title: LIGHT LISTENING PROVIDED BY NOTABLE PERFORMERS

text:
This disc is indeed a true garden of delightful music performed instrumentally and vocally by well-known performers such as:  SINGERS: Lucie Skeaping, London Madrigalists, Julia Gooding,Lionheart, Musica Dolce Ensemble, Stephen Wallace & Timothy Massa, L'Esprit Baroque.  INSRUMENTALISTS: Sophie Yates, The Broadside Band, George Weigand, The Parley of Instruments Renaissance Violin Consort, Quintessintial Sackbut & Cornett Ensemble, The River Consort.

There is a variety of composers some of which are: Byrd, Lawes, Morley,Dowland, Gibbons, Wilbye, Johnson, Holborne, Ford, Jones, Weelkes, Boyce, Hasse, Handel, Arne, Purcell and Playford.  Some of the song material was interesting to me because they were odes not often recorded such as:  All in a Garden Green(Byrd), Strawberry Leaves (trad), Away with these self-loving lads(Dowland) and The Leaves be Green ((Byrd).  There were many that were very familiar such as :  Gather ye rosebuds while ye may(Lawes),  Come Away Sweet Love(Dowland)and one I that I never before heard on a disc. 'In Sherwood lived stout Robin Hood'.

"Throughout history nature, the garden and garden romances have inspired musicians and composers.  This collection of the music of the Tudor, Stuart and early Baroque periods which brings together the charming music written about flowers, trees and nymphs, woods and birds, the seasonal delights of spring and, of course, the perennial pastime of the garden courtship"
It would be nice to think that in today's life all of this still exists?!

These two discs make for pleasurable relaxed  listening, and in this world of frantic and frenetic behavior it provides and oasis of peace and love!  GO FOR IT!


title: a voice teacher and early music fan

text:
THE SEVEN PENITENTIAL PSALMS OF ORLANDO DI LASSUS WITH ALL THEIR GRANDEUR AND UNIQUENESS FORM ONE OF THE GREAT PEAKS OF 16TH CENTURY MUSIC.

The ancient tradition of penitential prayer goes back to the early Middle Eastern civilization; it is deeply rooted in Jewish religious practice, from which it was adopted into Christianity. Duke Albrecht of Bavaria commissioned these psalms and in fact liked them so much that for a time he reserved them for his ear alone!  AND expressed his gratitude to Lassus in a very practical way by presenting him with several thousand gulden, enough to pay for Lassus's large house in Munich.

The curious fate and unique character of Lassus's Psalms ensured that music history never lost sight of them throughout the centuries.  Such theorists as E.T.A. Hoffmann and A.F.J.Thibaut praised  this work 'for its simplicity, loftiness and majesty of expression', and stated 'that they were at a loss to imagine how even today these psalms could be better set to music.'  And with that statement I heartily agree!

The penitential psalms are nos. 6, 31,37,50,101,129 and 142 in the enumeration of the Vulgate, and nos. 6,32,38,51,102,130 and 143 in most Protestant versions of the Bible. There is in the accompanying booklet a complete description of this work from which I have drawn some specifics.

The performance mandates a small choice ensemble of handpicked virtuosos, capable of rendering every nuance of Lassus's expressive music, and the furthest remove from the massed choirs and giant orchestras of some performances in modern times.  The Hilliard Ensemble along with the Kees Boeke Consort fulfill this mandate to the letter, and beautifully so!

The outstanding singers are:  countertenors=MICHAEL CHANCE, David James, Tenors=ROGERS COVEY CRUMP,John Potter, Leigh Nixon, Philip Cave, CHARLES DANIELS; baritone=PAUL HILLIER, Gordon Jones; bass=David Beavan.  Consort: viola da gamba=Kees Boeke, Charles Medlam; cornett=BRUCE DICKEY; tenor trombone Charles Toet; Bass trombone Richard Lister; theorbe STEPHRN STUBBS.  A really superior group of performers. (recorded in 1986)

The expression on this disc is powerfully enthralling and quite consoling.  This music truly conveys the spirit of penitence; the emotions of a strong and noble soul.  With great sensitivity does Lassus bring to life the soul-searching that many of us experience in our lives.

The booklet includes pertinent information and complete text translation in English, German and French.  The present price on this listing is very reasonable.  And the price does go up and down constantly, so if you like it today this listing has the lowest price; there are not many available.


title: a voice teacher and early music fan

text:
A SUPERB PERFORMANCE OF THESE EXCERPTS FROM SELVA MORALE E SPIRITUALE UNDER THE EXPERT DIRECTION OF FRIEDER BERNIUS!

It is not always known or noticed that Claudio Monteverdi, a master of opera and madrigals, is as well an important composer of church music, in which he shows much versatility.  In his sacred music he occasionally uses the contrapuntal style of the 16th century, as well he favours the seconda prattica concertato style, thus broadening the horizons of church music. This division between tradition and progress extends through the complete church music of this great master of Sam Marco.

It is with amazement the present day listener is carried along with the enthusiastic and exciting sounds of Monteverdi which contain: a remarkable wealth of color vocal combinations and astounding harmonies. The listener recognizes bold and up-to-then (in church music) unknown forms.  Monteverdi had an unorthodox attitude towards the liturgical text, though it appears correctly he employs artistic freedom with repetition, broadening and interruption. These elements are all united to prepare the listener for an encounter with God.

There are in all ten selections on this disc and since they are not listed specifically I will list them for your perusal:
l.DIXIT DOMINUS; motet for 8 voices  2. SALVE REGINA-two tenors 3. MOMENTO -8 voices  4,CONFITEBOR - one soprano  5. LAETATUS SUM -6 voices 6.  SALVE REGINA -two sopranos  7.  CRUCIFIXUS -one male alto, 2 tenors, 1 bass  8. ET RESERREXIT -two sopranos  9. SANCTORUM MERITIS -one tenor  10.  MAGNIFICAT -8 voices.  Most of the accompaniment consisted of violins and trombones.  The Barokensemble Stuttgart provided a tasty and sensitive accompaniment allowing the voices to take the lead.

The singers on this disc were excellent delivering all of their contributions skillfully and with emotional intensity. But why not for many are prominent names today and are lauded for their overall expertise as singers.  Since this disc was recorded in 1983 many of them were quite young at that time.  They are:  Emma Kirkby who is the solo voice in Confitebor and sings the soprano lead throughout the recording; Monika Meier-Schmid who to my ears sounds like a Mezzo though not listed as such; Herbert Klein sings alto on tracks One, seven and ten and tenor on Track two; John Elwes sings the lead tenor and duets with Klein on Track two along with singing the tenor solo on track nine; William Kendall is another fine tenor on this disc; and the basses are Cornelius Hauptmann and Adolph Seidell.  Only two singers are new to me:  Monika Schmid and Herbert Klein.

