Providing a foretaste of his album "Music Is My Home", Raphaël Imbert has now released "Prologue", a 10'' collector "gatefold" vinyl. Alongside emblematic musicians (Big Ron Hunter, Alabama Slim etc.) and young up-coming French stars (first and foremost Anne Paceo), the saxophonist takes on the role of a top-notch ethno-musicologist, escorting us along the roads of the American "Deep South". With an unparalleled knowledge of groove, he comes within touching distance of the roots of blues, jazz and soul.
This is an archival release designed for the fans, and it should be treated that way. That means while there are certainly interesting variations of familiar songs, rarities, and unexpected delights for fans, it's undeniably for those fans who will realize how these versions differ from the originals, or those who will delight in the subtle stage patter from Townshend. Most of all, it's for the fans who embrace the spiritual side of Townshend, particularly his recordings for his guru, Avatar Meher Baba, since he and Raphael Rudd performed these concerts in his honor, several songs derive from Townshend's independently released albums for him, and these recordings are taken from concerts given in 1979-1980 for a select group of Meher Baba devotees.
Juan Coacci, al piano, acompaña a Raphael en un repaso musical a sus cuatro décadas de carrera, siguiendo un guión escénico de Jaime Azpilicueta, en este DVD con el concierto completo de la gira "Raphael Cerca de Ti".
Naxos intend to record Vivaldi’s entire orchestral corpus, and Raphael Wallfisch’s integral four-disc survey of the 27 cello concertos inaugurates this visionary, though plainly Herculean undertaking. Soloist and orchestra employ modern instruments; director Nicholas Kraemer contends that authentic protocols can be ably met by contemporary ensembles and, in articulation, style and ornamentation, these pristine, engaging readings have little to fear from period practitioners. Wallfisch’s pointed, erudite and spirited playing is supported with enlightened restraint by the CLS, directed from either harpsichord or chamber organ by Kraemer, whose sensitive continuo team merits high praise throughout. Without exception, these Concertos adopt an orthodox fast-slow-fast three-movement format. Wallfisch, dutifully observant in matters of textual fidelity, plays outer movements with verve, energy and lucidity, such that high-register passagework, an omnipresent feature of these works, is enunciated with the pin-sharp focus of Canaletto’s images of 18th-century Venice, which adorn the covers of these issues.
Dvorák’s chamber music is one of the most popular parts of his repertoire and contains some classics of the genre. Thoroughly Romantic, endlessly imaginative and imbued with Slavonic fire, the String Quintet and String Sextet are elegantly performed by the virtuoso musicians of The Raphael Ensemble.