Slowly Rolling Camera formed in Cardiff in 2013 and brought together four wildly talented musicians from diverse backgrounds in vocalist/lyricist Dionne Bennett, composer/keyboardist Dave Stapleton, drummer Elliot Bennett and producer/sound design artist Deri Roberts. The result was a captivating hybrid of these influences: trip hop, jazz, soul, electronic music fused into a new and unique soundscape. The product was their eponymous album, released on Edition Records in February 2014, described by The Guardian as a ‘powerful newcomer with Rising Star written all over it.
"In the Now" is the second solo album by British singer-songwriter Barry Gibb, released on 7 October 2016 by Columbia Records. Although his second solo album (since 1984's Now Voyager), it is the first of all new material since the Bee Gees' final studio album This Is Where I Came In (2001). Gibb said of the album: "This is a dream come true for me. It's a new chapter in my life. I always hoped one day that The Bee Gees would be with Columbia or indeed Sony so, it's a great joy for me to start again this way with such great people."
American-Japanese guitarist Aki Ishiguro, German bassist Peter Schwebs and Chilean drummer Rodrigo Recabarren recorded their debut album MURAL in March of 2015 at Systems Two in Brooklyn, New York. MURAL is a collective group made of three rising jazz stars in New York. The band showcases each members' virtuosic instrumental skills as well as their refined compositions. Subtle influences of European classical music, Japanese folk, and South American rhythms are just one the culmination of the multiple nationalities and cultures represented in the trio. The group’s collaboration is apparent through their balanced sound, wide dynamics, and seamless interaction. MURAL is truly a band effort – a single instrument with three musicians.
The legendary Brazilian pianist Nelson Freire specializes in the 19th century and has turned to recording Bach in his eighth decade, apparently for the first time. All you can say is that it was worth the wait. His Bach is typically restrained, not unaware of the long tradition of Bach piano performances, but decidedly unlike anyone else's approach. In general, Freire is pianistic without applying a lot of pedal.
"Merry Christmas" is a Christmas album by American pop singer Andy Williams that was released by Columbia Records in 1965. This, his second holiday LP, is focused exclusively on 20th century compositions, unlike 1963's The Andy Williams Christmas Album, which, of its 12 tracks, had six with origins predating the turn of the century. For the six consecutive holiday seasons from 1965 through 1970, Merry Christmas charted on Billboard magazine's special year-end weekly Christmas Albums sales chart. The album spent two weeks as the number one selling Christmas album during the holiday season of 1966 and one week atop that same chart in 1969.
Coming off an intense and emotionally rough period that surrounded the recording and release of 2013's No Morphine No Lilies, drummer Allison Miller's Boom Tic Boom is in upbeat, adventurous form on 2016's Otis Was a Polar Bear. Which isn't to say that she and her bandmates weren't game for adventure on No Morphine No Lilies. On the contrary, the group found its footing on that album born out of a tumultuous year that included Miller taking care of her sick girlfriend, two of her bandmates having babies, and Miller drawing attention, some unfairly negative, for a Huffington Post article she wrote about being a lesbian feminist in the jazz world.
Core and founding members James Lloyd and Curtis Harmon refer to In the Moment as the 20th Pieces of a Dream album. Instead of hosting a guest-filled blowout, they keep it simple with familiar associates, guitarist Rohn Lawrence, saxophonist Tony Watson Jr., and bassist David Dyson. The duo also receive a little assistance from a handful of additional musicians, including Shanachie label stalwart Chris "Big Dog" Davis.
These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.
Soriana is ‘our Syria’. Our country that we left behind, forced out either by a search or by circumstances. We head out thinking that we carry no baggage, completely unaware of the biggest gift our country has bestowed upon us. That gift is the gift of musical knowledge. It remains with me throughout many journeys, it soothes wounds and inspires creation, provides warmth and a platform of stability, images, aromas, tastes that water the mouth and inspire new creations still. This music is my gift to our Syria – Soriana.
Passion is in actuality Peter Gabriel's soundtrack to the Martin Scorsese film The Last Temptation of Christ, retitled as a result of legal barriers; regardless of its name, however, there's no mistaking the record's stirring power. Like much of Gabriel's solo work, the album is a product of his continuing fascination with world music, which he employs here to create an exceptionally beautiful and atmospheric tapestry of sound perfectly evocative of the film's resonant spiritual drama; inspired by field recordings collected in areas as diverse as Turkey, Senegal, and Egypt, Passion achieves a cumulative effect clearly Middle Eastern in origin, yet its brilliant fusion of ancient and modern musics ultimately transcends both geography and time. Remarkably dramatic, even visual, it is not only Gabriel's best film work but deserving of serious consideration as his finest music of any kind; equally worthwhile is Passion – Sources, which assembles the original native recordings which served as his creative launching pad.