This is a very fine recording of these Monteverdi pieces.  I would suggest another early recorded disc of Monteverdi sacred music that I have enjoyed for many years which is Monteverdi: "Vespri di S Giovanni Battista" recorded in 1988 by Gustav Leonhardt which has some very fine singers on it such as Michael Chance, alto; John Elwes, tenor; and Harry Van Der Kamp, bass.
It is still available and I have reviewed it.  The information with this disc is sparse, but adequate.


title: a voice teacher and early music fan

text:
OCKEGEHEM'S MUSIC ENHANCED BY THE ADDED VOICE OF MICHAEL CHANCE!
Johannes Ockeghem (1410-1497), himself a singer, would have certainly appreciated Chance's lovely legato sound as he sang with this ensemble upon occasion and thus with this recording. Most fifteenth-century composers were singers by trade which means that their music is profoundly vocal in idiom and is imbued with the memory and patterns of the plainchant which formed the aural backing of their working life.  Ockeghem's contemporaries praised his voice, character and music, with the attributes of virtue, sweetness and discernment. Ockeghem's Masses, motets and chansons are admired both for  their contrapuntal ingenuity and for their expressiveness.

Apart from the opeining motif the  "Missa 'mi-mi'" is not known to be based upon any prior material whereas most Masses of that time were either 'parodies' of other compositions, sacred or secular, or were built around a 'cantus firmus'. Ockeghem foregoes this method of construction, and instead extemporises an intricate, compelling web of sound out of thin air! He makes very little use of imitation, the voices always setting each other off, but each voice having something different to say about any rhythmic or melodic idea proposed by another.

Ockeghem's "Requiem" is the earliest extant polyphonic Requiem, and in it we encounter a whole diversity of techniques and vocal scorings that range from duets for high voice in strict imitation to the full rich style that makes its first resplendent appearance at "Rex Gloriae".  The entire shape of the work is suggestive of a gradual descent from the initial predominance of generally high ranges to the closing repose of lower pitches. All of the music is rife with countertenor duets at the high level, beautifully sung with Chance on the lower part.  I would like to have seen that reversed, but Chance is the add-on; too bad!

Ockeghem did not compose huge quantities of music (some 10 Masses, various individual mass movements, a handful of motets and 22 chansons), and some of his finest works are included on this recording.

The performance of the Hilliard Ensemble is quite good for he has included some of the finest Early Music Singers, two of whom were not part of the 'regular' crew, but, of course, groups like this change personnel on a regular basis.  I mentioned Michael Chance, countertenor, who has only performed with this group occasionally. David James, who was their usual countertenor back when this disc was recorded (1984)is still with them, and I would wish that they might either add one more or change personnel.  His voice is not pleasing to the ear, but he is a skilled performer, none-the-less, but the fact that Chance is added makes a large difference in the sound!  The other singers are: Covey-Crump & Leigh Nixon, tenors; Paul Hillier, baritone and Michael George & David Beavan Bass.

This is the original recording; there have been two issued since then.  I have the original and if veritas records has not changed anything you should get a booklet with complete information and text with English translation of the Latin.


title: a voice teacher and early music fan

text:
AMONG THE MANY CHRISTMAS CD'S FROM KING'S COLLEGE CHOIR, THIS IS ONE OF THE BEST!

However, having said that, it is always a good idea to check the particular carols on the varied line-up of King's CD's. There will always be some overlap, but not usually a large amount, and this CD is unique because it includes only selections from Ledger's choir line-up (1978).  I just happen to think that this program is one of the more interesting ones.

The festival of Nine Lessons and Carols sung on Christmas Eve in King's College Chapel follows the form laid down in 1918 by the recently appointed Dean Eric Milner-White, and modified by him in 1919.

Ideally there is no marked alternation of music and lessons but rather the story unfolds evenly through words spoken and words sung, both being enriched as they take their place within the overriding purpose. This is exceptionally well-done on this recording.

In part the continuing freshness is due to the musicians.  The choir includes sixteen trebles(boy sopranos), as Henry VI established by statute in 1446, and since 1927 the alto, tenor and bass parts have been sung by fourteen choral scholars, undergraduates of the college.  From so young a group of musicians there is a freshness of tone, a liveliness and intelligence that is always new, always attractive.  Then too, though the words of many of the carols have a long history, they are often sung to new settings or new arrangements of old tunes.

It is impossible to include the entire Festival and Carols on one disc, but the service as recorded has all the main elements of the Christian story.  As you no doubt know, there are recordings available of the entire Festival and Carols from various years, and the tradition goes on ad infinitum!  I love this choir because it is so excellent in performance with all the attributes of the best of the best!

And by the way, all you Michael Chance fans, he sang in the Choir at this time and if you are familiar with his vocal sound you can hear for he usually leads the altos.

There is a brief informative accompanying booklet with the entire program and text given.


title: a voice teacher and early music fan

text:
CHARMING MONTEVERDI! DELIGHTFUL MONTEVERDI! MAGNIFICENT MONTEVERDI!

This is my first discovery for 2010. Most of the selections on this recording, except for the excerpts from L'Orfeo, were not known by me.  However, the complete recording of Gardiner's L'Orfeo was not recorded until 1985. so these excerpts on this disc are a completely different and earlier group of performers. I actually purchased this because Gardiner's choruses in those early years were not simply excellent, they were totally outstanding.  This includes the voices of such singers as Anthony Rolfe-Johnson and Lawrence Dale and Patricia Kwella in the solo parts, and also many singers who were early in their careers such as Michael Chance etc. There is no list in the information, except for soloists, concerning the members of the Monteverdi choirs.  Gardiner seemed not to be overly concerned about this; or perhaps the record producers didn't want to bother with it.  Fortunately, on later recordings they do appear.

The 'ballo' was a favorite form in 17th century Italy.  A direct offspring of the French 'ballet de cour'; it was a mixture of solo singing and dance music either for several voices or for instruments, or for both combined.  'Balli' were usually occasional pieces designed for a wedding, a birthday or a state visit, but they were also introduced as 'intermezzi' in the operas of the time.

