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Lusine Zakaryan (Armenian: Լուսինե Զաքարյան), born Svetlana Zakaryan, (June 1, 1937 in Akhaltsikhe, Georgian SSR – December 30, 1992, in Yerevan, Armenia), was an Armenian soprano. She grew up in the Samtskhe-Javakheti region of southern Georgia. In 1952, she moved with her family to Yerevan, where she attended a secondary music school. She entered the Yerevan State Musical Conservatory in 1957 and her singing talent soon became clear.
From 1970 to 1983, Zakaryan was a soloist with the symphony orchestra of Armenian TV and Radio. She also sang in the choir of the Armenian Apostolic Church's Holy See at the Echmiadzin Cathedral, and it is for her magnificent rendition of centuries-old Armenian spiritual hymns that she is now most remembered.
Zakaryan was also known for singing the international opera repertoire as well as Armenian traditional and church music.
"4 Your Eyez Only" is the fourth studio album by American hip-hop recording artist J. Cole includes co-production with such producers as Elite, Cardiak, Chargaux, Ron Gilmore, and Elijah Scarlett.. It was released on December 9, 2016, by Dreamville Records.
No fan of classic funk (or of the "rare groove" school of dance music) will be able to look at this album without starting to drool – the period-piece cover art; the Jimmy Walker hats and bell-bottoms; and the presence of such magic names as Fred Wesley, Pee Wee Ellis, Bobby Byrd and Clyde Stubblefield (not to mention the insanely funky bassist Bootsie Collins who is better known as a charter member of Parliament/Funkadelic but is also a J.B.'s alumnus) – all of it will lead the perceptive groovehound to anticipate an hour or so of irresistibly booty-shaking funk. And that's exactly what you get: no frills, no synthesizers, basically no acknowledgement of change in the pop music world. From the greasy "Do the Doo" to the CD bonus track, "Mistakes and All," which ends the program, Bring the Funk on Down delivers almost nothing but hardcore, horn-heavy old-school funk (with a couple of brief and uninspiring excursions into ballad territory another James Brown tradition). Highlights include the slowly simmering title track and the archetypal "Born to Groove" but the album is really pretty consistent. The only downside is the absence of Maceo Parker who plays only on the final track. Highly recommended.
All Eyez on Me is the third studio album by American recording artist Monica. Named after its same-titled lead single, it marked the singer's first record under Clive Davis' J Records roster and was first released on October 21, 2002 in Japan. The tracks on the album are a mixture of uptempos and ballads, which are basically inspired by contemporary R&B and soul genres; it also features elements of hip hop, dance-pop and gospel music, crafted by musicians suchs as Dallas Austin, Bryan Michael Cox, Jermaine Dupri, Rodney "Darkchild" Jerkins, and Soulshock & Karlin.
Trombonist J.J. Johnson, 64 at the time of Quintergy, is heard in top form on this Live at the Village Vanguard set. His quintet, which includes Ralph Moore on tenor and soprano, pianist Stanley Cowell, bassist Rufus Reid and drummer Victor Lewis, is perfectly suited to interpret the spirited set of advanced bop. Highlights include Johnson's feature on "You've Changed," "Coppin' the Bop," "Lament" and his unaccompanied playing on "It's All Right with Me." Excellent music. Another Antilles CD, Standards, comes from the same sessions.
None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.
Reissue with the latest 2015 remastering. Comes with liner notes. Nicely sharp sounds from the great JJ Johnson – a set that has the trombonist really honing his edge on a host of tight, short tracks – with a vibe that almost recalls his initial bop recordings on Blue Note and Prestige! The style here is a bit more sophisticated – definitely with an ear towards the modern directions that JJ was exploring in the 50s – but the sound is also nicely spontaneous, with more focus on improvisation between group members than larger arrangements – quite nice, given that the group features excellent tenor from Bobby Jaspar on tenor – and either Tommy Flanagan or Hank Jones on piano, Percy Heath or Wilbur Little on bass, and Elvin Jones on drums. Tracks are short, and titles include "Overdrive", "Cube Steak", "Chasin The Bird", and "Solar".
In many ways this is a special recording. It features first-desks from the Chicago Sym. playing two of Bach's Brandenburg Concertos, and so far beyond the average Baroque ensemble are they that one yearns for the other four. Just to hear the amazing trumpet solos in Concerto no. 2 by the legendary Adolph Herseth repays the cost of the CD. But we also get James Levine doing double duty at the harpsichord in Concerto no. 5. One deficit from the rise of period performance is that non-specialists have been driven out. The days when an all-around musician like Levine or Leonard Bernstein performed Bach and Handel are more or less over, and their replacements, to be tactful, are not on such an exalted level of talent…. By Santa Fe Listener