Though these works were written originally for the barock transverse flute, exept BWV 997 that was written probably for the lute, they are played here on the barock recorder. The result, at least to my taste, is more convincing and exhilarating than any performance of these works on the transvers flute that i ever heard.
Eastern Sierra Black/Death Metal crew VALDUR will release new full-length Divine Cessation December 1 on Bloody Mountain Records. The seven bloodied, snarling tracks therein stand upon a foundation built upon two decades’ worth of filth, sweat, and metal. Divine Cessation was recorded at the Bloody Mountain Bunker by Valdur, mixed by Matthew (Sxuperion), and mastered by Dan at Morbid Mastering. Album cover art comes courtesy of Farron Loathing.
This is an excellent recording of Vivaldi's Flute Concertos ! The tempo is respected, the sound is clear and the concertos are beautifully played. It's so nice to relax with the sound of the flute ! My favourite piece is La Notte - Allegro ; such a great piece of music in the unique style of Vivaldi ! I recommend this CD to anyone who likes baroque music.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Early Blue Note work from the legendary Bobbi Humphrey – a session cut before she hooked up with producer Larry Mizell, but one that's still got a righteously soulful vibe! The arrangements here are by Wade Marcus, but he still has the great idea of giving Bobbi a bit more expanded sound in the background – a full mix of sounds that lets her flute step out in the lead and find its own soulful space on the solos – all with a wonderful style that definitely marks Humphrey as one of the freshest jazz flute talents in years! The other players are all pretty hip too – and include Lee Morgan on trumpet and Billy Harper on tenor – who'd both played with Bobbi on one of Lee's late Blue Note dates – and titles include a version of Eddie Harris' "Set Us Free", plus "Sad Bag", "Don't Knock My Funk", "Journey To Morocco", and "Ain't No Sunshine".
The late 18th century was a transcription-heavy time, and it would seem that the substitution of a flute for the violin in Mozart's sonatas for violin and piano would be the most natural thing in the world. Yet it doesn't quite work out that way in this release by French flutist Patrick Gallois and Bulgarian pianist Maria Prinz. The music makes a perfectly pleasant impression; Gallois comes from a long line of French players whose tone alone is probably worth the purchase price, and he's got a lovely way with Mozart's melodies.