The first selection on the disc is an independent 'ballo' "Tirsi e Clori" , composed in 1615.  It is a simple story of two dancers who get together in a charming duo, back and forth, each going their own way rhythmically until finally uniteing, and the chorus enters for the first time (halfway through the work) at which point the 'ballo' gets underway.  It is about 14 minutes so the chorus is singing steadily for the last seven minutes.  Tirsi is sung by the tenor Anthony Rolfe-Johnson and Clori by the soprano Patricia Kwella, both excellent in their renditions.

Next is performed four selections from L'Orfeo as mentioned in my first paragraph.  They are: 'Lasciate i monte', a 'balletto' for Chorus (about 2 minutes); 'Vieni Imeneo', a 'ballo' for chorus (1 minute); 'Ecco pur ch'a voi ritorno', a 'ballo' sung by Orfeo (Rolfe-Johnson), 1st shepherd sung by L. Dale and 2nd shepherd sung by A. Woodrow. (three years later in his complete 1985 disc he used Michael Chance, countertenor for the third shepherd part rather than another tenor)I know that you wanted to know that!!!The remaining excerpt from' L'Orfeo is 'Morescs' a lively rhythmical rather short (about 1 minute) repetitive selection.

In the 'balletto' "De la Bellezza" the the instruments play a majestic 'entrata' for the singers and dancers.  then the 'balletto' itself begins in a sequence of sharply defined movements: six contrasted 'verses' in praise of beauty set to six distinct dance-metres.  Dancing is the main reason, but now and again singing gains supremacy over the ballet, especially  in the slower, lyrical triplet sections. The final movement is a graceful 'siciliano', in which the instruments prolong and embellish the vocal phrase at each cadence.  What marvelous writing!!!!

'Il Ballo Ingrate' is unique in Moneverdi's output - a one-act opera with a 'ballo' as its central feature.  Structurally it is modelled on the French 'ballet de cour' Monteverdi's music for this 'ballo' is purely instrumental; a solemn, hesitant 'entrata' for the bewildered 'Ingrate' give way to a miniature dance-suite in four contrasted movements. (about four minutes).

Four years and more separate 'Volgendo il ciel', the final selection on this disc.  This is Monteverdi's last essay in 'ballo' form,  Although this is a festive ballet, and not part of an opera(like Il Ballo delle Ingrate) it is not difficult to imagine the singer-poet, lyre in hand, declaming his stanzas, with a 'corps de ballet' dancing to the rhythmic patterns of the intervening 'ritornallo'.  Two brilliant choruses are part of this 10 minute composition.

MY ENTHUSIASM KNOWS NO BOUNDS FOR THIS POSITIVELY OUTSTANDING MUSIC AND ITS PERFORMERS AND ESPECIALLY JOHN ELIOT GARDINER FOR BRINGING THE MAGNIFICENCE OF MONTEVERDI'S MUSIC TO OUR ATTENTION.

Liner notes are informative in French, German and English; however, no text of the songs included.  Did I care??? Not in the least.  If you have any liking for Monteverdi's music, or good choral singing, or good solo singing or simply EARLY MUSIC, go for this one before it is (hopefully) reissued and the price is higher.


title: a voice teacher and early music fan

text:
AN EARLY MUSIC LOVER'S TREASURE TO BE SURE!

The achievements of English composers during the Middle Ages and Renaissance were unsurpassed anywhere in Europe.  The series 'Ars Brittanica' explores the repertory and illustrates some of its treasures.  The compositions on this record demonstrate all of the major genres, techniques and styles cultivated by English composers during the early 15th century.  They also evince the varied nature of English sacred polyphony during this period. CD 1 of this album contains the OLD HALL MANUSCRIPT and  MADRIGALS.  CD 2 continues with MADRIGALS and LUTE SONGS.

Apart from the pieces by Dunstable, these compositions survive in the OLD HALL MANUSCRIPT  in London, British Library.  One of the few remaining insular musical sources of the period, it probably belonged to the household chapel of Thomas, Duke of Clarence.  It is a collection of polyphonic settings of the Gloria, Credo, Sanctus and Agnus, with some interpolated isorhythmic motets and votive antiphons; most of the works are English, although there a few pieces by Italian and French composers.

Clibury's 'Agnus' typifies the simpler kind of Mass movement in Old Hall, with three voices moving mainly in note-against note fashion.  Pycard's 'Gloria' is more elaborate; three lively voices(two of them in canon) sing the text above two more sustained supporting lines. Power's ambitious 'Credo' with its syncopation and ornamental dissonace shows the French influence; the alternation of duet and tutti is however, characteristically English.  Cooke's 'Alma proles' is the nearest English approach to the political motet; invoking the protection of the Virgin and St. George against England's enemies.  Additional composers from the Old Hall Manuscript are: John Dunstable, Thomas Damett and John Forest.
Since there is no evidence that any instrument apart from the organ participated in the performance of sacred music at this time, these works are performed by voices alone, with an organ doubling some of the sustained textless line.

The MADRIGALS and LUTE SONGS(AYRES) present in this collection illustrate two aspects of a native tradition of secular vocal music which extended back to the earlier 16th century.  They also show how certain composers reacted to the stimulus produced by greater exposure to Italian and French music.  The madrigal was essentially a polyphonic and entirely vocal genre which employed musical contrasts and expressive devices to reflect the changing moods of its text.  The ayre or part-song was more homophonic, with the melody in the top voice and a strongly harmonic bass, and it made little or no attempt to underline in the music the nuances of the poem. The songs could be performed either by a vocal group or by a solo singer accompanied by an instrument (often the Lute).

There is no doubt in my mind that these ayres will be more familiar to many listeners than the songs from the Old Hall Manuscript.  Some of the composers of these are: Weelkes, Ward, Morley,Byrd, Thomkins, Wilbye, Pilkington, Jone, Dowland, Campion, and Ford; most are no doubt familar to the lute song lover, and early music listener.  To name a few of the songs:(There are 32 songs in all) 'Hark, Jolly Shepherds, 'Diaphenia'(Pilkington), 'Fine Knacks for Ladies'(Dowland), 'Never Weather-beaten Sail'(Campion) and 'Since First I Saw Your Face' (Ford). A really wonderful collection on two discs; it is a treasure indeed.

The all-male group Pro Cantione Antiqua was Great Britain's leading early music ensemble, prior to the Tallis Scholarss.  It is an ensemble composed of soloists, all of whom had experience as choral singers, many of whom are still very active in present day musical performances. The ensemble specializes  in Renaissance music, and, rightly so, as it is their interpretations of music from this era which have made the singers well-known.

