Totally different, but totally stunning, is perhaps an appropriate way to describe this latest recording from euphonium player, Steven Mead.

This is not your typical solo CD from a leading brass player, with a band accompaniment; it is all Steven on the euphonium. It is different in the sense that Steven Mead uses the concept of multitrack recording to make this a disc to remember - and it is not an exaggeration to suggest that the effect is just astonishing.

Whilst the advancement of technology might not be everybody's cup of tea, this recording will appeal to listeners who have a variety of musical tastes, and will provide many hours of listening.

The listener could spend many hours trying to work out how the whole thing was put together, but to be honest, there is no point. Some terrific editing and mixing by Mike Moor, who should be congratulated for his efforts, match the standard of playing.

A number of the tracks are classical arrangements of well known pieces, and you can't help but wonder what composers like Bach, Dukas, Mendlessohn, Schumann & Tchaikovsky would say if they heard their compositions played as on this release? Smile probably - because one musician performs some well-known works with both a sense of humour and to a standard that at times, has to be heard, to be believed.The notes tell the listener how many parts are played with each piece performed. Tchaikovsky's "Humoreske", which commences the disc, is bright, bubbly and enthusiastic has six different ones in it, and right from the outset, you immediately realise that this is going to be a total contrast from anything you could have heard previously.

In total contrast, Gabrieli's "Sonata Pian'eforte", features eight parts in two four part choirs, but no different than hearing it performed in a classical environment. The same applies to Schuman's "Erinnrung", before things hot up with one of Bach's most famous pieces, "Toccata and Fugue in D Minor". Musical lovers are familiar with it of course, either from the organ, or other arrangements of which banding is no different. Here though, Mike Moor really earned his corn as the effect just leaves you speechless.

The traditional "Scarborough Fair" calms things down, before the longest piece of the disc, "The Sorcerer's Apprentice" by Dukas. Whether it is orchestra or band, this will never sound the same again. Steven uses fourteen (yes fourteen!) parts to pull this off, and if you are looking for a reason to purchase this disc, this is it. This has everything in it, and is jaw-dropping, and leaves you asking "how on earth has that been produced?"

Debussy gets his fair share of tracks on this recording. His famous "Golliwogg's Cakewalk" is just fun all of the way, whilst "Clair de lune", gives you the chance to shut the eyes and picture a top class band performing it. Initially, you would not know the difference, as the sound is band like, but you soon realise that fewer parts are to be heard. "The Girl with the Flaxen Hair" is captivating listening, with plenty of playing in the high register.

Wagner does not escape the Steven Mead treatment either with "Ride of the Valkyries". You can practically visualise the grin on Steven Mead's face in the Stephen Roberts arrangement of "Frankie & Johnny", and the fun continues with all kinds going on in "Fly Me to the Moon". The disc closes with the opportunity to get up and get those feet moving in "Jump, Jive an' Wail". Whatever your musical tastes, this a must in anybody's CD collection. It does not matter what you have been doing before listening, because as soon as the play button is pressed, a huge smile will appear on your face, and you will have some fun. Guarenteed.

Malcolm Wood, Copyright 4BR