“clear diction and outstandingly responsive singing throughout is the biggest single asset of the performance. Superbly dynamic the set is obligatory for all committed Bachians.” (Fanfare)
Innovative Tunisian oud virtuoso Anouar Brahem presents this highly-acclaimed album of typically Middle Eastern music, recorded in 1999 with a trio that had been his first priority for several years. The improvisational exchanges between Brahem, clarinettist Barbaros Erköse and percussionist Lassad Hosni are exceptionally fluid and the atmospheres they create here are by turns mysterious, hypnotic and dramatic.
Broadway star Sarah Brightman lends her ethereal, angelic vocals to another combination of classical and pop, resulting in a solid, stirring collection. This outing, the ex-Mrs. Andrew Lloyd Webber adapts Rachmaninov ("How Fare This Spot"), Beethoven ("Figlio Perduto"), and Handel ("Solo Con Te") alongside the brothers Gibb and Simon and Garfunkel…
This CD is a compilation of some of Miles Davis's earliest recordings as a sideman from the late 1940s. His formative years are represented here in a large group setting. The groups featured here are scaled down or actual big bands. This CD is probably most dominated by the arrangements of Tadd Dameron, arguably the definitive arranger-composer of the bop era.
"Antique Dreams" is a set of some of the best unused material from Tangerine Dream's vaults. The recording dates are from 1971 through 1990, inclusive. That covers most of their stronger eras. The pieces from the early '70s have wild avant-garde and rock & roll timbres. The other tracks match their eras as well. This CD is lots of fun - it is more engaging than their best-of collections and it runs through the band's history. It is essential e-music.
Born Caroline Catharina Müller in the Netherlands, she moved with her family to Germany in the late '70s. In 1980, she became a member of the girl quartet Optimal, who issued two singles. During one of the band's concerts in Hamburg, she was approached by songwriter/producer Dieter Bohlen who had just taken the continental charts by storm with his duo Modern Talking…
At first or second listen, this sounds unnervingly like a solo album that Ray Davies might have made circa the early 1970s. There's that same witty melodicism, and a similar resigned yet bemused air to Suggs' vocal delivery. It manages, though, not to sound like an inferior rewrite of Kinks cliches, and upon closer inspection, reveals Suggs to be more his own man than might initially be suspected. Suggs favors far more abstract lyrics, for one thing, imbued with rather creepy images of vultures, skeletons, and dreamy disorientation. In addition, the music is more speckled with Americana than what Davies and the Kinks played, as heard on the enchanting minor-keyed mandolin strums and desert guide slide that anchor "The Rambler Vs. the Vulture/Devils Dance," managing to strike a mood between Appalachia and Tex-Mex balladry. Like few other ambitious musicians, singer-songwriter-identified and otherwise, working in indie rock circa 2000, Suggs knows how to use understatement instead of trying too hard or opting for an in-your-face approach.