This was recorded in 1980 and has been re-released once; one can only hope that it will not pass completely out of sight; there is another listing of this recording at a greater expense than this one available listing. There are 14 singers total on this disc, but they do not all sing at any one time, rather they sing in small groups and there are some solos.  The singers are:  countertenors: Paul Esswood, Kevin Smith, Richard Hill, Charles Brett; tenors: James Griffett, James Lewington, Ian Partridge, Ian Thompson; basses: Brian Etheridge, Michael George, Christopher Keyte, Christopher Underwood, Stephen Roberts, David Thomas.  I think about nine of these are still very active.  But the personnel in the group varies from year to year, as in most ensembles of this type.

I have had this recording for several years, and it is delightful to hear, and I have never tired of listening to it.  The group is skilled and knowledgeable and sing with quality voices!


title: a voice teacher and early music fan

text:
HISTORICALLY AND MUSICALLY UNIQUE; IN FACT, PRICELESS!

Pontifical High Mass of St. Sylvester as it might have been conducted in the Sistine Chapel, Rome, on Sunday, December 31st, 1613. Music by Francesco Soriano and Palestrina's 'Missa Papae Marcelli' arranged for double choir by Soriano. Plainchant from the Tridentine Rite and Liturgical Reconstruction by Jerome Roche.  Performed by the William Byrd Choir conducted by Gavin Turner.  Recorded by the BBC, Radio 3, in 1980.

This was the first professional sound recording ever to be made in the Sistine Chapel, and the intention was to capture the extraordinary  acoustic for which the building had always been famous.  The recording was to be broadcast on Radio 3 as part of the Octave of the Nativity, a series of liturgical reconstructions which aimed at great historical accuracy.  Great pains were taken to place the singers in what was believed were their correct positions.  The listener is to imagine himself standing in about the centre of the ante-chapel facing towards the altar.  Which means that he hears all the polyphony from his right.

However, the acoustic proved to be more unusual, and less flattering, than had been anticipated. It strongly favored the higher voices; the long reverberations had a built-in crescendo which reduced any polyphony sung above a mezzo-forte to an impressionistic wash of sound; the area from which the choir sang had a rather muffling effect on the sound, while leaving other acoustical features undisturbed.  These formidable problems were handled by the recording engineer as best he could, and the eventual sound is something like a compromise between preserving the essence of the actual acoustic while assisting the choir with enough close-miking to give the polyphony a fighting chance.  Interestingly enough, historical evidence has shown that the Vatican Choir habitually sang polyphony one voice per part.  But Soriano's demand for a double choir in his Palestrina arrangement made this impossible.

In communicating with Gavin Turner, conductor of this very excellent choir, he emailed me the following comments concerning this recording: "The real problem with the Sistine Chapel was that the acoustic magnified the upper voices and left the lower voices in an indeterminate mush - fatal polyphony.  Having a strong top line of falsettists (four) tended to blot out everything else.  The Soriano double-choir version of the Papae Marcelli is a curiosity....I would have preferred to do the original Mass by Palestrina undisturbed."

Having said all of the above I still fully enjoyed hearing this truly wonderful performance by the William Byrd Choir, and I would purchase this rare recording again.  As a musician one notices immediately the imbalance of the voice parts, but there is so much else to latch onto musically.  Gavin Turner is such a sensitive and truly musical conductor and it is unfortunate that he has made only other two recordings: June, 1986, Masterpieces of Portuguese Polyphony and Byrd Gradualia, the Marian Masses, March 1990, both of which are still available on Amazon and the Marketplace.  Joy for the early music lover!


title: a  voice  teacher and early music fan

text:
A SKILLFULLY AND PASSIONATELY SUNG PASSION, INDEED!

J.S. Bach(1685-1750) was a Lutheran, who was specifically asked by St. Thomas Church, Leipzig, to compose a non-theatrical Passion, which in the context, stands for the act of passive suffering, and of watching while occasionally empathising in the suffering of Christ.  This approach was used throughout the Middle Ages when the church was attempting to popularize the Bible.

When sung, the role of the narrator (Evangelist) would be taken by a tenor and the role of Jesus by a bass.  As various instruments were added they were grouped with certain roles and any dramatic actions in the text would occur during the recitatives.  The purpose of the chorus would be two-fold: to be part of the action and then reflect upon it, such reflection being provided by the chorales which were familiar Lutheran hymns.

The St. Matthew Passion was composed for Good Friday at the St.Thomas Church in 1727.  Through the years Bach revised and inserted other pieces which subsequently made this Passion the largest and grandest of his works.  He used a Double Chorus plus a third soprano group for the opening and closing of Part One, two Orchestras (split, so that they always either accompanied the first or the second chorus), six soloists who carry specific parts and a number of other singers for incidental roles.

The Gospel of Matthew, chapters 26 & 27, traditional Lutheral Chorales and meditative poems (by Henrici also known as Picander) supplied the text.  As with the St. John Passion, the Evangelist narrates the action scene by scene.  As one might suspect, the work is often sombre and somewhat heavy, as is evidenced by the huge opening chorus: 'Kommt ihr Tochter' (Come, you Daughters).  However, there are lighter moments, and none more delightful than the soprano Aria in Part One: 'Ich will der mein Herze Shenken' (I Will give my Heart to Thee).

Part Two includes one of the best known arias from the entire work: 'Erbarme Dich, Mein Gott' (Have mercy on me, oh God) written for alto and violin obligato with pizzicato bass.  The death itself is brief, but highly dramatic, the apex being the heart-rending cry  'Warlich, Dieser Ist Gotten gewesen' (Truly this was the Son of God).  The monumental work closes with a Sarabande-like chorale bidding Jesus to rest in peace.

