Paysages is a French word that roughly means "landscapes." In this 1971 album, Sadao Watanabe & his bandmates' music reflected the sign of the times in their use of electric piano, strong emphasis on rhythms – realized, in part, by employing 2 drummers – & a freer approach to improvisation.
Offers users the opportunity to step confidently into the world of international business, being operational and effective in French. Using a fictional scenario, following three French graduates through their careers, the user will make rapid progress, discovering the ins and outs of the French speaking business world on both sides of the Atlantic: marketing, profitability studies, industrial disputes, commercial negotiations, financing etc. …
"Pardon Our French" is the eighth album by this brilliant American band. If "The Case Against Art", French TV's previous effort, had signaled a fallback to a simpler form of progressive rock (akin to the group's mid-'90s material), "Pardon Our French" resumes where the glorious "The Violence of Amateurs" had left off, coming back to a wild brand of avant-prog. The music is highly complex, odd meters passing by at light speed and riffs parading in an unruly fashion, each new one tugging the music toward a new direction - including symphonic progressive rock, bluegrass, circus music, jazz-rock, dark chamber rock, and cartoonish avant-prog.
"…An amazing SACD. As interpretations, both of these are in a class of their own, the Franck having strong claims of being the best ever performance of this greatest French late romantic orchestral work. Almost certainly they will never be equalled let alone bettered on SACD." ~SA-CD.net
Since the end of the seventeenth century French composers have shown a particular skill and deftness of touch in writing for the flute. The instrument owes much of its prominence in French music of the twentieth century to the use made of it in orchestral colouring by composers such as Debussy and Ravel, as well as to a group of highly gifted players associated in one way or another with the Paris Conservatoire. They include the soloist on this recording, Patrick Gallois, a pupil of Jean-Pierre Rampal. This collection of works composed during the last sixty years ranges from Poulenc’s Sonata, marked by rhythmic vitality and a delicate vein of sentimentality, Messiaen’s Le merle noir, inspired by bird song, to Boulez’s Sonatine, which the composer himself has characterised as ‘organised delirium’.