The English violinist transcribed with this first album the spirit of gypsy nights he runs every Wednesday evening "Aux Petits Players", the Parisian venue has become a benchmark in the gypsy jazz. At the first notes of "Urban Gypsy" the spirit of Stephane Grappelli and Django flat, but never stifle creativity of the musician. From the second title (sung), it is clear that we are not there in "imitation." Flirting with bossa nova, blues and folk, original compositions on the album (and "Minor Swing," the only cover) offer a personal vision of gypsy jazz, a nomadic jazz chooses to drink to multiple sources. A disc that refreshes the genre and artist to discover.
Mendelssohn (1809-1847) is a perennially underrated composer who finally may be coming to greater appreciation. Certainly this fine recording (in English) of a masterpiece that he believed joined the Jewish faith of his fathers with his own Protestant Christianity should not hurt his reputation. The superb Welsh baritone Bryn Terfel gives a dramatically charged performance in the title role, while soprano Renee Fleming sings with beauty and limpid understanding; the cast is almost uniformly strong. The Edinburgh Festival Chorus, directed by David Jones, sings with care and conviction, and Paul Daniel conducts his forces firmly. –Sarah Bryan Miller.
Rarely has a greatest-hits collection been as effective as Elton John's first compilation of Greatest Hits. Released at the end of 1974, after Goodbye Yellow Brick Road and Caribou had effectively established him as a superstar, Greatest Hits is exactly what it says it is – it features every one of his Top Ten singles ("Your Song," "Rocket Man," "Honky Cat," "Crocodile Rock," "Daniel," "Goodbye Yellow Brick Road," "Bennie and the Jets," "Don't Let the Sun Go Down on Me"), plus the number 12 "Saturday Night's Alright for Fighting" and radio and concert favorite "Border Song." …
La-La Land Records and 20th Century Fox proudly present the remastered and slightly expanded 2-CD release of acclaimed composer John Williams' (JAWS, STAR WARS, RAIDERS OF THE LOST ARK, SCHINDLER'S LIST) orchestral score to the 1992 blockbuster holiday sequel HOME ALONE 2: LOST IN NEW YORK, starring Macaulay Culkin, Joe Pesci and Daniel Stern, and directed by Chris Columbus. Williams builds upon his marvelous HOME ALONE score, giving the Yuletide saga of Kevin McCallister a festive and joyous, Big Apple spin that will have you smiling through the holiday season! Produced by Nick Redman and Mike Matessino, and mastered by Dan Hersch and Mike Matessino, this special release, limited to 3000 units, features exclusive, in-depth liner notes by John Williams historian Mike Matessino. Yesssss!
Remastered and expanded release of renowned composer John Williams’ (JAWS, STAR WARS, RAIDERS OF THE LOST ARK, 1941) orchestral score to the 1990 holiday classic 20th Century Fox feature film HOME ALONE, starring Macaulay Culkin, Joe Pesci, Daniel Stern and Catherine O’Hara, written and produced by John Hughes and directed by Chris Columbus. Produced by Nick Redman, Mike Matessino and Didier C. Deutsch, through arrangement with Sony Music and 20th Century Fox, and remastered by Mark G. Wilder and Maria Triana at Battery Studios, this expanded release arrives just in time for the film’s 20th Anniversary and features more than 20 minutes of previously unreleased music, including bonus tracks. Exclusive, in-depth liner notes by Mike Matessino take you behind-the-scenes of one of filmdom’s most indelible holiday scores.
The old model for creating a hit classical recording – big-name soloist plus big-name conductor in major repertory work – is not so common anymore, but this live Brahms recording from the Staatskapelle Berlin under Venezuela's Gustavo Dudamel, with Argentine-Israeli-Palestinian-Spanish pianist Daniel Barenboim as soloist, shows that there's life in the concept yet. One could point to the virtues of pianist and conductor separately: it's a rare septuagenarian who can combine power and clear articulation of detail the way Barenboim does, and Dudamel builds a vast sweep in, especially, the Piano Concerto No. 1 in D minor, Op. 15. But it's the way that the two work together that really makes news. Chalk it up to shared South American heritage or to whatever the listener wants, but the way the orchestra and piano define separate spheres and work them together is extraordinary. Again, it is in the Piano Concerto No. 1 and its Beethovenian drama that their mutual understanding is most evident, but there is a sense of great variety powerfully unified throughout.