A man with as much experience as he has ingenuity, Randall Bramblett has been a singer-songwriter, a session musician, and a hired gun for legends such as Gregg Allman and Steve Winwod. Bramblett’s latest release from his more than thirty years in the business, Devil Music, delivers the expected level of virtuosity, and surprises with a deep-fried, novel twist of Southern darkness. “Dead in the Water,” the album’s lead single is equally fulfilled through evocative lyrics, well-timed and managed effects, and instrumental superiority; a narrative of nowhere, the track is populated by dead-end characters and lowly living; fitting, for a track that Bramblett claims is inspired by William S. Burroughs. While immersing itself in the wonderfully weird, infinitely spiraling darkness of whimsy that exemplifies some of Tom Waits’ best work, “Dead in the Water” sees a guest appearance by storied axeman Mark Knopfler.
Recorded live at Warren Haynes’ 18th Annual Christmas Jam in Asheville, NC on December 16th, 2006 at the Thomas Wolfe Auditorium, The Benefit Concert Volume 8 is the third release in an on-going series documenting the annual concerts. The concert saw Warren Haynes put together a stellar lineup of musicians featuring Gov’t Mule, Dave Matthews, The New Orleans Social Club, Marty Stuart and His Fabulous Superlatives, The Taj Mahal Trio and The John Popper Project featuring DJ Logic. Warren Haynes also welcomed very special guests Randall Bramblett, Taylor Hicks, Branford Marsalis, Mike Barnes, Mickey Raphael, Brendan Bayliss, Kevn Kinney, Robert Kearns and Dave Schools.
Antonio Vivaldi wrote hundreds of largely famous instrumental works, and his glorious church music is well known; but it wasn’t until recent decades that his operas – of which he is said to have created more than fifty – were resurrected. Orlando furioso occupies a central and very significant place among Vivaldi’s works. Not only does the whole score of this opera demonstrate its composer’s full, creative maturity, but its outstanding features are also an extraordinary musical beauty, an attractive recitative line and a balance thus created between the various parts of the dramatic and musical whole. This exceptional musical achievement was no doubt partly due to the famous theme of the original story, as well as the literary and dramatic qualities of a fi rst-rate libretto. Pier Luigi Pizzi’s 1979 production of Orlando furioso in Verona marked the beginning of contemporary international interest in Antonio Vivaldi’s operas. Ten years later the same director once more produced this work at the San Francisco Opera, where it was a great success.