Another superlative Alpha production! Really! From the beautiful multiple Gainsborough reproductions through the astute notes and the vivid sound to the stunning performances, this really is another superlative Alpha product. Violinist Pablo Valetti and harpsichordist Céline Frisch are fluent and soulful players with an empathetic sense of ensemble. In these Sonatas for Violin and Harpsichord, Valetti and Frisch's warm tone, supple tempos, and expressive lines make Bach's music sound as virtuosic as ever, but more lyrical than usual. Alpha's recording is close and detailed and real, capturing the sound of the air in the room. The notes are lively and learned and entertaining. The notes on the Gainsborough on the cover are even better and even the tiny little reproductions somehow contrive to catch the effervescent beauty of his light and shape and color and texture. While the classic recordings of the Sonatas remain inviolate, Valetti and Frisch should be heard by anyone who loves recorded art.
Although Eric Martin is best-known as the lead singer of rock quartet Mr. Big, he was a seasoned music veteran before that outfit in 1988. Born on October 10, 1960, in Long Island, NY, Martin moved often during his childhood due to his father's career as an Army officer…
Brazilian-born percussionist Paulinho Da Costa's first album as a leader is very much an album of its era, for good and bad. Da Costa is the preeminent Brazilian percussionist of his time, and his kinetic grooves, built on a variety of traditional Afro-Cuban percussion instruments, power these six lengthy workouts. Indeed, on the hypnotic "Terra," his percussion is nearly the only instrument. However, the rest of this album tends toward standard mid-'70s jazz-funk.
During four marathon recording sessions in 1953-55, Norman Granz recorded Art Tatum playing 119 standards, enough music for a dozen LPs. The results have been recently reissued separately on eight CDs and on this very full seven-CD box set. Frankly, Tatum did no real advance preparation for this massive project, sticking mosty to concise melodic variations of standards, some of them virtual set pieces formed over the past two decades. Since there are few uptempo performances, the music in this series has a certain sameness after awhile but, heard in small doses, it is quite enjoyable. A special bonus on this box (and not on the individual volumes) are four numbers taken from a 1956 Hollywood Bowl concert.
Following his critically acclaimed recording of Mendelssohn’s Symphony No.2, Spanish conductor Pablo Heras-Casado returns with Symphonies Nos.3 and 4, this time leading the Freiburger Barockorchester. Both works have origins in the composer’s 1829- 1831 tour of Europe. Symphony No.3, sometimes called the “Scottish” symphony, was inspired by a visit to the ruined Holyrood Chapel in Edinburgh in 1829. It was not completed until 1842, making it, chronologically, the last of his five symphonies. Symphony No.4, called the “Italian” symphony, was born of the color and atmosphere of Italy, and was completed in Berlin in 1833.
Two-CD set commemorates both the 40th anniversary of Pablo Records and the 50th anniversary of the recordings. LOS ANGELES, Calif. — Concord Music Group will reissue a remastered and expanded edition of John Coltrane’s Afro Blue Impressions album on August 20, 2013 (international release dates vary). Enhanced by 24-bit remastering by Joe Tarantino, three bonus tracks, and new liner notes, the new reissue celebrates the 40th anniversary of Pablo Records, the jazz label founded by Norman Granz in 1973.
Guitarist Joe Pass and bassist Niels-Henning Ørsted Pedersen both play well on these live performances, but the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles on "Blues Etude" (including stride and boogie-woogie), plays exciting versions of his "Chicago Blues" and "Easy Listening Blues," tears into "Secret Love," and shows honest emotion on "Come Sunday." Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.
Luis Pasqual's powerful production for the Spanish capital sets Da Ponte's timeless story of sleaze and seduction into the dark world of 1940s Spain. Carlos Álvarez, in the title role, toys with the affections of Donna Anna, Zerlina and the Spanish lady Donna Elvira, before his overpowering methods finally bring his own destruction. "José Bros is a luxurious Don Ottavio, with an excellent high register, perfect diction and an exquisite vocal elegance. Alvarez is the perfect Trickster of Seville. Victor Pablo Pérez, one of the most reputed conductors of the Spanish scene, manages a crystal clear work, very attentive to the beauty of Mozart's score." (La Razón, Madrid)