Award-winning drummer and composer Jonathan Silk released his adventurous new album Fragment on November 2016 on Stoney Lane Records – a set of striking, dynamic originals for big band and strings.
Jonathan is a Progressive Electronic band from Germany with one self titled album released in 1978 on Heinz Ulm's AAR, and rereleased on Bellaphon Labels. The band consisted of Peter Garrattoni who played drums, and was accompanied by Helmut Grab who played keys and electronics. Helmut focussed on Minimoog, Rhodes, Roland, and Solina. Peter Garattoni also was a part of the project playing drums. They were accompanied by Emil Wirth on bass on 'Funky's Visit', and Uli Buehl played a Roland synth on 'Raising Winds', along with Fender Rhodes on 'Waters' and also playing Grand Piano on 'Moved Earth'…
The album that made Butler a star. The sweeping ballads, catchy uptempo, dance-oriented hits, and multi-tracked overdubs and background vocalists helped make his music a staple on late '80s Urban Contemporary radio. There is little jazz influence and even less jazz content on this release, but Butler does display a strong, effective singing voice.
The first thing to strike the listener about these 2006 Avie recordings of Bach's Sonata for viola da gamba and harpsichord will be how loud they are. While neither instrument is noted for its power to project, the instruments are recorded so closely here as to be gargantuan in these recordings by Jonathan Manson and Trevor Pinnock. After adjusting the volume, the second thing to strike the listener will be how brilliantly played they are.
For those who believe in Original Sin, Predestination or, for that matter, Karma, here's a two disc set of the complete "Penitential Psalms" of Orlandus Lassus fabulously performed by Henry's Eight and marvelously recorded by Hyperion. Gloomy but glorious works that hope for the best while assuming for the worst, Lassus' setting of seven fuliginously serious but spiritually salubrious Psalms of David are sure to send shivers down the spine of anyone with a pessimistic cast of mind. The acapella performances of the all-male – two countertenors, three tenors and three basses – Henry's Eight is darkly hued, strongly rhythmic, deeply soulful, very expressive and absolutely true to the late Renaissance agony of Lassus's music. While not perhaps the first place to start with for Lassus in a melancholy mood – try "The Tears of Peter" for the peak of harmonic anguish – Henry's Eight's recording Penitential Psalms belongs in every Lassus collection, especially as preserved in Hyperion's intimate and evocative sound.