It was always going to be a dangerous mission. Trevor Churchill’s brainchild, THE GOLDEN AGE OF AMERICAN POP, had been in development for some time and the prototype was about to be launched into the fray with a bundle of seemingly undifferentiated repertoire. The potential embarrassment factor was high with risk of heavy flak on the way and snipers on the ground in the landing zone. Trevor was calling for volunteers. There was a lot of nervous shuffling among the ranks. Some of the lads took to studying their toecaps, while others took an inordinate interest in the state of their cuticles, or tried to look inconspicuous by melting into the background.
Ace’s flagship “Golden Age” series continues to be among our best selling and most highly respected releases. After a short hiatus, we’re pleased to announce this new volume featuring 28 country recordings that made the Billboard Hot 100 between 1955 and 1963. As “More Country Hits” is in the “Golden Age Of American Popular Music” series, the content is more melodic overall than a “Golden Age Of American Rock’n’Roll” edition might be. Nevertheless, there’s a generous helping of up-tempo hillbilly and borderline rockabilly among the straight-ahead country to give listeners a bit of light and shade. As usual, the CD comes with a generously illustrated and copiously annotated booklet.
The first album in Arhoolie's superb Tex-Mex series, this traces the roots of the modern norteño-Tejano-conjunto sound. We hear the early accordion players and duet singers, then see them come together in the 1930s and '40s, forming the heart of the style as it has existed ever since. All the key names are here, from the blind fiddler El Ciego Melquiades to the magnificent Texan diva Lydia Mendoza, accordion pioneers Santiago Jiménez and Narciso Martinez, and the trend-setting Alegres de Teran. A 36-page booklet puts the music in context and makes this an essential purchase for anyone interested in border music.
Four American composers, all pianists, all prizewinners at the height of their powers. It is not surprising that the works collected here are idiomatic to the instrument and gratify ing to play. Augusta Read Thomas explores the piano’s natural resonance and beauty. Wayne Peterson’s expressive, sweeping virtuosic lines reflect his past as a jazz pianist. Charles Wuorinen’s bracing rhythms leap across the instrument in a modernist romp that echoes the wit and humor of his opera. Eric Moe’s Afro-bebop encore rounds out the program.
Works include solo pieces, works for two pianos and four hands piano. The works for two pianos include Symphonic Dances from West Side Story and an arrangement of El Salon México by Bernstein. Four Movements for Two Pianos by Glass was commissioned by the Ruhr Piano Festival for its 20th anniversary celebration in 2008 and was premièred by these artists.