Achingly gorgeous and hauntingly stark, Mark Hollis' self-titled debut picks up where he left off with Talk Talk's Laughing Stock seven years earlier, re-emerging at the nexus point where jazz, ambient, and folk music collide. It's quite possibly the most quiet and intimate record ever made, each song cut to the bone for maximum emotional impact and every note carrying enormous meaning. Hollis paints his music in fine, exquisite strokes, with an uncanny mastery of atmosphere that's frequently devastating. And if anything, his singularly resonant voice has grown even more plaintive with the passage of time, which – combined with the understated artistry and minimalist beauty of tracks like "The Colour of Spring" and "Watershed" – makes Mark Hollis a truly unique and indelible listening experience. His obvious understanding of the power of silence aside, one prays he doesn't again wait for the seven-year itch to strike before returning.
England's Orlando Consort, a quartet of male singers augmented as needed by other performers, offers performances of Renaissance vocal music that lie midway between the traditional and the highly individualized modern. Sometimes they veer toward one of those two extremes, but often, as on the present disc, they find a happy medium. Their sound, especially in sacred music, owes much to the English cathedral tradition, but there's a well-honed edge to their one-voice-to-a-part interpretations that brings out the crowds who've recently been drawn to early music. This disc is intended as an introduction to a composer who doesn't always offer easy listening to the modern ear. Netherlander Antoine Busnois, active at the end of the fifteenth century and considered the greatest figure between Dufay and Josquin, wrote music that broke free from elaborate medieval numerology but came in advance of Josquin's perfect marriage of music and text.
A spectacular presentation of eleven new compositions from Zorn’s Book of Angels by two passionate virtuosos whose work together is never less than perfection itself. Contextualizing the music into a classical recital for violin and piano, this is the chamber music of the future. Exciting and breathtaking, Mark and Sylvie have put together a program filled with imagination, lyricism and an intense energy. New Jewish music by one of the greatest violin/piano pairings ever. This is a whole new all-encompassing direction for classical music.
It's not like Mark Oliver Everett (hereafter known as E) hasn't dealt with these themes before. His whole recording career, most of it done under the Eels moniker, has been full of brilliantly crafted pop songs that tour death, terminal illness, regrets, lost dear ones, a veiled belief in better days and times overlaid by thick angst, and now and then, actual bursts of bouncing joy and humor. So there's nothing really new thematically on the 11th Eels album, The Cautionary Tales of Mark Oliver Everett, and even its sparse, stripped-down, and lightly orchestrated acoustic folk feel is something E has often visited. He turned 50 while writing these songs, so maybe that has something to do with the heavy and regretful tone that washes through these rather muted, weary, and almost whispered musings, few of which even rise to the tempo of a slow shuffle.
Neck and Neck is a collaborative album by American guitarist Chet Atkins and British singer-songwriter and guitarist Mark Knopfler, released on October 9, 1990 by Columbia Records. "Poor Boy Blues" was released as a single, and in 1991 won a Grammy Award for Best Country Collaboration with Vocals. That same year, "So Soft Your Goodbye" won a Grammy Award for Best Country Instrumental Performance. Atkins originally recorded "Yakety Axe", a parody of Boots' Randolph's "Yakety Sax", on his 1965 album More of That Guitar Country. This new recording features lyrics and a new arrangement that were composed by Merle Travis…
In this album, subtitled "Sultans Of Swing", Alex Bollard pays a tribute to one of the favourite guitarists, Mark Knopfler. Each of his sixteen compositions is sparked with the irresistible flavour that is a Knopfler hallmark. Listening to Alex Bollard's catchy versions you will live again the late 1970s and 1980s when Mark Knopfler and Dire Straits were conquering the world.
Centrifugal Funk is the second and final studio album by the Mark Varney Project (MVP), released in 1991 through Legato Records; a remastered edition was reissued in 2004 through Tone Center Records. This incarnation of the group is a collaboration between guitarists Frank Gambale, Brett Garsed and Shawn Lane. It consists primarily of covers of existing jazz fusion compositions, save for one track performed by Lane—"Lane's Blitz"—which he later dismissed as an impromptu warm-up rather than a planned solo, and thus his dislike for it. Varney, however, disputes Lane's version of events.