Despite a very broad set of atmospheres, Maritime appears very consistent. Seamlessly incorporating acoustic and electronic sounds into his eclectic instrumental pop and shaping them to fit the mood of each new track, David Edwards produces a very convincing sophomore album which is set to reaffirm his place amongst the most talented musicians of his generation. In a nutshell, think Boards Of Canada, and then think of something far more beautiful. 11 total tracks. NME. 2005.

The Bethlehem label didn't make it out of the '50s before folding, and one of the reasons why is the ambitious yet misguided George Gershwin's Porgy and Bess, a three-LP box set that represents a complete recording of the Gershwin classic (with narration and sound effects). Bethlehem certainly had the talent to pull it off -- appearing on the label, and this production, are Mel Torm‚, Duke Ellington & His Orchestra, Johnny Hartman, Bob Dorough, Betty Roche, Frances Faye, and minor period stars including vocalist Frank Rosolino, bandleader Stan Levey, and arranger Russ Garcia. And long-playing versions of theatrical productions were huge in the mid-'50s (a few sold millions of copies). The most popular of these, however, were simply easy-to-digest highlights LPs that never attempted to present the complete production. This version is a gargantuan two hours long, difficult to sit through even if every performance was stellar (and, unfortunately, that's far from the case). The recording makes a virtue of being hip, primarily through the narration of Al "Jazzbo" Collins, a radio DJ who may have been hip for the times but whose counterfeit excitement and perfect diction make the proceedings sound like a period newsreel. ("Watch out, Porgy, here comes that mean Sportin' Life!") Torm‚, as the most popular vocalist on the label, was a shoe-in for the role of Porgy, despite Johnny Hartman's clear superiority, and Frances Faye received the role of Bess despite Betty Roche's ability to handle the role much better. Those mistakes are compounded by Russ Garcia's period arrangements (the Ellington group makes only one appearance) and some decidedly subpar performances from Frank Rosolino early in the program. Still, it has to be admitted that a highlights compilation of this record would sparkle very brightly, driven by Mel Torm‚'s swinging "I've Got Plenty o' Nuttin'" with a super-enthused backing chorus, George Kirby's "It Ain't Necessarily So," and Betty Roche's reprise of "Summertime" during the second half. ~ John Bush