Cannes, 1999. Alice, an actress, wants to direct an indie picture. Kaz, a talkative (and maybe bogus) deal maker, promises $3 million if she'll use Millie, an aging French star. But, Rick, a big producer, needs Millie for a small part in a fall movie or he loses his star, Tom Hanks. Is Kaz for real? Can Rick sweet-talk Alice and sabotage Kaz to keep Millie from taking that deal? Millie consults with Victor, her ex, about which picture to make, Rick needs money, an ingenue named Blue is discovered, Kaz hits on Victor's new love, and Rick's factotum connects with Blue. Knives go in various backs. Wheels spin. Which deals - and pairings - will be consummated?
If ever there were a popular work of minimalism, one that stated its purpose so clearly it could not be mistaken, Terry Riley's legendary composition In C is the one. It is a work that needs no explanation for its pulsing sequences of pitch all centering around the 53 phases of no duration played on the note and its performances have been numerous–even if there have been relatively few recordings of it. The Bang on a Can all-stars have recorded perhaps the most innovative version of the work thus far, after Riley's own, which was issued in the 1960s on Columbia's long defunct Odyssey label.
Live in Paris was recorded in the late '70s, shortly before Luther Allison decided to leave America for France because the U.S. blues scene was faltering. And, as Live in Paris attests, Allison was at his best when he played straight blues with a bit of a wild, electric edge. The album isn't perfect by any means, but there's energy and fire to his playing that holds your attention throughout the record.
Live in Amsterdam is the first live album by Candy Dulfer and contains prior hits such as "Sax-a-go-go," "Lily Was Here" and "Dance 'till You Bop," and new songs such as "Synchrodestiny." The album features David A. Stewart, Hans Dulfer and Angie Stone as special guests. The album peaked at #27 in the Dutch album charts.