Benny Goodman took some stylistic chances during his 11-year tenure with Capitol. He listened closely to, then flirted with, bebop during this time, not altering his own swing-based playing but inserting it into a bop framework. He also played traditional swing in various small groups. The sessions covered on this most recent Mosaic four-disc (six-album) set were originally issued on a number of 10" and 12" albums, as well as the CDs BG in Hi Fi and The Benny Goodman Story, a Japanese issue.
This CD contains selected themes from five of Chaplins brilliant films. The Kid (1921), The Gold Rush (1925), The Circus (1928), City Lights (1931) and Modern Times (1936). If you love the music from these films then you will love this album. Carl Davis has been very sensitive when rerecording the original scores. The music sounds amazing and he has remained true to Chaplins own styles and tempo's. The thing that will strike you more than anything is how amazing these scores really are in Stereo! They really do sound very good indeed. It also fully demonstrates just how good a composer Chaplin really was, and his talent for marrying music to film. As music it is beautiful from the harshness of "Gold Rush" to the haunting "Modern Times" and not forgetting the swinging "City Lights". Magical stuff! 5 out of 5, 10 out of 10 etc… But if you are planning on listening to this 80 minute album from beginning to end, you'd better make sure you have some Chaplin films close to hand because you WILL want to watch them all again. Nostalgia at its very best.
The Colour of My Love is the third English-language studio album by Canadian recording artist Celine Dion. It was released by Columbia Records/550 Music on 9 November 1993. The songs were produced mainly by David Foster, Ric Wake, Guy Roche, Walter Afanasieff and Christopher Neil, and four of them were written by Diane Warren. The album features cover versions of "The Power of Love" and "When I Fall in Love". After its release, The Colour of My Love received generally mixed reviews from music critics but became a commercial success, topping the charts in Canada, Australia, the United Kingdom and few other European countries, and reaching top ten elsewhere, including number four in the United States…
From the title, one might expect that this release by Norwegian Baroque violinist Bjarte Eike is an exploration of the well-trodden theme of melancholy in British music in the late 16th and early 17th centuries. In fact it is that, but it's much more besides. The Image of Melancholy is an experiment with the form in at least three ways, and it should appeal greatly to listeners of a speculative frame of mind. First, Eike and his small Barokksolistene ensemble expand the historical picture in both space and time, mixing traditional music from Scandinavia and beyond (even from Slovakia) with compositions by Dowland, Holborne, and Byrd, and adding Baroque pieces such as one of Biber's Mystery Sonatas that are not precisely "melancholy" but certainly play off the concept in arresting ways.
Beauty, purity, and expressivity mark out music for upper voice choirs. On this recording, performed by one of the UK’s leading vocal ensembles, the repertoire embraces classics of the genre such as Gustav Holst’s sublime Ave Maria and his third group of Hymns from the Rig Veda, as well as contemporary music. James MacMillan and Sir John Tavener are represented by works that explore their unique musical language, whilst Bob Chilcott’s technically demanding The Song of the Stars offers richly approachable pleasures.