‘I Miss You‘ was Harold Melvin & The Blue Notes debut Philadelphia International album, released in 1972. The album features the lead vocals of Teddy Pendergrass and the classic Philly production of Kenny Gamble & Leon Huff. Featured are the hits I Miss You, Yesterday I Had The Blues and the ultimate Philly Soul ballad If You Don’t Know Me By Now BBR introduce the first ever CD edition of this album to feature the original artwork and title. Liner notes include a detailed interview about the sessions with Bobby Eli. Features four bonus tracks including a live version of If You Don’t Know Me By Now.
Black & Blue was Harold Melvin & The Blue Notes second Philadelphia International album, released in 1973. The album features the lead vocals of Teddy Pendergrass and the classic Philly production of Kenny Gamble & Leon Huff.
The nine-time Juno-winning Canadian James Ehnes is centre stage in a new recording of orchestral works by Berlioz, with the Melbourne Symphony Orchestra conducted by Sir Andrew Davis. This recording was made following an extraordinary concert in November 2014 with the same forces, in which James Ehnes played two instruments made by Stradivarius, respectively a viola in the solo part of Harold en Italie – ‘symphony with a principal viola part’, in Berlioz’s words – and a violin in the solo of Rêverie et Caprice, both of which works feature here.
Like drum 'n' bass, ambient is a genre which relies on making a little go a very long way; the resultant glut of weedy minimalist pastiches barely bears a cursory listen for the most part, but this collaboration between Harold Budd and Hector Zazou demonstrates better than any recent offering how the spaces between the sounds can be made pregnant with possibility. On "Pandas in Tandem", the ghost of Erik Satie treads lightly over a shuffle breakbeat; the result is fragile and crystalline, as tentatively pristine as snowflakes. Elsewhere, heavy rhythmic breathing carries "Around the Corner from Everywhere"; slivers of what sounds like hammered dulcimer undulate through "Johnny Cake", and clarinets collude conspiratorially on "As Fast as I Could Look Away She was Still There".
Anyone who loves the crossover collaborations not remain insensitive to Havana Paris Dakar, wedding several cultures and rich musical colors of history. Beautiful World Village label reveals the union of a nomad of Senegalese music, Alune Wade, and a Cuban piano prodigy, Harold Lopez-Nussa time of an album. The duo portrayed the African musical landscape through covers of famous songs like Small Country, the success of Cesaria Evora, Sara Tavares, the standard of chaabi Yarahya, Aminata, salsa made in Dakar, or Independence Cha Cha, a tube of years of independence, composed by Joseph Kabasele.
Harold Budd's discs tend to end up in the new age section of the record store, because his music is generally pleasant, quiet, and soothing. But where most new age composers go for the obvious (and sometimes saccharine) melody, Budd veers off into ambiguity; he also lacks the mystical bent that often goes along with the new age style. Instead, his compositional voice is more like that of a detached observer – one who creates beauty without getting too involved with it. By the Dawn's Early Light finds Budd writing for various combinations of viola, guitar, harp, and keyboards. All of the music is lovely, but not all of the compositions sound complete. In several cases, they sound like raw ideas rushed into the studio before their time. Guitarist Bill Nelson provides much of the interest throughout the album, and the sighing, slithery viola of Mabel Wong lends an occasional turn-of-the-century salon feel to the proceedings. The only really embarrassing moments occur when Budd – whose voice sounds like an unfortunate cross between Garrison Keillor and Kermit the Frog – reads his own poetry. Skip those tracks and you'll be fine.