The city of St. Louis played host, in the 1920s and 1930s, to one of the most distinctive and vital blues scenes ever documented on record. Like Memphis and Atlanta, St. Louis served as a sort of magnet, attracting musicians from the surrounding hinterlands and providing performance opportunities that were not available out in the country. Many of the St. Louis musicians were transplanted Mississippians, like Charley Jordan, while others, like Clifford Gibson and Teddy Darby, originally hailed from Kentucky. The various early influences that the music of these players displayed ended up coalescing into something that might be called the “St. Louis sound”.
Leonhardt's performances of Louis Couperin's works have long been particularly admired, and here he does not disappoint. He seems to relish the expressive opportunities afforded by the Prelude and in the lyrical Allemande conveys a precious element of nostalgia hidden within the dance. The first Courante conjures up vivid images of dancers, so physical are his perfectly timed lifts, reminding us that when Louis Couperin was composing, dancing was still very much a live tradition, practised by all courtiers, not just the professionals at the Opera. From the first statement of the concluding Chaconne (as admirable for its craftsmanship and inspiration as Couperin's unmeasured Prelude) the listener is drawn willingly into its inexorable ebb and flow […]
– Gramophone [7/1988]
Israeli band Realeaf was formed in May 2006 and they self-released their first album, "Possibly Not" in 2007. The band's music falls in the space-rock terrain with some references to Pink Floyd but also to Porcupine Tree ("The Sky Moves Sideways" to "Signify" era). The music is rich and varied in sound as each member plays several instruments.