Before its acquisition by the Getty Museum in 1983, Greuze’s eighteenth-century masterpiece La Blanchisseuse (The Laundress) had “disappeared” from circulation into private collections and become virtually unknown to twentieth-century audiences. …
Here is Vince Guaraldi's breakthrough album – musically, commercially, in every which way. After numerous records as a leader or sideman, for the first time a recognizable Guaraldi piano style emerges, with whimsical phrasing all his own, a madly swinging right hand and occasional boogie-influenced left hand, and a distinctive, throat-catching, melodic improvisational gift. The first half of the program is taken up by cover versions of tunes from the Antonio Carlos Jobim/Luiz Bonfa score for the film Black Orpheus, recorded just as bossa nova was taking hold in America. These are genuinely jazz-oriented impressions in a mainstream boppish manner, with only a breath of samba from Monty Budwig (bass) and Colin Bailey (drums) in the opening minute of "Samba de Orpheus"; an edited version of this haunting song was issued as a 45 rpm single. But DJs soon began flipping the single over to play the B-side, a wistful, unforgettably catchy Guaraldi tune called "Cast Your Fate to the Wind" that opens the North American half of the album.
The Murail "Tellur" is a fantastic work, in fact when you hear the opening it doesn't sound like a guitar, more like electronic music,it begins in the high register,harmonics used, that slowly then decends, the impetus of the work is the flamenco style of playing mixed with these extended techniques, The French avant-garde, French composers are not prolific, they hone single works for months prior to writing, and really only write single works within any genre, (this is Murail's only work for the guitar) The Lachenmann by contrast is a early work before he really discovered his voice and relays, relies on the performers reciting text of Chris Caudwell,activist like stuff that today sounds very dated in a self-conscious way.
So Danço Samba is the fourth album by keyboardist/composer-arranger Clare Fischer, and his first in the bossa nova vein, recorded and released in 1964 on the World Pacific label. Devoted primarily to the music of Antonio Carlos Jobim, it also features three of Fischer's own compositions.