After the dissolution of Savage Grace, John Seanor and Ron Koss released this album with the help of King Errisson (congas, percussion), John Seiter (drums), and John Sebastian (harmonica). The album is described by timeshifter at RYM as “semi-funky A.O.R. with some bluesy cuts, some horns and harmonica, Jagger influenced vocals, decent song writing, and some rural moves”.
In the '80s, Jethro Tull was no longer the dominant force on the rock scene they had been throughout much of the previous decade, but the indomitable Ian Anderson continued to make ambitious records based on themes of ages past, even in an era of skinny ties and drum machines. BROADSWORD AND THE BEAST has a marked swords-and-sorcery motif; Anderson is depicted as a winged elfin creature on the cover. Despite such leanings, producer Paul Samwell-Smith–original bassist for the Yardbirds–gives the record a modern gloss, weaving the synthesizer playing of Peter-John Vettesse and the out-sized guitars of Tull stalwart Martin Barre through BROADSWORD's vaguely medieval-sounding romps.
The astonishing technical variety and wide emotional range contained in Domenico Scarlatti’s keyboard sonatas make each and every encounter a rewarding adventure in which the listener is seldom left untouched. This is Pierre Hantaï’s third solo disc of Scarlatti’s sonatas though only the second in his current series for the Mirare label. It contains several pieces less frequently performed than others and with which many readers may find themselves unfamiliar. The first item, in fact, is one of only seven sonatas of Scarlatti’s that is a straightforward fugue. It is an uncharacteristically didactic piece, even a shade austere compared to the rest of Hantaï’s recital which contains a kaleidoscope of colourful images. What Hantaï seems to be emphasising in his choice is that elusive, somewhat abstracted improvisatory quality present in so many of the pieces and of which the Sonata in E major K 215 provides a well-sustained example. Generally speaking, Hantaï follows Ralph Kirkpatrick’s suggestion that Scarlatti probably intended to group his sonatas into pairs or occasionally threes according to key.
Will listeners raised on virtuoso performances of Mozart’s piano concertos be able to make room in the hearts for Christian Zacharias’ recordings with the Orchestre de Chambre de Lausanne? It depends on how willing they are to forego the pleasures of virtuosity for the pleasures music-making. This is not to say that Zacharias isn’t a virtuoso pianist. As his 20 years of recordings make very clear, he has talents & abilities far beyond those of most mortal pianists.
Soul Vibration #001 (2005). Soul Vibrations is a collection of rarely heard musical gems, the ones that cross the boundaries of distinct categorisation with a fusion of styles that makes each one greater than the sum of its parts. Soul Vibrations Vol 1, the first down-tempo release from Liquid Records, is a result of much time spent selectively searching amongst the movers and shakers in London's electronic and alternative music scene today. After many years of putting on festivals and exclusive music and arts-based events, the label founder James Anthony (aka Liquid Djems) - an established DJ in London and internationally, has put together his years of experience, talent and considerable contact list of producers and artists to create this exciting venture…