Encore, Hector !
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Recorded on a Roland Music Atelier,
COPY OF CD REVIEW SUBMITTED TO AOE ORGAN TIMES
MAGAZINE. REVIEWER: ALAN ASHTON. PERMISSION GRANTED TO ARTIST TO EXTRACT AND USE ANY
PORTION FOR PUBLICITY PURPOSES WITH CREDIT TO REVIEWER. (From the UK)
Hot off the press comes a release from my all time, all round favorite
organist. Whether playing pipes or electronics I’ll be one of the first standing up to shout
ENCORE HECTOR, which just happens to be the title of his latest CD. If you were not able to obtain a coy on his recent tour, then copies can be obtained direct from Roland UK Ltd (Tel: 01792 51520 priced £16.49 inc P&P)
(Webmaster’s note: or from Hector) on who’s Atelier AT-90 this
amazing release is performed. Opening with the BEAUTIFUL BLUE DANUBE, by Johann Strauss you are transported into a huge concert auditorium and the thrilling sounds of over a 100 piece orchestra. Slightly down in numbers would be the Monty Kelly Orchestra, but just listen to the unmistakable re-creation of the late Buddy Cole and his famous
Wurlitzer Morton pipe organ. It’s just as though Hector has lifted the MOONLIGHT SERENADE track straight off the original American recording … heard so many times over the air on organ programmes. The orchestra numbers increase again, and this time it’s Arthur Fiedler conducting
famous Boston Pops with Leroy Anderson’s FIDDLE FADDLE. A complete change of environment comes in the form of the TRUMPET
TUNE – AIR-VOLUNTARY variously attributed to Jeremiah Clark and/or Henry Purcell, both notable organists and holding positions at St
Paul’s Cathedral & Westminster Abbey respectively. Clarke composed `The Prince of Denmark’s March’, a harpsichord piece that was arranged by Henry Wood as a `Trumpet Voluntary’ and is wrongly attributed to Purcell. Hector is world renowned for his classical organ concerts and you would be hard pressed not to think he had recorded this track in either of these two magnificent Cathedrals. Evidence, if it were needed, of
Hector’s ability to effect brilliant transcriptions, is the OVERTURE TO ROMEO & JULIET by Tchaikovsky, and the flip side of the coo is the way his incredibly imaginative mind plays tricks with your senses. In this country one of the old theatre organ `warhorses’ is the descriptive Storm at Sea.
Let’s be different shall we? At the invitation of the artist we join him on a walk through a NORWEGIAN WOOD. The oboe, strings and sitar set the scene: one of peace and
tranquility …. that is until we need to take cover as the thunderstorm commences, accompanied by the wind and lashing rain Then, the last few raindrops subside and we continue our walk, somewhat more
wet than when we started out!. It’s a total picture in music and of the kind that only Hector can dream up. I would not have been surprised if he’d combined it with the next track, because after all, as legend would have us believe ROBIN HOOD (MAIN TITLE) spent his days living and lusting in a forest with Maid Marion [‘who’s Maid Marion?’ `We all have but don’t tell Robin!’] Must confess that SLOW HOT WIND by Henry Mancini is a new one to me, and as the sleeve notes suggest Hector gives it the romantic atmosphere of a group of Hawaiian Islands. Theatre organ lovers will drool over that most romantic of compositions by Edward Alexander MacDowell 1860-1908, one of the first US composers to receive international acclaim. Originally a piece for piano and taken from his Woodland Sketches in, TO A WILD ROSE, you can take your pick of any of the large theatre organ installations. Hector suggests either Radio City Music Hall or the Fox, Atlanta. Who am I to argue! This simply superb CD has a typical Olivera concert finale in the form of IMPRESSIONS OF THE CIVIL WAR, a patriotic musical compendium of I WISH I WAS IN
DIXIE; TENNESSEE WALTZ; SHENANDOAH; MY EYES HAVE SEEN THE GLORY; GLORY, GLORY HALLELUJAH. It is a selection that would be possibly appreciated more by his American followers, but for all that it will no doubt find equal
favor whatever ones background. After an absence from the UK for a great many years Hector seems to be including us more frequently in his concert tours, and I urge anyone who has never seen him `live’ to take whatever opportunity arises to redress such an omission. He is one of the very few organists I know who regularly finds professional organ world colleagues sitting amongst his concert audiences, and there can be no better recommendation than that.