| Su | Mo | Tu | We | Th | Fr | Sa |
|---|---|---|---|---|---|---|
| 28 | 29 | 30 | 31 | 1 | 2 | 3 |
| 4 | 5 | 6 | 7 | 8 | 9 | 10 |
| 11 | 12 | 13 | 14 | 15 | 16 | 17 |
| 18 | 19 | 20 | 21 | 22 | 23 | 24 |
| 25 | 26 | 27 | 28 | 29 | 30 | 1 |
Featuring Louisiana Red & Yu Blues Selection, Ana Popovic, Homesick Mac, Smak and others.
Stingingly sweet slide guitar and barrelhouse piano come to life on this spontaneously authentic and passionate recording from these seasoned blues veterans. "This recording contains thirteen of those songs just as they sounded that Sunday when they were recorded live at Mojo Boneyard Studios. This is how the band sounds at any number of clubs in and around the Pittsburgh area. These are all first takes and a fair representation of the energy and spontaneous creativity that the band exhibits when we’re swinging out in the clubs. I had a good time making music with these fine musicians and I'm glad we captured some of it on this recording. It’s been a long time comin" ~ Jimmy Adler
Instrumental works utterly dominate the extensive oeuvre of Johann Gottlieb Graun. It is hardly surprising that among them (besides overtures, symphonies, quartets, trios, and wind concertos) he wrote a great number of concertos and solo sonatas for the violin. He composed at least 83 solo concertos, double concertos, and several ensemble concertos with solo violin. The concerto by Markus Heinrich Grauel on this CD may be taken as an example of Graun's influence.
Centrediscs issues its first jazz compact disc. This issue in the Canadian Composers Portraits series features the life and music of legendary Canadian jazz musician and composer Phil Nimmons. Recorded live in Toronto at the Montreal Bistro, the Dave McMurdo Jazz Orchestra performs hot new sessions of many of Phil’s classic works.
Robert Schumann and Gabriel Fauré - both composers are great masters of the small form, the art of saying a lot with few notes. And both find their deepest and most touching statements in the intimate form of chamber music, which Schumann called "the higher potency of poetry" in his diary. All arrangements were worked out jointly by Martin Löhr and Marie-Pierre Langlamet.
Here are Emma Johnson's recordings of the three clarinet concertos by Henrik Crusell, all recorded with different conductors and at different times throughout the mid-1980s to 1991. Briefly stated, these are romantic conceptions of music by a composer that was essentially Beethoven's peer. The pearl of this CD is the recording of Crusell's Concerto No. 2 in F minor. Here, Johnson and conductor Charles Groves are of single mind in their pursuit of romance and virtuosity. Indeed, Johnson launches into a lengthy and very individual cadenza in the latter sequence of the first movement I have never before heard in a recording of this music. Groves supports the exhibitionism of the soloist with highly charged orchestral backup where he dots the rhythm with clearly enunciated timpani beats.
From an early age Benedetto Marcello proved to be a man of great versatility: a poet, writer, musician, lawyer, judge, administrator and philologist, holding important posts in these functions during his entire life. As a composer he wrote a substantial oeuvre, covering all important fields of composition: sacred and secular choral works, opera and a large body of instrumental music.
Reissue with latest 2014 DSD remastering. Comes with liner notes. Charlie Rouse? Wasn't he the one that played with Theloniious Monk ? Well, yes. And certainly there's an argument that his recordings with Monk are his best work - probably the combination of intriguing compositions with the opportunity to work them over and over to find something new and equally satisfying in the each time - but Rouse was also a leader in his own right. Take, for example, his work with Julius Watkins (french horn) in Les Jazz Modes, the "Takin' Care of Business" album (issued on CD by OJC) and as co-leader of Sphere (not the Monk-tribute band it seems to have gone down in history as being).
On their second effort, Fly to the Rainbow, the Scorpions begin to establish their trademark hard-rock sound while exorcising the last of their remaining psychedelic hippie tendencies. In fact, the band bursts out of the gate in surprisingly straightforward fashion with the hard rocking "Speedy's Coming" before resorting to the aforementioned bad habits on otherwise promising tracks such as…
Of Miles Davis's numerous live releases from the 1970s, this one rates as less essential, but it does provide further insight into the fascinating chronology of Davis' music as he entered the final stages of his pre-retirement "electric period." The band heard here includes drummer Al Foster, electric bassist Michael Henderson, electric guitarists Pete Cosey and Reggie Lucas, percussionist Mtume, and saxophonist Dave Liebman. Several of these players are heard to better effect one year earlier on the more colorful and varied In Concert: Live at Philharmonic Hall recording, which featured material from On the Corner, A Tribute to Jack Johnson, and Get Up With It. By 1973, Davis' music had increasingly focused on mesmerizing static harmonies, electronics, and dense polyrhythmic layers that danced around the core of Foster's surging beats and Henderson's subterranean throb.
Sista Monica Parker is an award winning soul, blues and gospel singer, songwriter, speaker, recording artist and producer. She is known as the "blues lioness" at major festivals internationally. She is a force of nature with a deep, rich contralto vocal range, dynamic and showstopping stage performances. She connects with her audiences and pulls them in to her emotional space. Now residing on the west coast, Monica was born in Gary, Indiana. Her musical influences growing up in the mid west between Chicago and Detroit were artists such as Mavis Staples, Sam Cooke, Aretha, James Brown and Buddy Guy. At the age of seven, she like so many others, started her singing career in the Baptist and C.O.G.I.C Churchs.
Spirit in the Dark was one of Aretha Franklin's more overlooked albums from her Atlantic prime, despite the inclusion of a couple hit singles (the title track and "Don't Play That Song"). The disc includes five of her own compositions (the most she ever recorded for a single album) and her usual eclectic choice of cover material. On this record, the covers ranged from B.B. King and Dr. John to Jimmy Reed and Goffin/King's "Oh Not My Baby." The album also benefits from great backup players: Both the Muscle Shoals rhythm section and the Dixie Flyers contributed to the sessions, and Duane Allman lends his guitar to a couple of tracks. Though it doesn't rank with her very best Atlantic LPs, it's an exuberant and remarkably consistent effort.
An outstanding veteran pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Tete Montoliu's visits to the U.S. were very infrequent, but his SteepleChase albums (starting in 1971) are generally available; he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note.