While David Linx's name may not be writ large here in the States, the fifty-one year-old singer, composer and multi-instrumentalist is a mega-star in his native Belgium, and in 2005 was named Best Jazz Musician in Europe, which covers a whole lot of territory. On Brel, Linx sings music composed by his Belgian forerunner, the late and legendary Jacques Brel, accompanied by the world-class Brussels Jazz Orchestra (whose personnel are not listed on the bare-bones promotional copy save for saxophonist / music director Frank Vaganee).
David Chesky, born in Miami in 1956, settled in New York City in the 1970s and now identifies himself as an "urban orchestral composer." His Urban Concertos, of which he has written nearly a dozen, constitute his most substantial output. In the program notes for this recording of three of his concertos, he wrote, "Perhaps one can say my style is neo-impressionist. But I do not live on some quaint idyllic country farm, I live in the city that never sleeps! It is a hard-driving concrete jungle that pulsates around the clock." "Pulsating" is an apt descriptor for Chesky's music, which is notable for its restlessly high energy and rhythmic propulsiveness.
The first solo David Gates's album.
The longest track on “Perfection,” the debut album by a jazz trio with David Murray on tenor saxophone and bass clarinet, Geri Allen on piano and Terri Lyne Carrington on drums, clocks in at just over eight minutes, covering so much ground that it feels almost like an epic. Composed by Mr. Murray, it’s a swinging tune with a pensive yet intrepid melody, and a midsection of bristling abstraction. The title is playfully apt: “The David, Geri & Terri Show.” Dynamic combustion is the core characteristic of this all-star trio, which first convened at the 2015 NYC Winter Jazzfest. Mr. Murray, 61, is an improviser of great, garrulous bluster, while Ms. Allen and Ms. Carrington, both in their 50s, have forged prominent careers more in line with the postbop mainstream.
David Bowie had dropped hints during the Diamond Dogs tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album – it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul.
Diamond Dogs is a concept album by David Bowie, originally released by RCA Records in 1974. Thematically it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie's own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell's book and began writing material after completing sessions for his 1973 album Pin Ups, but the late author’s estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicate, the Nineteen Eighty-Four theme was prominent.
Rui Massena conducts the Fundação Orquestra Estúdio’s recording of David Chesky’s fantasy for children The Zephyrtine ballet. The characters throughout the ballet are represented by specific instruments; the two main characters, Ben and the Zephyrtine, are voiced by the piccolo and the French horn. The Zephyrtine is a wonderful adventure that revolves around a little boy from Vermont, Ben, who meets a magical Zephyrtine and journeys to the enchanted land of Eudora. Eudora is a Utopian society where people are different colors, red, blue, green, and yellow! Vegetables are not grown instead built in factories, ice cream grows on trees, and fish fly. When the Blue Princess is captured by Ib the monster, it is up to Ben to rescue her and save the kingdom. Children are taken on a thrilling journey where they learn the importance of friendship and accepting cultural diversity.