(Psychedelic with Vocal / Contemporary Jazz) David Axelrod - Requiem - The Holocaust - 1993, FLAC (image+.cue) lossless

Amazon:
Customer Reviews:
5.0 out of 5 stars - IT'S A REQUIEM-, January 6, 2006
By: M. Brust (Denton, TX United States)
No one would write a requiem on this subject for fun. Spielberg didn't film "Schindler's List" for fun or money. Requiems, ideally, are done from a deep human sense of sorrow,pain, remorse,anger. The Holocaust raises the fear that it somehow can happen again, if we, as a people, choose to forget. Axelrod shows great courage in tackling this topic. As ,always, his approach is unique and deeply personal. This confirms again, that as an artist, his heart is his only guide.
The music conjures up ghosts--sublimely.
5.0 out of 5 stars - Requiem, May 17, 2007
By: Episkonte (Bloomington, Indiana)
I can only echoe M Brust's review: why wouldn't a requiem to an event as morose as the holocaust be disturbing? Axelrod eschews his more popular stylistic elements of percussion and horns on this album to craft a 4-song epic that's vaguely reminiscent of the emotions that karlheinz stockhausen would induce: somberness, estrangeness, and dystopia.
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Alternative UK album / 2001 reissue:
Product Description:
Album Description
UK reissue of the celebrated & heavily sampled producer's 1993 album. Four tracks, 'Introit/Krystallnacht', 'Kyrie/Trains', 'Sanctus/Auschwitz' & 'Does Irae/Gas Chambers'.
Album Details
Originally Released on the Liberty Nashville Label in the Early 1990's, it was Pulled Shortly after Because of the Controversy Generated by the Cover Art. A Stirring, Moving Piece of Art in Four Parts, it is Not Easy to Listen To, but the Subject is Not Pretty Either. It Requires an Open Ear to all the Sounds and Emotions Evoked Through the Instruments and Recording. A Challenge Well Worth Taking.
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Quote:
David Axelrod - Requiem: The Holocaust (1993)
No one would write a requiem on this subject, an Holocaust, for fun... Requiems, ideally, are done from a deep human sense of sorrow, pain, remorse, anger.
David Axelrod, after a long hiatus of 13 years, returned to solo recording with the ambitious Requiem: The Holocaust, a moving and haunting evocation of the Holocaust. As ,always, his approach is unique and deeply personal. This confirms again, that as an artist, heart is the only guide. Axelrod eschews his more popular stylistic elements of percussion and horns on this album to craft a 4-song epic that's vaguely reminiscent of the emotions that Karlheinz Stockhausen would induce: somberness, estrangeness and dystopia.
The music conjures up ghosts,... sublimely!
May I say “Enjoy it”?...

Jay Migliori Reeds, Flute (Alto), Reeds (Multiple)
John Morell Guitar (Acoustic), Guitar (Electric), Guitar
Earl Palmer Producer
Jay Ranellucci Engineer, Mixing
Kevin Reeves Mastering
Dibrilynne Rice Vocals (Background), Choir, Chorus
Haim Shtrum Violin
Anita Tolbert-Nwede Vocals (Background), Choir Coordinator, Choir, Chorus
Ernie Watts Reeds, Sax (Alto), Sax (Tenor), Reeds (Multiple)
Yvonne Williams Vocals
Dick Hyde Trombone
Edward Morris Liner Notes
Tom Ketterer Mixing, Mixing Assistant
David Axelrod Arranger, Conductor, Mixing, Main Performer, Producer
Susan Taylor Vocals (Background), Choir, Chorus
Marilyn Baker Viola
Oscar Brashear Trumpet
Peter Doell Engineer, Assistant Engineer
Bob Efford Reeds, Horn (English), Reeds (Multiple)
Gene Estes Percussion
Sidney Franklin French Horn
Nathan Gershman Cello
William Green Reeds, Clarinet (Bass), Reeds (Multiple)
Wanda Houston Vocals (Background), Choir, Chorus
Jim Hughart Double Bass
Richard Hyde Trombone
Leslie Ann Jones Engineer, Assistant Engineer
Talita Long Vocals (Background), Choir, Chorus
Don Randi Keyboards
Bill Smith Mixing