Rush is a Canadian rock band composed of Geddy Lee (bass, lead vocals, keyboards), Alex Lifeson (guitars, backing vocals) and Neil Peart (drums, percussion, lyrics). Forming in 1968, the band went through several configurations until arriving at its current line-up when Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first United States tour…
Brilliant Classics' Telemann Edition is a cube-shaped, flip-top box set of 29 CDs, drawn from the label's extensive back list. Georg Philipp Telemann was a major figure of the Baroque era and one of the most prolific composers of that or any age; his massive output encompassed Tafelmusik (music for the table), concertos, orchestral suites, chamber works, keyboard pieces, oratorios, operas, and cantatas. This collection is comprehensive in its coverage, providing an in-depth appreciation of Telemann's highly varied and innovative work, and the performances by a long roster of European musicians show a fine sense for period practices. To fit so many discs into this package, they are protected by thin cardboard sleeves, and the thin booklet that accompanies them gives a brief explanation of Telemann's career and reputation over the succeeding centuries. However, the sound quality is only slightly variable and quite pleasant throughout, and the package as a whole is likely to satisfy any Telemann fan.
Caro Emerald came out of nowhere in 2009 with the summertime hit "Back It Up," a catchy jazz-pop song with a dance beat. The follow-up single, "A Night Like This," was an even bigger hit, topping the Dutch charts. By the time Deleted Scenes from the Cutting Room Floor came around, Emerald was well established as one of the most exciting new artists to emerge from the Netherlands in some time, and her full-length album debut was eagerly awaited. It includes the smash hit singles "Back It Up" and "A Night Like This," both written by Vincent de Giorgio, David Schreurs, and Jan van Wieringen. The latter two Dutchmen are Emerald's producers. They released Deleted Scenes from the Cutting Room Floor on their Amsterdam label Grandmono Records.
An air of inquiry suffuses Laura Marling's third album, a mood of experimentation as cerebral as it is playful. Opening song The Muse is like nothing she has released before: swaggering and brassy, with her voice pulling angular shapes across saloon-jazz piano and tight brush drums. Salinas and Rest in the Bed are like miniature western movies, with spit and sawdust in the guitar and banjo lines, melodrama in the backing vocals and Marling squinting at a relentless sun as her characters glare fate in the face. As on last year's I Speak Because I Can, Marling can sound curiously dispassionate, slurring the chorus of Don't Ask Me Why, maintaining a studied cool at the start of Sophia as she murmurs: "Where I have been lately is no concern of yours." But when Sophia unfurls into a glowing country romp, the distance between her and us suddenly shrinks – and the feeling is exhilarating.
In 1705, Giuseppe Sala published in Venice the Suonote do camera a tre, due violini o violone o cembalo op.1 of Antonio Vivaldi. This set of trio sonatas marked the official 'debut' of a composer who was already more than a mere youth (the 'Prete Rosso' was then 27-years old), and probably contains the earliest works of his that have come down to us. It is very likely, though, as Michael Talbot has pointed out, that the copy of 1705 is in fact a reprint of a now lost first edition published in 1703.
Move is Hiromi's second "Trio Project" recording with electric bassist Anthony Jackson and drummer Simon Phillips, and is a worthy follow-up to 2011's Voice. The pianist/composer defines the compositions on Move as mirroring an average day, starting with the title track, a choppy excursion that finds the trio connecting through a maze of twists and turns. "Brand New Day" is smoother than the previous track but doesn't lose any of the energy. Hiromi switches between piano and an analog synthesizer on "Endeavor," which, unfortunately, sounds like a novelty and cheapens the otherwise enjoyable composition. "Rainmaker" glides between fusion and post-bop. "Margarita!" is fun party funk. The final track, "11:49 PM," brings the day, and this very satisfying session, to its conclusion.
Martha Argerich's associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist’s most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order. Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.