The next big bang of these Cosmonautic rockers, Progpunks, Belgian Ozrics and heavy trancedubbers. Dancing In Limbo is the 6th studio album of Belgium’s finest Space Prog Rock band Quantum Fantay. One of the best if it comes to bring you the perfect mix of space rock and progressive rock music, they take you to an incredible dance trip. Combining ethnic instruments and bubbling sounds with their well known mixture of prog, space, dub and trance will move, shiver and surprise every music lover. This album also features a very special guest appearance by Pete Mush’s friend and biggest idol - Ed Wynne from the Ozric Tentacles!
There was a time, not long ago, when Baroque scores were treated as a folio of performance suggestions, not as the letter of the law. Performers felt free to add music or (more often) to take it away, and to do other things which were quite different from what the composer originally had in mind. Sir Thomas Beecham had no qualms about performing surgery on the music of George Frideric Handel, a composer he absolutely adored. No disrespect was intended. In fact, Beecham loved Handel so much, he wanted everyone else to love him too. That meant making him more palatable for modern tastes – bigger and leaner, at the same time.
Antonio Maria Bononcini (1677 - 1726) is the younger and lesser-known brother of Giovanni Bononcini (1670 - 1747). He was one of a number of Italian composers who were active at the imperial court in Vienna, and introduced the newest trends in Italian music to the Austrian capital. His brother also did belong to this group of composers, as well as Ziani and Ariosti. The chamber cantata was one of the genres these composers paid attention to as listening to cantatas was part of the entertainment at the court.
In the winter of 1733-1734, the opera houses of London were abounding in Ariannas. In late December, Porpora's Arianna in Nasso was staged by the Opera of the Nobility. In late January, Handel's Arianna in Creta was staged by the composer's own opera company. Comparison, apparently, proved odious – and fatal: Porpora's Naxos Arianna has fallen from the repertoire while Handel's Cretan Arianna has barely hung on by her finger tips. This 2005 Greek performance with George Petrou leading the Orchestra of Patras is the work's first recording in decades – and, thankfully, it's quite fine. Most of the women soloists – and whether their characters are male or female, most of the parts here are sung by woman because most of the parts then were written for castratos – are terrific. Mata Katsuli is sweet but strong in the title role and Theodora Baka is especially effective and affecting as Alceste. The period instrument Orchestra of Patras is stylish, colorful, and lively, particularly the winds and brass playing in the finale. As captured in Musikproduktion Dabringhaus und Grimm characteristically crisp, deep, and detailed sound, this Arianna is well worth hearing by anyone who reveres the operas of the German-English composer.(James Leonard)
Howard was born September 15, 1956 in Philadelphia, Pennsylvania. In the late 1970s, he began touring with Grover Washington, Jr., who was one of his idols. In the early 1980s, Howard released his first and second studio albums, Asphalt Gardens and Steppin' Out. Both albums were well received and ranked high on the Billboard magazine jazz album charts at number 25 and 9, respectively. By 1985, Howard's third album, Dancing in the Sun, had scaled the Billboard Jazz Album chart to number 1. Each of his next three albums, Love Will Follow, A Nice Place to Be and Reflections would also reach this height in the Jazz Album chart. After the success of Dancing in the Sun, Howard left the label GRP Records in order to join MCA through the 1988 release of Reflections. However, he returned to GRP Records in 1990 and released Love Will Follow in 1991. He stayed with GRP until his untimely death of lymphoma on March 22, 1998.
Väsen have been around for well over a decade, refining their sound and producing a series of delightful albums, first for their Swedish home market and then finding a global audience. Just how far they reach now is evident from the fact they recorded this live disc in Japan. The humor in their sound is more evident live, but the delightful interplay between nyckelharpa, fiddle, and guitar is apparent throughout, right from the opener, "Björkbergspolskan." The material largely draws from their last two discs, which is fine – those albums were two of the best of their lengthy career.