Dans le genre,on trouve des livres "ésotériques",d'autres architecturaux,d'autres historiques,d'autres religieux…ce livre rassemble tout sans rien laisser ni occulter;l'auteur pousse sa recherche globalement le plus loin possible et,par là,nous ouvre des horizons fabuleux. …
Louis Smith had a brilliant debut on this Blue Note album, his first of two before becoming a full-time teacher. The opener (Duke Pearson's "Tribute to Brownie") was a perfect piece for Smith to interpret, since his style was heavily influenced by Clifford Brown (who had died the previous year). He is also in excellent form on four of his basic originals and takes a particularly memorable solo on a haunting rendition of "Stardust." Altoist Cannonball Adderley (who used the pseudonym of "Buckshot La Funke" on this set, a name later used by Branford Marsalis), Duke Jordan or Tommy Flanagan on piano, bassist Doug Watkins, and drummer Art Taylor make for a potent supporting cast, but the focus is mostly on the criminally obscure Louis Smith. After cutting his second Blue Note set and switching to teaching, Smith would not record again as a leader until 1978…
By no means a bad album, Walker's major-label debut just wasn't quite as terrific as what directly preceded it. The studio atmosphere seems a bit slicker than before, and the songs are in several cases considerably longer than they need to be (generally in the five- to seven-minute range). A reworking of Howlin' Wolf's "Shake for Me" is the only familiar entry.
Pinchgut Opera, based in Sydney and founded in 2002, specializes in Baroque and Classical opera, featuring works such as Semele, The Fairy Queen, Idomeneo, and Orfeo. One of its more obscure repertoire choices is Marc-Antoine Charpentier's 1688 David & Jonathan. It's a work that's rarely performed or recorded, so this fine performance is revelatory.
French Baroque music has never achieved the general familiarity of its German and Italian cousins, but that's not for any lack of trying on the part of conductor Sébastien Daucé and his Ensemble Correspondances. What you get here is a Pastorale de Noël a fairly short but grand Christmas narrative plus one set of "Antiennes de O," or O Anthems, so called because each one begins with the word "O."
In 1672, Lully purchased a royal privilege (or license) from Pierre Perrin to establish the Académie Royale de Musique, for the performance of French operas in Paris. Soon thereafter he and his associates pursued a dual course of activity, setting up similar institutions in other French cities, and securing a series of royally granted patents and ordinances to prevent other entrepreneurs from doing the same. Lully also made sure that his were the only operas to be given in effect, securing a national monopoly on operatic music.
C'est le premier enregistrement mondial d'une très belle pastorale inédite de Charpentier, fruit de la collaboration entre le compositeur et Molière, afin de célébrer le tricentenaire de la mort de Charpentier. Chœurs somptueux, airs et duos magnifiques, des couleurs instrumentales chatoyantes et variées font de cette pastorale un petit joyau.