Petite Afrique, the new album from superb jazz chanteuse Somi, is a song cycle inspired by the vibrant African immigrant community that has become a vital part of Harlem s cultural dimension and to New York City as a whole. The historic uptown neighborhood fondly boasts of West 116th Street as "Little Africa," where passersby can find any number of African immigrant shops selling a vast array of products and food. Over the last decade, gentrification has crept deeper into Harlem, pushing the African immigrants out. With Petite Afrique, Somi ensures that the stories and struggles of New York City's largest African community do not disappear without having ever been told. The songs on the album are based on Somi's conversations with diverse members of the Harlem community reflecting on themes of transnationalism, cultural difference, assimilation and gentrification. Blending modern jazz, African music and the singer-songwriter tradition, Petite Afrique is an amalgamation of the musical and cultural worlds that resonate with Somi as an African AND American woman and a proud Harlemite.
A killer album of Afro Funk – with a very unusual origin! In the wake of Manu Dibango's big hit (and some kind of failure to register the copyright), many many versions of "Soul Makossa" were recorded and released, some good, some bad. This album is a good example of that situation – kind of a quickie project issued by Mainstream Records to cash in on the hit – but it's also an amazing bit of lost funk, and a record that's lasted for years in the hearts of beatheads! The group's a studio combo headed by Richard Fritz – and includes funky drummer Paul Humphrey, organist Charles Kynard, and guitarist David T Walker – all players we can trust to keep things groovy.
Pygmalion, c'est Narcisse créateur. Au lieu de s'éprendre de lui-même dans son propre reflet, il s'éprend de lui-même dans son reflet "second", sa création. S'adressant à la statue, Pygmalion chante : "Se peut-il que tu sois l'ouvrage de ma main ?" Poser la question, c'est y répondre. Apothéose de l'autosatisfaction.
'When all is said and done, Kuijken and Hyperion have given us perhaps the most fully satisfying recording yet of the work—one not likely to be challenged for some time'(American Record Guide)
The death of Georg Philipp Telemann in 1767 paved the way for his godson, Carl Philipp Emanuel Bach to take up the position of Director of Music in Hamburg. Prior to that C P E Bach had been working for Frederick the Second of Prussia in Berlin but longed for a greater musical freedom and stylistic flexibility that working in Hamburg would offer him. This included the composition of three oratorios, including the one presented here. C P E Bach worked on The Resurrection and Ascension of Jesus in collaboration with the librettist Karl Wilhelm Ramler from 1781, and in 1787 it was published by Breitkopf. A letter from the composer to his publisher subsequently revealed he considered it to be one of his greatest masterpieces—a reflection agreed upon by audiences at the time, and succeeding generations of composers, including Haydn and Beethoven who both drew inspiration from it.