There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances – their luminous colors, complete clarity, utter lucidity, and structural integrity – that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces – so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor – that his performances seem very, very great indeed.(James Leonard)
Essence, released in 1962, allows space for improvising around the charts provided by vibraphonist Gary McFarland. Arranged by Lewis, it featuring an array of jazz greats including Eric Dolphy, Phil Woods, Freddie Hubbard, Benny Golson, Jimmy Giuffre, and Jim Hall.
John Demarkis is a multi instrumental/songwriter/producer from the Boston area who has played and performed with many bands and artist over his 40+ years in the music industry. Major musical influences in his life have been the Beatles, Yes, Mahavishnu Orchestra, Jeff Beck, Crowded House and Steely Dan among others in the many genres. Musical heroes are Chris Squire, Steve Howe & Paul McCartney.
Three for the Road, the new album from iconic musician and Blues Hall of Fame member John Mayall, features cuts drawn from two exuberant concerts recorded live in Germany in 2017. The title is a nod to the trio format featured on Mayall's 2017 world tour, which includes long time bassist Greg Rzab and drummer Jay Davenport. The new record, produced by Eric Corne and John Mayall and mixed by Corne includes a mix of songs from both recent and classic John Mayall/Bluesbreakers releases, and represents the sixth offering from the fruitful partnership between Mayall and Forty Below Records.
Tomas Luis de Victoria and Josquin Desprez were not contemporaries, they lived and worked in different countries, and perhaps shared little in terms of abstract compositional style. Yet throughout Europe, generations of musicians recognized them as kindred spirits, and tablature versions of their masses and motets circulated amongst lutenists. For John Potter, this is “the secret life of the music – in historical terms its real life.” In this characteristically creative project Potter - joined by Trio Mediaeval singer Anna Maria Friman and three outstanding vihuela players - explores “what happens to music after it is composed.”