This recording represents a tour de force on the part of all concerned, so much so that the entire text of the booklet is devoted to explaining how it was accomplished. There is one concerto for solo trumpet (Michael Haydn), one for two (Vivaldi RV537), two (Telemann, in B flat and D) and an arrangement of the ubiquitous Canon of Pachelbel for three, and Biber's Sonata in A major for no less than eight trumpets, but Marsalis is the only trumpeter present. There is nothing new in over-dubbing—the jazz guitarist Les Paul did spectacular things with it in the 1950s, but in the realm of art-music Marsalis must have earned a place in the Guinness Book of Music, aptly aided by Telemann, who is already in there. I leave you to read about it and to marvel at the sheer skill of it all. If any living trumpet player is in more awesome command of his instrument than Marsalis I do not know who it might be; all things seem possible to him, and easily at that. Ivan March noted (1/86) a certain lack of lyrical warmth in his playing and I must agree with him; jazz musicians often feel constrained to be on their best behaviour when 'crossing the tracks' but I find even his jazz playing cerebral rather than emotionally stirring, so that is probably just the way he is—and it shows just a little in the slow movement of the Haydn. However, the programme has much to do with ceremonial magnificence (coupled in the Biber with stunning spatial antiphony) and sheer virtuosity, both present in abundance and delivered with wonderful roundness of tone, free from aggressive brassiness and any sense of strain, as an ex-trumpet player it frightens me to death! The recording is superb in its quality, balance and sense of space, making this a 'must' for anyone who does not actually hate the trumpet.'