way. “Witchcraft” opens the album with a melodic medium tempo of slinky saxophone over subtle organ and percussion. The spacious and well-articulated organ and percussion get room to move, bubbling through their paces. The leader comes back with pithy interjections of sound weaving a competent and thoughtful solo.

One of the strengths of vocalist Tierney Sutton and her long time team of Christian Jacob/p, Kevin Axt-Trey Henry/b and Ray Brinker/dr is that they know how to select themes for their projects. Sutton and company have successfully created homages to Sinatra, Joni Mitchell and even the American Folk Book. This time around, she focuses on the pen of Gordon Matthew Thomas Summer, aka “Sting”, with material from The Police and solo career joining together through the puree of Sutton’s deliver.