Keith Sweat's first studio album since 2011 arrived as the singer's syndicated radio program, The Sweat Hotel, was approaching its tenth year. It could be deduced that the gig has sharpened Sweat's ears and pen, as Dress to Impress features his best round of songs in well over a decade. Beside a small cast of writing and production associates that includes Wirlie Morris and Derek Allen, Sweat focuses on romance and emotional connection. The album sounds fresh while drawing from numerous eras, just as the Sweat Hotel playlist roams from decade to decade.
Debut for a band whose members are well-known on the avant-prog and RIO music scene in France and abroad. Volapük and Metamorphosis are the projects from which come Takumi Fukushima (violin, vocals), Guillaume Saurel (cello, vocals), Christoph Pajer (violin, vocals), Jan Kavan (cello), Richard Deutsch (guitar, vocals, mixing), Martin Alacam (guitar) and Guigou Chenevier (drums). Chenevier was founder not only of Volapük but also of Etron Fou Leloublan and Les Batterries. The "General Dream" including through 2 violins, 2 guitars and 2 cellos opens onto vast and uncharted musical horizons, ranging from chamber-rock to Rock In Opposition…
For over 20 years, the trio of pianist Carla Bley, bassist Steve Swallow, and saxophonist Andy Sheppard have shared each other's creative company. The group's 2016 album, Andando el Tiempo, is a delicately passionate, classically influenced set. A follow-up to 2013's equally compelling Trios, Andando el Tiempo is, surprisingly, only the third album from the group after their initial live 1995 album Songs with Legs. Whereas on Trios they delved into various Bley compositions from throughout her career, on Andando el Tiempo they focus on several more recently penned works. "Naked Bridges/Diving Bridges" brings to mind the impressionism of composer Claude Debussy.
This album is the penultimate in what BBC Music has described as a ‘triumph of Brahmsian thought’, namely the survey by Barry Douglas of the composer’s complete works for solo piano. Three years after the release of Volume 1, the winner of the 1986 Tchaikovsky Competition is now performing this repertoire in the finest international venues, such as the Wigmore Hall in July 2015 and Concertgebouw in 2016, when the series will come to a highly anticipated climax with the final volume. Taking a big step further in his career with this achievement, Barry Douglas is gaining a reputation of one of the few accomplished world-class piano virtuosi of the romantic repertoire.
Barry Douglas returns for the highly anticipated third volume in his series devoted to Brahms’s solo piano music, the first two volumes having been met with widespread critical acclaim. Of Vol. 2, International Record Review wrote, ‘this is indeed Brahms playing of the utmost integrity and authority… this cycle looks set to become a benchmark. The selected Intermezzi performed here come from the collections of short piano pieces which Brahms published in 1892 – 93, his last works for piano. A sense of wistful, melancholic reflection pervades these exquisitely crafted masterpieces of Brahms’s late maturity.
This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio.