Showing 1–12 of 31 results
Antonio Carlos Jobim : Stone Flower
Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the “new trend”. First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song "Desafinado" and the genial "One Note Samba" were heard all over the globe.
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Big Maybelle : The Okeh Sessions
With her bold, gritty sound, she comes off like nothing so much as a female Howlin' Wolf, and one can't imagine her not being an influence on the full-throttle blues of Etta James, Aretha, Janis Joplin and countless others. "So Good to My Baby" features typically microphone-distorting belting from the singer, and an appropriately blazing horn section. "Gabbin' Blues", her 1952 Okeh debut smash, is a humorous dialogue between Maybelle and gossiping rival Rose Marie McCoy, the tune's co-writer. One of the most stirring cuts here is "Ocean Of Tears", a percolating, minor-key tune in which Maybelle bemoans her sorrowful state with an unforgettably cathartic angst. Also impressive, though, are ballads such as "You'll Never Know", "Ain't No Use", and "You'll Be Sorry", which show a pleasant, softer side to Maybelle's craft. "Whole Lotta Shakin' Goin' On" - a song that she took to the top of the R&B charts before Jerry Lee Lewis turned it into a rock & roll anthem -, her 1955 single "One Monkey Don't Stop No Show" and 1954's "I'm Getting 'Long Alright", are also standouts. New York session wizards such as tenor saxophonist Sam 'The Man' Taylor and guitarist Mickey Baker provide great support throughout. The tracks contained on this album showcase one of the greatest blues singers of all time, at her prime.
Brother Jack McDuff : Tobacco Road
»Imitation, assimilation, innovation.« With these three words the great Clark Terry summed up the art of leaning musical improvisation. Salvador Dalí, the artist who melted time in his colourful and bizarre works, stated radically that a person who didn’t want to copy others would never manage to accomplish anything at all.
Charlie Haden : Nocturne
Charlie Haden teams up once more with the young Cuban pianist Gonzalo Rubalcaba for this melancholy, soothing album. Ignacio Berroa, on drums and percussion, completes the core trio. Special guests include tenor saxophonists Joe Lovano and David Sanchez, violinist Federico Britos Ruiz, and guitarist Pat Metheny (one track only). Rubalcaba contributes orchestrations on two cuts, both of which omit drums and percussion.
Dianne Reeves : I Remember
Jazz singer Dianne Reeves was born into a family rich in musical background. Her uncle, Charles Burrell, a bass player with the Denver Symphony Orchestra, introduced her to the music of jazz singers such as Ella Fitzgerald, Billie Holiday, and, especially impressive to Reeves, Sarah Vaughan. Her musical career includes a tour with Eduardo del Barrio's group Caldera; singing with Billy Childs' jazz band Night Flight; touring with Sergio Mendes; from 1983-86 touring with Harry Belafonte as a lead singer. She also sang at the closing ceremony of the 2002 Winter Olympic Games in Salt Lake City. Reeves has been awarded four Grammys for Best Jazz Vocal Performances for the albums In the Moment - Live In Concert (2001), The Calling: Celebrating Sarah Vaughan (2002), A Little Moonlight (2003), and Good Night and Good Luck (soundtrack) (2006)
Duke Ellington & Mahalia Jackson : Black, Brown and Beige
Black, Brown, & Beige" is Duke Ellington's musical representation of the African American experience in the United States. It is arguably The Maestro's greatest work. The triumph of telling so important a story so well through music alone makes Duke Ellington's "Black, Brown, & Beige" a masterpiece. It also displays Duke's, and Jazz's, highest achievement in long form. Whether you perceive it as a three movement symphony or accept Ellington's own personalized terminology »Tone Parallel«, "Black, Brown, & Beige" matches conceptually and in artistic content the musical continuity of Western Classical's greatest names in their lengthiest works.
Dvorak : Sextet in A major op.48
Playing chamber music by Antonín Dvorák is not easy. One must find the right mixture between rashness and refinement, folkloristic tone and transparency, flowing melody's and contrapuntal elaboration. The Auryn quartet, intensified with Christian Altenburger (viola) and Patrick Demenga (violoncello), settles his interpretation of Dvorák's Sextet in A major op. 48 precisely between these Poles and delights with a sensuous tone and a dream-transforming interplay. Lingenfelder (vl. 1), Jens Oppermann (vol. 2), and Stewart Eaton (viola) also approached Bohemia with melancholic, but never kitschy, with the Op. 74 / 75a. And when in the scherzo of the C major-tercet, syncopated doublehands meet with fine pizzicati, the dance floor is not far. Georg Rudiger
Ernest Ansermet : The Royal Ballet Gala Performances
In the hearts of thousands, No. 1 on the Top RCA list. While the bulk of Ansermet's recordings were made with L'Orchestre de la Susise Romande, there were a few with the Paris Conservatoire Orchestra and the very occasional foray into recordings with London orchestras, one of these being with the Orchestra of the Royal Opera House, Covent Garden, in 1959. Audiophilia Online Magazine wrote: »This is the stuff of which dreams are made. "The Royal Ballet Gala" is one of the finest RCAs recorded in London's Kingsway Hall. The chunks of great ballet music are well served by orchestra, conductor and engineer. Performances are executed to a very high standard - the Royal Opera House Orchestra, both then and now, rank as one of the finest of opera orchestras.
Gaede : The Tube Only Violin
This new album, a collection of brilliant arrangements of favorite compositions from the 19th and 20th century, guarantees sheer listening pleasure from beginning to end. Thanks to the first class sound, achieved by using “purist” tube technology, this album will surely take its rightful place among works of reference.
Holly Cole : Temptation
Over the past decade, new talents such as Cassandra Wilson, Patricia Barber and Holly Cole have redefined the world of female jazz vocals. Cole's "Temptation", a 1995 Blue Note release, is her musical tribute to the writings of Tom Waits. Besides being a superb audiophile recording (perfect in every production detail, from the rendering of Cole's amazing voice to the incredibly natural sound captured by producer Craig Street's team), this album has garnered kudos for her interpretation of Waits' unique compositions.
J S Bach : six suites for unaccompanied cello
The Jean-Max Clément cycle has much to commend it. He’s a communicative player, and whilst some of his tempi are generally on the slower side than we are used to today, the music-making has a spontaneity, leaving the favourable impression of music freshly composed and being created on the wing. He draws a big, rich, full-bodied sound from his instrument, and his varied vibrato endows his playing with a wealth of tonal shadings. He’s not averse to the use of portamenti to obtain a particular expressive effect. Nor is he afraid of applying some tasteful rubato to enhance the line. I love the way he captures the sombre introspection of Suite No. 5, gauging to perfection the ebb and flow of the melancholy Sarabande. To the faster dance movements there’s rhythmic vitality. This is certainly a premier league set, in admirable sound for its age. - Stephen Greenbank, Music Web International