This ia a marvelous and exciting and highly moving rendition of the St. Matthew Passion.  The King's College Chorus combined with the Jesus College Choir provide a highly dramatic background to the the six OUTSTANDING SOLOISTS: Roger Covey-Crump (tenor, Evangelist), Michael George (my favorite basso,Jesus), Michael Chance (alto par-excellence), Emma Kirkby (melliflous soprano), Martyn Hill(tenor)and David Thomas (bass). Experienced singers all, they displayed the 'best' in Baroque singing.  Kudos to Michael Chance, who sang 'Erbarme,dich...' as if Bach, himself were whispering in his ear; the true Bach Master-Singer.  And to Emma Kirkby, who sings each phrase effortlessly with her clear and clean sound.  The Brandenburg Consort provided a truly excellent and tasty accompaniement throughout the entire work.  Just to go on record that I am aware there are many other excellent renditions of this such as Gardiner and Herreweghe, all good.  It's all in what YOU prefer!  So as PT Barnum said:  'You pay your money and you make your choice'. ( I think HE said it.)


title: a voice teacher and early music fan

text:
"A FINE CONTRIBUTION TO THE REPERTOIRE ON DISC OF TWELFTH CENTURY POLYPHONY.  A COMPOSITE SOUND OF GREAT BEAUTY!" (Gramophone)

Little is known about Magister Leonin (c.1135-c.1201) beyond the fact that he seems to have had a bent for composing erotic poetry.  The somewhat unhelpfully named 'Anonymous iv' a monk from Bury St. Edmunds, tells us of two 'masters'-Leoninus and Perotinus-  who dominated the twelfth century musical world.  Both were reputedly based at Notre Dame in Paris, and Leoninus was responsible for the 'Magnus liber organi', the 'Big Book of Organi'(and organum being a polyphonic setting of plainchant), which is widely regarded as the single greatest achievement in the development of early polyphony.

For the technically minded, this is music of great complexity, involving interwoven usage of such styles as organum per se, duplum, clausula, and discontus (terms which even medieval theorists took great pleasure in dissecting in an attempt to define their function).

For the rest of us, this is music of fascinating beauty, a combination of the static tranquility of the plainchant and the florid ornamentation of the 'composed elements'- which have something of the feel of the 19th century coloratura 600 years before its time.

Red Byrd believes that the point of singing the music of the past is to illuminate the present.  Its constant members are John Potter and Richard Wistreich, who are joined by other singers and instrumentalists when the music demands it.  They are all more than capable of delivering accurate, and indeed beautiful renditions of this music.  Enjoy if this is your 'cup of tea', so to speak.


title: a voice teacher and early music fan

text:
A TWISTED TRAGEDY TO BE SURE; BUT SUNG SO WELL I WANTED MORE!
George F. Handel, born a German, died an Englishman, became by a curious paradox of history to be one of the greatest composers of Italian Opera.  Having conquered London, as early as 1711, with his 'Rinaldo', he went on to delight London audiences with more of the same.  In 1724 he gained complete control of their affections by his two great operas: 'Guillio Caesar' and 'Tamerlano'.

First performed at the Royal Academy in the Haymarket on Oct. 31, 1724. 'Tamerlano'is exceptional in the line-up of his works, in that he rejects some of the conventions which were part of the Italian Opera tradition.  For example, the libretto is based on a well-documented historical event, rather than on ancient history or mythology.  The arias are of less importance than the recitatives, which blend 'secco', accompaniment and fragments of highly charged, violently expressed arioso.  This technique is very well demonstrated in the long monologue where Bajazet dies with an almost demented outburst of curses and lamentations.

Tamerlano is one of Handel's greatest and darkest operas.  It tells of the captivity of the Ottoman emperoro Bajazet at the hands of the Tartar ruler Tamburlaine, and subsequent suicide.  A clash of opera 'seria'titans, with no weak members and scarcely a moment of light relief.  The plot is so gloomy that even modern audiences may find it depressive. There are no light compimario  servants to make fun of their masters' predicaments; the good guy is incredibly phlegmatic, the damsel in distress tries to save herself alone during the whole opera and even tries to get rid of the tyrant with her own hands (twice), not to mention almost everyone threatens to commit suicide until someone finally does it!  Meanwhile, Handel ensures that this is going to be a no-nonsense affair by providing a powerfully expressive score to match his least-known opera!

Briefly the story: Tamerlano (Derek Ragin -countertenor) has defeated in battle the Turkish Sultan Bajazet (Nigel Robson-tenor), and has taken him prisoner along with Bajazet's daugher Asteria(Nancy Argento-soprano), who loves and is loved by a Greek General Andronicus(Michael Chance-countertenor)who is also an allie of Bajazet, but friendly to Tamerlano. Tamerlano tells Andronicus that he is going to reject his betrothed Irene(Jane Findlay-soprano) because he wants to marry Asteria, and so he tells him that he must marry Irene. Believe it or not, all comes out right in the end except for Bajazet, who kills himelf rather than remain Tamerlano's prisoner.

'Tamerlano' requires virtuoso singers with a particular sensitivity to its prevailing tragic mood.  The end may be happy, after a fashion, but Bajazet dies onstage and there's an emotional exhaustion reflected in the final ensemble's minor key.  The cast on this recording is more than up to the dramatic and vocal requirements and indeed is brilliant in their dramatic interpretations.  Handel would be proud!

John Eliot Gardiner as per usual has produced a masterpiece of high quality in this very fine performance 'live' on June, 1985. The packageing of the three discs comes complete with all necessary information and the text, all in Italian, German, French and English.


title: a voice teacher and early music fan

text:
LOVE THAT LUTE SONG!!!!

In July, 1986, the members of Fretwork gave their Wigmore Hall debut to great public and critical acclaim, and shortly afterwards were awarded an Arts Council grant to explore further areas of the vast repertory for viol consort. Throughout their many performing years Fretwork has worked extensively with the countertenor, Michael Chance, the lutenist Christopher Wilson and the harpsichordist and organist Paul Nicholson. They have made several recordings on Virgin Classics Label

Fretwork recorded this album with Michael Chance in April of 1989.  This is really one of the best albums as to song selections and the time allocated to Chance, which in subsequent albums they tended to mimimize.  And that's not a good idea because although the string music is quite enjoyable one needs to hear a different tonality every now and them.

The songs sung by Chance are pure "gems" and he sings them with the greatest artistry and finesse.  The six songs are: 'If Women Could be Fair'-'Lasson Vita Mio....'-'Lullaby'- 'Goe Nightly Cares'-'Ah.Silly soul' and 'Ye Sacred Muses'.

Fretwork performs expertly "Dances from 'Lachrimae' by Dowland and Consort Music and songs by Byrd.  Fretwork and Chance are powerfully good musicians and work as one!


title: a voice teacher and early music fan

text:
GREAT CHORUS-GREAT ORCHESTRA- LETHARGIC SOLOISTS in the 'Magnificat'.
This recording made in November of 1983 seems to be one of those rare incidents when Gardiner selected soloists who could not seem to arise to the emotional demands of the music, except for the tenor, Anthony Rolfe Johnson, who was more than up for the occasion; he was excellent in every way.  Nancy Argenta seemed not to get into her usual 'form'; there were no mistakes, nothing poorly executed, but she did not evoke any feeling on my part of joy which is what this music is meant to convey.  Patrizia Kwella had an uneven sound and almost faded out on some of her lower notes. Charles Brett and David Thomas performed with a bit more fervor but Brett (countertenor)  was totally bland in his solo.  The duet with Brett and Johnson was elevated  by Johnson's expressive sound.

