CPR released as their second record an equally excellent two-CD live concert recorded in November 1998 at Los Angeles' Wiltern Theatre. In his liner notes, Samson Records owner Norman Waitt, Jr. refers to the palpable joy that emanated from the stage that night, and most of that joy translates to this almost celebratory-like recording as well. David Crosby is in excellent voice here, perhaps the best he had sounded since his '60s and '70s heyday; still choirboy sweet, but not without the world-weariness that comes with the rocky life he had lived up to that point. Some of the magic trippiness of bygone days is missing, but the melodic complexity of the band's compositions makes that excusable, as does their gorgeous harmonies and playing capabilities. Crosby's son, keyboardist/vocalist James Raymond, has a voice strikingly similar to his father's, and his song "One for Every Moment" is a highlight of the first CD.
Mot a Mot is the new edition of our highly successful advanced French vocabulary book. Providing comprehensive coverage of key French vocabulary, Mot a Mot contextualises words and phrases within up-to-date themes such as media, immigration and international relations. Each of the thematic sections has been thoroughly revised and each now includes graduated use of vocabulary allowing users to 'jump off' when they desire…
Features the latest remastering. Includes a Japanese description, lyrics, and bonus track(s). Features original cover artwork. One of the few female pianists in 50s jazz – the great Terry Pollard, a player who's usually associated with the Detroit scene, but who works here in a hip west coast setting for Bethlehem Records! The date's got Terry's strong piano in a quintet – with Don Fagerquist on trumpet and Howard Roberts on guitar – both musicians who bring a strong sense of presence to the group passages on the date, but who are also more than willing to step aside and let Pollard really flourish on her solos during some of the album's trio tracks.
Imagine a united consciousness, an awareness of which all of our minds are a part – and a potential way out of the division, greed, and destruction that threaten to engulf our world.
The Bridge at Andau is James A. Michener at his most gripping. His classic nonfiction account of a doomed uprising is as searing and unforgettable as any of his bestselling novels. For five brief, glorious days in the autumn of 1956, the Hungarian revolution gave its people a glimpse at a different kind of future—until, at four o’clock in the morning on a Sunday in November, the citizens of Budapest awoke to the shattering sound of Russian tanks ravaging their streets. The revolution was over. But freedom beckoned in the form of a small footbridge at Andau, on the Austrian border. By an accident of history it became, for a few harrowing weeks, one of the most important crossings in the world, as the soul of a nation fled across its unsteady planks
With IN A SILENT WAY, the elements of popular music, blues and electronics that had been implicit in Miles Davis' previous recordings now came center stage, and the trumpeter never looked back again. IN A SILENT WAY is Miles' BIRTH OF THE COOL/MILES AHEAD/KIND OF BLUE for the rock generation. Gone are the rhythmic and harmonic trappings of bebop. In their place, Miles conjures a hypnotic, subliminal dance pulse and an airy, celestial drone of electric keyboards. Miles fell in love with the bell tones and flute-like textures of Fender/Rhodes electric pianos, and in the hands of Herbie Hancock, Chick Corea and Joe Zawinul (who doubles on organ), they create layer upon layer of choral texture, in great reverberant washes of color and counterpoint.
This stylishly devised programme juxtaposes cantatas by Rosenmüller, Krieger and Buxtehude with instrumental chorales and sonatas by Scheidemann, Praetorius, Tunder and Weckmann; most of these now known, if at all widely, as forerunners to Bach rather than as fine musicians in their own right as they deserve to be. During the 17th and 18th centuries, Hamburg became a leading commercial port where material and cultural goods circulated freely. Ensemble Méridien has chosen this city as the focal point of a fascinating musical journey through northern Germany, a journey that reveals different aspects of this artistic power. The port of Hamburg was also the driving force behind the north German organ school of the time. Churches were overflowing with magnificent organs, and their building and playing techniques reached extremely high standards, as is evident from the organ music included here. Though most of the music in this recital has been recorded before, it has only appeared on relatively obscure labels, and not in this imaginative context where one may more fully appreciate its dramatic as well as musical merits.