His third album in as many years to tackle the classic U.S. sounds of the '60s, California: Americana, Vol. 3 sees Canadian-Acadian vocalist Roch Voisine abandon the old-school rock & roll and Nashville country of its predecessors in favor of nine of the flower power movement's defining folk-pop hits. Recorded in California itself, the 2010 installment of the successful series pays homage to the state's musical heritage, with faithful performances of the Byrds' Book of Ecclesiastes-inspired "Turn! Turn! Turn! (To Everything There Is a Season)," Crosby, Stills & Nash's "Southern Cross," and the Monkees' Neil Diamond-penned "I'm a Believer," alongside both English and bilingual versions of Scott McKenzie's "San Francisco" and the Mamas & the Papas' "California Dreamin'."
25 years of activity, an original artist, sincere and inspired. A Nordic-inspired poetry that finds its soundness in search of sound, in the company of many musicians / companions Simon, tells us, in this volume, a unique artistic journey that varies between Rock, Contemporary, Jazz, Chamberlain. Becoming an icon of the RIO movement between the 90s and 2000s, Steensland proposes two discs, one that collects a collection of pieces of his first period on CD, which has long been completely out of stock, along with a second record in which they appear Totally unpublished pieces. A distillate of Simon's musical world, a new incredible sound experience.
This is a very good recording of a selection of Vivaldi's "concerti a quattro" - concertos for string orchestra without a solo instrument. Here we have a selection from the vast Vivaldi archive in Turin, selected, as Standage tells us, "on musical and pragmatic grounds with the aim of presenting an attractive cross-section".
With this album, Simon Standage continues his survey of the 40 odd concertos for strings by Vivaldi. As with period practice, winds are added to a few of the works. The continuo consists of harpsichord and guitar, the latter a very appealing sounding period instrument. There is less unity of mood on this album than on Volume 1 of this series. Instead, one is prone to gasp at Vivaldi's prodigious invention.