It is a rare pleasure these days to hear a singer with a completely original sound, an immediately recognizable voice and style that mesmerizes with sheer tonal beauty. Such an artist is Maysa, who, like Anita Baker (to whom she is sometimes compared) occupies a completely unique niche in the musical cosmos, at the intersection of jazz and soul. But Maysa has ranged far more widely, into the realms of Acid Jazz, as a featured vocalist with Incognito, and dance music. Her multi-faceted artistry is part of what makes her special but it may also be a reason why she has not been more widely known, despite the fervor of her fans, in a world that depends far too much on easy categorization. The release of her seventh album, METAMORPHOSIS, an impressive set of all-original material that follows up on her two acclaimed albums of classic soul, may well be the album that takes her to the next level of appreciation as one of the foremost contemporary vocalists on the scene today.
It’s exciting to review two preeminent musicians in their first-ever collaboration, Pickin‘, to be released on November 3, 2017, on Acoustic Disc. Tommy Emmanuel shows why he has been named one of only five Certified Guitar Players (CGP) by the late master himself, Chet Atkins, with his mixture of Jazz, Blues, Bluegrass, Folk and Rock. David “Dawg” Grisman continues to be the premiere player of Dawg Music with his unique combination of Bluegrass, Jazz and Folk on the mandolin….
Film soundtrack, featuring the hit single "Lily Was Here". Also features Annie Lennox on vocals for a new arrangement of the Eurythmics1984 hit "Here Comes The Rain Again". Lily Was Here (original title in Dutch: De Kassière, The Cashier) is a 1989 Dutch film directed by Ben Verbong.
David Gilmour released his second solo venture in 1984, following the apparent dissolution of Pink Floyd. He had released a record on his own in 1978, but About Face is much more accessible. Gilmour has a stellar band backing him, including Jeff Porcaro (drums), Pino Palladino (bass), and Anne Dudley (synthesizer). The songs on About Face show a pop sensibility that Pink Floyd rarely was concerned with achieving. Although the album didn't attract the attention of a Floyd release, several cuts did manage to get airplay. "Until We Sleep" is rife with shimmering synthesizers and cavernous drums…
A generation on from the BBC Natural History Unit’s series The Blue Planet, Blue Planet II uses breakthroughs in marine science and cutting-edge technology to explore new worlds and reveal the very latest discoveries. This landmark seven-part series will bring viewers face to face with unexpected new landscapes and introduce compelling contemporary stories from our ocean.
Born to Do It is the debut studio album by English singer Craig David, released in the United Kingdom on 14 August 2000 by Wildstar Records and in the United States later in 2001 by Atlantic Records. Following exposure from his work with British group, David began performing vocals for garage duo Artful Dodger. During this time Wildstar Records became aware of David, offering him a development deal before offering an album contract. The recording for the album began in 1999 before David had acquired a record contract, the recording lasted until 2000 and was composed by David himself and Mark Hill.
Cellist Joan Jeanrenaud's first solo album since leaving her 20-year gig with the celebrated Kronos Quartet finds her exploring areas that aren't exactly a huge departure from the type of edgy modern music she played with her old group, but it does show what she can do when given her own space to work with. The results are impressive. Most of the compositions are for solo cello with looped cello parts captured digitally or on tape, while one is written for cello and computer-generated sounds and another for cello and "electronics." The composers are a combination of names familiar (Steve Mackey, Philip Glass, Hamza el Din) and new (Mark Grey, Jeanrenaud herself), and while the pieces aren't all equally interesting there are several works of stunning beauty here. One of the most engaging is el Din's "Escalay + 17:10," with its looped Egyptian melodies, and another is Jeanrenaud's own "Altar Piece," which makes extensive use of electronic tone alteration and layering, and on which she exercises masterful control of whispery artificial harmonics. But the album's highlight is a piece by Karen Tanaka entitled "Song of Songs." Inspired by the Old Testament book of the same name, which is essentially an extended love song, Tanaka builds a sweet, simple, and beautifully textured work out of cello and computer-generated sounds. As always, Jeanrenaud's playing is virtuosic but never showy. Highly recommended.