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A complete inner game and outer game training guide to re-program yourself for success with women and dating.
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David Coverdale's first two post-Deep Purple solo albums, 1977's White Snake and 1978's Northwinds, were combined onto one CD prior to this package, which came out on the Purple label in 2003. That two-fer, however, didn't have the four bonus tracks that appear on this configuration…
The Florentine Francesco Bartolomeo Conti (1682-1732) was the finest theorbo player in early 18th-century Europe, and spent almost his entire career at the Habsburg court in Vienna. He composed sacred and secular vocal works special enough to warrant the attention of both Bach and Handel. Conti's oratorio David, a setting of a dramatic libretto by Apostolo Zeno, was first performed at Vienna in March 1724. The cast of singers included the tenor Francesco Borosini, soon afterwards a principal cast member for Handel in Tamerlano and Rodelinda (Conti's writing for Borosini descends to a low G, hence the decision here to cast baritone Furio Zanasi as Saul). Alan Curtis speculates that Borosini might have shown Conti's score to Handel because Conti's use of the theorbo to portray David playing the harp to soothe the insanely jealous Saul is neatly reflected in Handel's use of solo harp in his oratorio Saul (1738). Conti's difficult obbligato theorbo part in David's 'Quanto mirabile' is entrusted to the safe hands of Jakob Lindberg; the vocal part is sung by Marijana Mijanovic´, whose tuning and phrasing are better here than in her Handel recordings. Furio Zanasi's top register is stretched a notch too much for comfort at times but this never gets in the way of a convincing performance. Simone Kermes is beautifully emotive as Micol, Birgit Christensen's sparkling soprano is impressive, and Sonia Prina sings with exemplary sense of proportion and melodic line.
Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. Mid-'80s big band recordings featuring the arrangements and compositions of David Matthews, mixing swing, bop, soul-jazz, and fusion influences. There's a blend between acoustic and electric, standards and originals, and tightly crafted ensemble-dominated arrangements and straight blowing material.
David Krakauer is one of the greatest of all modern Klezmer clarinetists. A veteran of countless bands and ensembles and a founding member of the Klezmatics, his ensemble Klezmer Madness has been forging new roads in the world of Jewish music since the late 1980s. David and Zorn have a long history and friendship that began with Zorn's legendary Kristallnacht recording of 1992, followed thru with David’s guest appearances in various Masada ensembles and the release of his first CD with Klezmer Madness on Tzadik. Here David takes a variety of Masada compositions back to their roots, interpreting them brilliantly as traditional (and not-so-traditional) Klezmer tunes. A fascinating meeting of old and new by two of the most creative musicians in Modern Jewish music!