Now the Monteverdi Choir is quite another story: bouyant and resonant sound, clear and precise diction and a moving forwardness even in the slow sections, but even their 'aliveness' did not seem to wake up the soloists. The choir deserves 10 STARS!!!!!

"Jauchzet Gott In Allen Landen"  should be considered as a solo motet, whose form comprises: aria, recitative, and aria leading to an 'Alleluia.' And Bach, in typical Lutheran fashion, inserts a chorale before the 'Alleluia'. Interestingly enough, this was first performed on  Sept.19,1730, with a 12 year old boy performing the virtuostic solo part.  And let's talk about that marvelous singer Emma Kirkby, who seems to sing everything so effortlessly, note after gorgeous note,with a voice full of life and joy; a true master Bach singer!!!Along with an excellent trumpet player,Crispian Steele-Perkins; they duet together in the first and the last sections of the motet.

Can we say this is all worth listening to? You bet!!!!! I loved it, and even though I would not rate this as my favorite 'Magnificat' (my favorite being the 1990 Chandos Disc with soloists:Kirkby-Bonner-Chance-Ainsley-Varcoe; Richard Hickox at the helm with the Collegium Musicum), but there are some truly fine moments on this disc, some of which I have mentioned.  You can tell by the tone of this review that I really wanted it to be a 5-star disc, but it's not!!!!
.


title: a voice teacher and early music fan

text:
QUEEN MARY SAID: 'LET'S CELEBRATE; SO HENRY YOU COOPERATE' THO HE FOUND IT DEMEANING TO COMPLY, IT REALLY WAS 'DO OR DIE'!
Henry Purcell (1659-1695) looked like a Florentine prince, was hail-fellow-well-met in tavern and taproom, wrote for the church and also for the stage and salon, was in fact a most likeable young man, as well as a "very great Master of Musick."  Except for his appointment as organist at the Chapel Royal and other churches, his compositions were the chief events of his life. Henry Purcell invented the English celebratory style in music.

His odes were often written for various groups and annual celebrations.  Purcell's ode 'Welcome to all the Pleasures' was composed for an inaugural celebration in 1683 for a group of musicians that made up a so-called "Musical Society".

'Of old, when heroes thought it base', the so-called 'Yorkshire Feast Song',was composed in 1690 for the otherwise obscure annual London gathering of York nobility.

'Come, ye sons of art, away' was the ode for what was to be Queen Mary's last birthday-April 30 1694.  It is the least ostentatious of the birthday odes. This ode is a countertenor's dream, for Purcell favours this voice as the soloist throughout.  The famous duet recorded by many countertenors "Sound the Trumpet" is in this ode.  It is my personal favorite, though I like them all.

You really couldn't have a better performance of this music than is on this disc.  The Choir of the English Consort and the English Concert all put together by Trevor Pinnock. The soloists are the best, my favorite being countertenor: Michael Chance with his lovely voice and intelligent delivery of the music AND tenor John Mark Ainsley And bass Michael George who are experts at interpreting the music of Purcell.  All other soloists are very good indeed.  Such an entertaining disc!!!!!


title: a voice teacher and early music fan

text:
HE'S NO PAVORATTI, BUT THE YOUNG 'CLASSICAL' SINGERS ADORE HIM!

It is said that from the age of eleven years, Guiseppe Verdi (1813-1901) wanted to write operas.  He left his post as organist to study music in Milan, a move made possbile by his patron,Barezzi, whose daughter he eventually married in 1836.  Shortly thereafter he composed his first opera 'Oberto" which was so successful that his future seemed secure.  However, the death of his wife and two babies some time later forced him into a state of depression.  The impressario Mirelli gave him the book 'Nabucco' (Nebuchadnezzar) to read, and he immediately began to write music for it.  Therewith he embarked on the career which eventually made him the "Grand Old Man" of Italian opera. In modern slang, he was a "natural".From "Oberto", written in his twenties, to "Falstaff", completed when he was eighty, his characteristic integrity and intensity persisted; as he wrote his 30 operas, his powers of expression broadened and deepened.  By the time he wrote 'Aida', commissioned by the Khedive of Egypt, Verdi was 56.  'Aida' is often named as his greatest opera.  The live elephants used in the production, the authentic costumes and musical instruments copied from ancient Egyptian tombs made an attractive picture, and his music made a "Celeste Aida" of the whole.

Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with the 'great' tenors, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.


title: a voice teacher and early music fan

text:
TON KOOPMAN'S SUPERBLY RENDERED 1987 RECORDING FEATURES AN EXCELLENT HANNOVER KNABENCHOR, AMSTERDAM BAROQUE ORCHESTRA AND FIVE INSPIRATIONAL SOLOISTS: : Sopranos: Barbara Schlick, Monika Frimmer; male alto, Michael Chance; tenor, Christoph Pregardien and bass, Peter Kooy.

'Membra Jesu Nostri' (the limbs of our Lord Jesus), is a cycle of seven cantatas composed by Dietrich Buxtehude (1637-1707) in 1680.  The text, 'Salve mundi salutare'- also known as the 'rhythmica oratio'- is a poem written by Medieval poet Arnulf of Louvain.  It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side , chest, heart and head.

Each cantata in 'Membra' is divided into six sections: an instrumental introduction,  a 'concerto' for instruments and five voices(SAATB) with the exception of the fifth and sixth cantatas where only three voices are used; three 'arias' for one or three voices,  each followed by an instrumental 'ritornello', and an exact reprise of the concerto.  The first and last cantatas of the cycle deviate from the pattern.  In the first cantata 'Ad Pedes' the choir repeats the first aria after the reprise; in the last cantata 'Ad Faciem' five parts sing the last aria and then a final 'Amen' the chorus substituting for the reprise; this concludes the cycle.

The structure of 'Membra' is dictated by its text: Buxtehude selected biblical verses for the concertos, and three 'strophes' from each part of the poem 'Salve mundi salutare' for the aria in each cantata.  The 'metre' of the poetry itself unifies the cantata's rhythmic pattern.

