Sunday 12 January 1997
Ockeghem: Masses `Au Travail Suis' & `De Plus En Plus'. Tallis Scholars/Peter Phillips (Gimell, CD only). The 500th anniversary of the death of Johannes Ockeghem is in February; though if anyone notices it amongst the anniversary celebrations for Schubert and Brahms that get under way at around the same time, I'll eat my metronome. Mid-15th-century Flemish polyphonists of modest output don't excite that much interest outside academia. But Ockeghem's small, exquisite oeuvre is original enough to rank him among the most fascinating creative minds of his time; and this recording of two lesser-known masses with the popular songs on which they're based is a timely introduction to his con- voluted brilliance. Beautifully sung, finely balanced, captured in a resonant but clean acoustic, this is a cappella choral singing at its best, and an entirely recommendable addition to the Renaissance treasure-trove already amassed by Peter Phillips. Michael White
Nate Dogg: G-Funk Classics, Vol 1 (MCA, CD/LP/tape). Ever since his nicely judged vocal contribution elevated Warren G's "Regulate" to the estate of global monsterhood, the album debut of serenader Nate Dogg has been awaited with keen interest. But this sumptuous coagulation of inflatable beats and honeyed vocal lines surpasses all expectation. Along with the world-conquering Fugees and the stunningly intricate Bone Thugs & Harmony, Nate Dogg seems to be leading the way to a new R'n'B era of unabashed musicality. On the beguilingly old-fashioned "Scared of Love" and the irresistible-despite-being-Snoop-Doggy-Dogg-accompanied "Never Leave Me Alone", he proclaims the age of the virtual barber-shop. Ben Thompson
Betty Carter: I'm Yours, You're Mine (Verve, CD only). It's difficult to imagine that at 66, and after a career of continual brilliance, the vocalist supreme could actually get any better, but here's the evidence. On a swoonable set of ballads, Carter sings less but makes it mean more, her sighing, dying fall of a voice (now deepened almost to tenor-sax register) flutters around the melodies briefly before leaving the superb band to get on with it. The title track in particular - a wordless scat over a pattern that sounds derived from Bach - is extraordinarily moving.
TVJamie's Sugar Rush reveal's campaigning chef's new foe
Arts & Ents blogs
- 1 Refugee crisis: Sweden the only European country with a majority favourable towards non-EU immigration
- 2 'Heartbreaking' Syria orphan photo wasn't taken in Syria and not of orphan
- 3 Malnourished two-year-old found being breastfed by dog in Chile
- 4 Bob Geldof offers to take four refugee families into his home 'immediately' as he condemns humanitarian crisis as a ‘f**king disgrace'
- 5 YouTube video shows woman verbally abusing takeaway staff 'because they used green peppers'
Anne Hathaway is already being stung by Hollywood ageism, aged 32
From The Prisoner to Mad Men, elaborate title sequences are one of the keys to a great TV series
The Lobster trailer: Colin Farrell has 45 days to find a lover or he'll be turned into an animal
Spanish town saved by botched restoration of century-old Christian 'Ecce Homo' fresco of Jesus
'Beasts of No Nation': Netflix releases trailer of first feature film, starring Idris Elba
Britain to take more refugees as Cameron bows to pressure after more than 250,000 back our campaign
Senior British politicians tell David Cameron: When dead children are being washed up on beaches – it's time to act
Jeremy Corbyn calls Osama bin Laden's killing a 'tragedy' - but was it taken out of context?
If these extraordinarily powerful images of a dead Syrian child washed up on a beach don't change Europe's attitude to refugees, what will?
If you're not already angry about the refugee crisis, here's a history lesson to remind you why you really should be
Make your voice heard: Sign The Independent's petition to welcome refugees