Andrew Lloyd Weber's long-awaited follow-up to The Phantom of the Opera comes to movie theaters across the country with this release of a performance captured live at the Regent Theatre in Melbourne, Australia. Ben Lewis and Anna O'Byrne star in a sequel that finds The Phantom fleeing from Paris to Coney Island, where his falls in with the local side show performers before attempting to entice Christine and her family across the Atlantic. An additional interview with Weber allows viewers a glimpse behind-the-scenes of this opulent production.
First album from singer-songwriter and music producer Andrew Maze. Inspirational and beautiful songs about overcoming issues and not giving up in the face of life difficulties. Mix of symphonic and acoustic pop, singer-songwriter songs, alternative, soft and balld rock. Will be great for Coldplay, OneRepublic, Jason Mraz and Ed Sheeran lovers.
For his first recording since 1993's Pendulum, bassist Eberhard Weber teams up with Paul McCandless on woodwinds, Rainer Brüninghaus on piano and keyboards, and (emerging from retirement) Michael DiPasqua on drums and percussion. Weber's new compositions involve little improvisation and a steadfast avoidance of typical jazz vocabulary. Evocative and thoroughly composed, these tracks have something of a European classical, chamber jazz feel; McCandless' oboe and English horn emphasize this aspect all the more.
Reissue with the latest DSD remastering. A really great session from pianist Andrew Hill – and one of his few post-Blue Note sessions to feature a horn player! The style of the set draws from a few strands of Hill's career – in that Hill is playing in some freely exploratory piano modes, yet also manages to swing soulfully with the rest of the group, especially sax player Jimmy Vass – who makes a rare appearance here on soprano, alto, and flute. In a way, the album probably most closely resembles the Andrew LP on Blue Note – which is great by us, as it's one of his best sets! Titles include "One For", "Remnants", "Blue Black", and "Golden Spook".
Although this is essentially a solo bass date, Eberhard Weber's use of overdubbing and an echo unit turns his bass into an orchestra of sorts. Since he is a strong composer, covering a wide span of moods during this set of melodic originals and avoiding the use of his effects as gimmickry, Weber creates an introverted but accessible program whose appeal should stretch beyond just lovers of bass solos.