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.
There’s nothing disastrous about Daniel Pemberton’s fine score. Pemberton’s star has been on the rise for a few years now and it was 2015 that turned out to be his real breakthrough year, with his very impressive (and very different) scores for The Man from UNCLE and Steve Jobs. There’s a bit of the effortless cool of the former heard in Gold but by and large this is another very different affair, a fun action/adventure score that stays refreshingly free of the turgid sounds that tend to dog these things these days.
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."…
A strange man, John Fahey, with an unusual set of guitar styles. This album, originally released on Riverboat Records and later reissued by Fahey's own Takoma label, has a lot of rough edges in terms of the recording but a tremendous amount of power when it comes to the music. Fahey was at the top of his game, alternately playful and dark, so there's never a dull moment. There is always something new to be heard on each playing.
John Pizzarelli's love affair with the bossa nova stretched back over two decades prior to the making of this CD, which is his salute to the legendary João Gilberto. Accompanied by his regular group (pianist Ray Kennedy and bassist Martin Pizzarelli) and augmented by drummer Paulinho Braga and percussionist Jim Saporito, along with several others on selected tracks, Pizzarelli's soft, swinging vocals and strong but understated guitar work their magic throughout the session. While most of the pieces are Brazilian works, there are exceptions. Gershwin's "Fascinatin' Rhythm" is easily adapted into a bossa nova…
La-La Land Records, Sony Pictures and Sony Music presents the world premiere release of the first official remastered and expanded edition of renowned composer John Williams's (JAWS, STAR WARS, SCHINDLER'S LIST) original score to the 1991 Tri-Star Pictures' adventure/fantasy epic HOOK, directed by Steven Spielberg. Long considered one of the maestro's best scores in collaboration with Mr. Spielberg, this masterwork is finally presented here in a worthy 2-CD release that contains more than 140 mins of music, including bonus alternate and unused cues, greatly expanding the score's original 1991 album assembly with more than 65 minutes of music previously unreleased in any official format. Produced by Didier C. Deutsch and Mark G. Wilder, mastered by Mark G. Wilder and Maria Triana and supervised and approved by John Williams, this expanded reissue features amazing art design by Jim Titus and exclusive, in-depth liners from film music writer Daniel Schweiger. It's an amazing soundtrack experience that will have you never wanting to grow up!
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.