Settings of the canticles, the Magnificat and Nunc dimittis, have played a prominent part in the Office of Evensong since the Reformation. Cranmer’s original Book of Common Prayer of 1549 established the classic pattern for the Anglican Office of psalm–lesson–canticle–lesson–canticle. This pattern survived all the liturgical revisions and upheavals and was reiterated in the definitive 1662 version, which is still adhered to today. The form of Evensong resulted from the fusing together of elements from the Roman Offices of Vespers and Compline, though the liturgical pattern of psalms followed by paired lessons and canticles differs both from its Roman progenitors and from the Lutheran services.

Chicago's best-known early music ensemble The Newberry Consort exhilarates with VESPERS, a collection of dazzlingly original music for women’s voices. The composer? A mysterious early-17th-century Mexican named Juan de Lienas, whose style energetically oscillates between Renaissance and Baroque elements.
Little is known about de Lienas beyond the manuscripts, which, much to the undeserved discredit of the poor composer, occasionally include unflattering personal remarks scrawled in the margins. Perhaps that these insults on his appearance and personality stemmed from mere envy, for the music captured by his hand presents such skill, wit and zest that it can still be enjoyed a full four centuries after its inception.

Bigelf are sort of the white version of Lenny Kravitz. They're astoundingly accurate rock revivalists in terms of songwriting, instrumentation, and recording techniques. They also cobble together styles that in their heyday would never have co-existed: Hendrix-ish blues, Beatlesque pop, Floydian psychedelia. Unlike Kravitz, however, Bigelf are much more sonically daring. They specialize in blowing up basic germs of ideas into Technicolor fantasies light years away from their origins. "Superstar," for example, begins with terse, standard-issue AC/DC chords, then flowers into bright pop changes and lush vocal harmonies.

It's hard to imagine that a group as bottom-heavy as percussionist Pierre Favre's new ensemble could actually sound light and ethereal. But Fleuve does just that. With a septet featuring two basses, tuba/serpent, percussion and, at times, bass clarinet, there's no shortage of warmth and depth. But with guitar, harp and soprano saxophone fleshing out the middle and top end, Fleuve manages to have both weight and an airy ambience that works, in no small part, due to Favre's carefully crafted compositions and the kind of sonic transparency that's long been a defining aspect of the ECM aesthetic.

Al Green was the first great soul singer of the '70s and arguably the last great Southern soul singer. With his seductive singles for Hi Records in the early '70s, Green bridged the gap between deep soul and smooth Philadelphia soul. He incorporated elements of gospel, interjecting his performances with wild moans and wails, but his records were stylish, boasting immaculate productions that rolled along with a tight beat, sexy backing vocals, and lush strings. The distinctive Hi Records sound that the vocalist and producer Willie Mitchell developed made Al Green the most popular and influential soul singer of the early '70s, influencing not only his contemporaries, but also veterans like Marvin Gaye. Green was at the peak of his popularity when he suddenly decided to join the ministry in the mid-'70s…

Pianist George Shearing meets up with guitarist Wes, vibraphonist Buddy, and bassist Monk Montgomery on this enjoyable if slightly lightweight outing. The performances are a bit too concise at times, but the album has some fine soloing by the principals. Highlights include "Love Walked In," "Love for Sale," and "The Lamp Is Low."