András Schiffs reputation as one of the great interpreters of the work of Franz Schubert is long-established. He has always maintained that Schuberts music is amongst the most moving ever written. Schiff underlined the point on his ECM New Series album with the C Major fantasies at the end of the 1990s, and he does so again on this remarkable recording, on which two Schubert sonatas, the Musical Moments, four Impromptus (D 935), the Hungarian Melody and an Allegretto are addressed on a period instrument, the fortepiano.
The B-Flat Symphony is the product of a man who had heard, and remembered, a great deal of Haydn and Mozart. One may turn up one's nose at its lack of originality, but one can hardly deny its geniality and charm.( John Briggs )
Albedo 0.39 is a studio album by the Greek electronic composer Vangelis, released in 1976. It was the second album produced by Vangelis in Nemo Studios, London, which was his creative base until the late 1980s. It was his first Top 20 UK album. It is a concept album themed around space physics (the reflection of light i.e. physical truth). Its title is inspired by the idea of a planet's albedo, the proportion of the light it receives that is reflected back into space. The album title refers to the average albedo value of the planet Earth as it was in 1976. From the explanation on the back of the LP cover : "The reflecting power of a planet or other non-luminous body. A perfect reflector would have an Albedo of 100%. The Earth's Albedo is 39%, or 0.39". It was performed at the Royal Albert Hall in 1977. The album reached #18 on the UK Album Charts.
Of Miles Davis's many bands, none was more influential and popular than the quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Davis's muted ballads and medium-tempo standards endeared him to the public. The horns' searing exposition of classics like "Salt Peanuts" and "Well, You Needn't" captivated musicians. The searching, restless improvisations of Coltrane intrigued listeners who had a taste for adventure. The flawless rhythm section became a model for bands everywhere. Steamin' With The Miles Davis Quintet is, in many respects representative of the total work of the quintet, it affords an excellent opportunity to examine just what this remarkable music was and how it was made. Such chemistry is inexplicable, and so, apparently, is the personality of the man who generated it.