  And each cantata begins with a quotation showing what follows.  For example Cantata #1:Ad Pedes (to the feet). "Behold upon the mountains the feet of him who bringeth good news and announceth peace."

 All of the cantatas are beautifully and skillfully executed and VERY enjoyable.  The soloists are superb; my personal favorites being soprano: Barbara Schlick and countertenor Michael Chance.  However, all showed themselves to be skilled performers in the Early Music genre. The Amsterdam Baroque Orchestra provided a suitable accompaniment, sensitive to each performer's interpretation. Indeed no one could question Koopman's knowledge of a composer that he has personally resurrected. This disc is a real treat for lovers of Buxtehude. I fervently hope that some recording company picks this one up and remasters and/or reissues it.

The accompanying booklet includes information in French, German and English, and the libretto in Latin, French, German and English.


title: a voice teacher and early music fan

text:
TALLIS SCHOLARS NEVER FAIL TO IMPRESS!

 This recording opens with the plainchant 'Nigra Sum',the text of which combines three Marian antiphons sung now at Second Vespers for the common Feast of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period.

Four composers featured on this disc are: Jean L'heritier, Palestrina, Victoria and de Silva.  L'heritier joins Josquin's style to Palestrina's by using imitation consistently predominently in stepwise motion. L'heritier's music has much of the balance that is associated with Palestrina;the parts unfold slowly and spaciously,and the part writing is sonorous. The principal difference is that L'heritier wrote counterpoint thruout,whereas Palestrina added homophony to his general technique.

 Palestrina's Mass on this disc has no connection with his own motet "Nigra sum" which is not recorded here.  Victoria's Nigra Sum is scored for 6 voices SSATTB. De Silva's motet, although short, shows off his sonorous writing.

I have many discs featuring the Tallis Scholars whose members change frequently.  I must admit that I am very partial to the countertenor combination of Michael Chance and David Cordier for they compliment one another so well vocally in tone quality , style and diction.  Even so the Scholars are always excellent as this recording shows.


title: Partial review

text:
It's taken me a while to get to a review of this album, because I find it so difficult to discuss anything about Jonghyun without becoming incredibly sad. Even after all this time, his death feels like a punch to the heart for me. I've tried to understand why that is, when I was barely more than a casual fan, but...it does hurt, for some reason. Maybe because I mourn the loss of his exceptional talent as a singer and songwriter, as exemplified in this album.

Like all of Jonghyun's "accessible" albums, there's a polished pop sheen and playfulness to most of the songs, particularly the first single released from it, Shinin', with its groovy disco beat and jazzy vocal stylings that were rapidly becoming a signature of his. Yet, behind the shimmering surface, Poet Artist has much to say that is serious and not at all sweet and light.

Hashtag takes a delicious yet dark and angry swipe at the internet trolling community for its mindless viciousness, but he sings it all with languid and almost sweet vocals, reflecting the "polite" facade hiding the boredom and empty lives that are the primary fuel for the sinister remarks lying in wait for the unwitting. The backing vocals doing a quasi-response to his vocal calls is a perfect representation shallow gossips repeating what they hear. The trippy R&B beat makes the song sound light and innocuous, but the finger snaps aren't subtle at all in sending the message about the hidden aggression in the troll's demand for attention, as if someone is snapping their fingers for you to jump and respond like Pavlov's dog. It's in details like that where Jonghyun shines as not only a songwriter, but an arranger and producer.

I'm afraid that's all I can review now, because I'm getting too depressed from this part alone. I'll come back and update when I can handle doing more.


title: Good music.

text: Very enjoyable music. Nicely packaged, even autographed photo included.


title: Five Stars

text: Great! Love it!!


title: Bartók - Bernstein on vinyl from the 60's

text: When I was just a lad out of high school and stationed in Germany during the Kennedy administration, I started collecting classical LP's from the post exchange and this was one of them. The memory of this performance hasn't diminished over the span of a near half century. Though the recording has a bit of dust static and recorded "wow" in the inner tracks, it just sounds superb on my Surround Sound system. If you can lay your hands on a recording, do so.


title: Columbia Record Stars

text: "Music for Organ and Orchestra" (Columbia Masterworks ML 5798 or MS 6398) appears to be an interesting collection of Columbia recording stars and music. Bernstein, Biggs and Ormandy all have an extensive discography under the Columbia label and they are here combined in one record. When this record was released there was an extensive push in the Hi-Fi Stereo movement to create big sound and what better material than music for organ and orchestra. Also note that the Strauss Festival Prelude for Organ and Orchestra, Op. 61 includes a program note stating its use at opening week at Philharmonic Hall, Lincoln Center for the Performing Arts which helps to date this recording.


title: jambay ruled

text: the wonderfull  musical mastery of rock jazz infusion it is almost beyond categorization . the band were friends of mine and i miss them.<br />TT

user_id: AFWZIGFZZBSCCAJYZUDYNGJNCHKA


title: Just Do It!

text:
I love these additional tracks, and would not in ANY way settle for just DWM.  But at Target, you can have this CD for $15.99 + Tax.  Much better than that offered @ Amazon.

Enjoy, Enjoy, Enjoy!!!


title: Jotta CD

text: Excellent CD, I am waiting for the DVD version.  I think this young man is extremely talented, he deserves to be internationally known.


title: Beautuful

text: This is one talented young lady, and the family and back up makes the neatest sounds I have ever heard. Wish they toured in the U.S. Almost makes me want to travel over seas just to hear  her sing. I love yodeling!!!


title: In a pop landscape of black and white, Swift's in screaming color!

text: This not just any pop album...this is a concept pop album with great songwriting, smart lyrics, and recurring themes of rebirth and self discovery. A song like "Clean" is poetry disguised as pop music, and there are many others. It is an exhilarating listen the first time around, yet gets better with each listen as you become more aware of vocal nuances, production details, and lyrical meaning. I am totally impressed by what she's done here and highly recommend the bonus edition with 16 songs. 4.5 stars. Thank you for reading this review.


title: Good CD

text: There IS a difference between the CD & a download.  'Glad I found it for less on Amazon.


title: Eddie Blazonczyk Good Ol' Days

text:
If you are a fan of Chicago-style polka spiced up with good ol' Polish flavor, this one is for you. Eddie Blazonczyk is one of the legends of Polka and this cd demonstrates the master's ability to push the boundaries much wider while still giving respect to the traditions that makes this music unique. Eddie's vocals are silky smooth over the backdrop of top notch musicians who are so tight that no detail goes unnoticed. Notable hits on this cd include: I Wanna Wanna Polka, Gone Gone Gone Polka, and Rak I Ciak Oberek. The cd also includes a young Eddie Blazonczyk Jr. who plays under the tutelage of his father. He is currently the leader of the band after his father's retirement.

