In 2001 this young British tenor became an international phenomenon with his platinum-plus debut album THE VOICE. With that blockbuster recording, he defined himself as the pop-opera crossover sensation of the 21st century. The appropriately titled follow-up ENCORE will likely be regarded with suspicion by those with their feet planted firmly in either the pop or operatic world. Those whose tastes fall somewhere in between are exactly the folks who've already made him a superstar, and it is for them that ENCORE was made.
This is another fabulous album from Russell, with all the favourites and a bonus live recording from the Royal Albert Hall. Anyone who enjoys the pure class of a brilliant operatic voice, will not be disappointed, by this marvellous mix of tracks.
With 40 tracks, and over 2½ hours of classical favourites, this double album features the best and most popular names in classical music, ranging from present day superstars to classical legends. An instant collection of the most commercial and beautiful classical music that will have a wide appeal.
Trumpeter Russell Gunn has always been a forward-thinking musician, incorporating his love of hip-hop and electronics along with his obvious talent for edgy post-bop improvisation. So, it should come as no surprise that Russell Gunn Plays Miles, while obviously a record paying tribute to one of Gunn's biggest influences, the legendary trumpeter Miles Davis, is an edge-of-your-ear experience. Not only has Gunn not made a straight-ahead, acoustic jazz album, he's made a '70s-'80s fusion-era Davis album that defies expectations even on those far-reaching terms.
After his immigration to the west in 1991, Giya Kancheli abandoned the expansive, symphonic approach he had cultivated during his years in Georgia, and opted instead to compose music for smaller, more manageable ensembles. The works on this ECM New Series disc reflect Kancheli's changed course and his simplified, if still wide-ranging, palette. Diplipito is a cryptic term, coined by poet Joseph Brodsky to mean "my work of silence, my mute creation," and Kancheli uses it to suggest a neutral state between expression and meaninglessness, implied in the singer's indistinguishable words and the cello's vaguely articulated lines.