Support the good ol' days of polka and add this cd to your collection. You will not be disappointed.


title: I love this purse

text: I love this purse! Pockets to keep everything easy to find. I was was even able to downsize my purse without giving up anything.


title: Received as described

text: Now listening to Book 2 in the Trilogy.  All CD's in good working order and scratch free.<br />Box is falling apart but that was documented in the description.  VERY pleased with my purchase!


title: One of my all time favs.!!!!!

text: I give a copy to someone every Christmas.


title: Five Stars

text: Grate Music!


title: Christian Music Group Gabriel - Long Line Of Love by Urgent Records

text: "Richard Swartz Says  I Love This Group and This CD"  If You Want To Hear Some Grate Gospel Music, This Music is for you.....This Music Is Rich in Wonderful Love and Praise And Worship Of God and it Brings God Spirit Closer To You...In This Upbeat Christian Music I think This CD Should Be in Every Christian Home around America.


title: Mesmerized

text: Heard Dayna Kurtz sing one morning as I was leaving for work. Was late for work.


title: Five Stars

text: Such peaceful music.


title: lp

text: i thought be a cd


title: Five Stars

text: Rare recording. Thank you.


title: Five Stars

text: OMG! Look Jazz is an intersection... and this is why!


title: So beautiful. I could listen for the rest of my ...

text: My heart is touch, medicine Buddha and white Tara, So beautiful.I could listen for the rest of my life.This mantra clean your heart take away all inauspicious in our life.  Om Tat Sat.Thank you Guru Rinpoche!


title: Beautiful music.

text: The music will put you in a state of peace and calm. I listen to it over and over and don't get tired. Beautiful.


title: Heather's Classic first full length CD

text: I purchased this CD in Belgium after I became hooked on Heather Nova's OYSTER CD.  I instantly fell in love with this music, never have heard anything like it, so otherworldly, ethereal! A beautiful voice soaring with  great lyrics and melodies.  This music sends me to a wonderful place that I  can not even explain away. I seen Heather live in concert and she  definitely is the most under rated female artist of the past decade.  She  has more talent in her pinkie finger than the majority of so-called pop  singers of our day that are popular here in the United States.  I predict  this will be Heather's breakthrough year in America with her new CD coming  out later this year.  Trust me start with GLOW STARS and you will not be  disappointed!


title: Word of caution

text:
Without doubt, no other pop singer today can touch Lara Fabian. She does not merely sing. She lives the song. She becomes the song. She is the song. Quite extraordianry, really. And her voice is developed way beyond any other singer to whom she has been compared. She is truly one of a kind.

This concert in Moscow is perhaps her defining performance. This recording, however, is not the complete concert which included 19 songs and an encore (this one has 11). That's my reason for 4 stars, not 5. It is not a reflection on Fabian's talent (she deserves 10 stars!) I just want to draw attention to some merchants claiming this to be the full concert, which it is not.

I have the live video recording of this concert, in its entirety, on DVD. Be weary of sellers of the video as well - some of them sell the incomplete version or even excerpts only. Also be aware that the DVD video is coded for region 5 (Russia) and will not play in American DVD player unless it has been re-coded for all regions. But it plays fine in computer DVD drives.


title: you stink but the music is good

text: actually your program sucks because I've now spent about $200 and still haven't been able to get the title song I have been wanting to get, so I guess you stink when it comes to satisfying your customers.


title: Sara on her own

text:
After recording this album Sara joint the german Girlgroup Tic Tac Toe. You hear here that she's inspired by them even though she sings instead of rapping. Her voice sounds like they made it stronger with the computer but not much. Her songs are pop with a little bit rock. And by the way she has good lyrics.
Spiesserparadies:(Petty bourgoisis-paradise) Hey that's what I found in the dictionary. Sara explains why she doesn't want to be a petty bourgoisis. But she explains it instead of cursing.
Tut mir leid ( I'm sorry) About a boyfriend who's a lot older than her and tries to tell her what she should do.
Halt!: (Stop!) An angry song about a violent boyfriend.
Nie wieder: (Never more)  This song was recorded as Sara@Tic Tac Two. It's about lovesickness.
Lieber Gott (Dear God) This song is about stress in school. I really like it.
Ich flieg (I am flying): This lovesong is a ballad. She sounds really good.
Träume: (Dreams) Sweet lovesong about longing for the person who you don't know yet.
Supermodel: This song is so funny. Even in Europe everybody wants to be as skinny as possible.
Ich pfeif auf dich: ( I don't care for you) Funny! Sara doesn't care for the most good looking guy because he's not true.
Dafür lieb ich dich: (I love you because of that) A pretty ballad about friendship She sings and raps.
Nie wieder Remix: Like the Original version but lnger
I don't listen to german music a lot but I like Sara because she has a nice voice and the lyrics a also good.


title: New angels

text:
OK, I  promise that I will never ever say something bad about the No Angels again. All five girls have pretty voices and they can dance very well. And they wrote this song on their own.
This is a great Popsong with an awesome beat and great lyrics. The bonustrack "Like ice in the sunshine" is a nice summersong.
Tracklist:
Something about us: Latin radio mix, R n'B radio mix, Club mix, Extended mix.
Like ice in the sunshine


title: Blümchen's first english song

text:
She did a Song in English so you guys can also understand the meaningless things she has to say. And this song is the most meaningless she ever did. But her voice sounds much stronger.
This is not a typical Blümchen-song. There are many backgroungsingers and more lyrics.
there are three Songs on this Single. The radio Version, the Extended version and the Song "Where hearts have wings".It's the english version of her Song "Herzen haben Flügel". I think it's on the Blossom-Album "Heartbeat"


title: Excellent Seller and Excellent Product

text: This is a great cd and the seller (MF Enterprises) is prompt and courteous. They respond to all emails/messages right away.  They are helping me now with my order. Yes, I will recommend this seller.


title: Five Stars

text: I love it!


title: Five Stars

text: Lara fabian singing was great.


title: Great cd

text: Excelent cd


title: Fabulous.

text: Fabulous! Great collection of old and new songs. As always she is fantastic!


title: About time Americans discovered Lara

text: My all-time favorite female singer.  If you are into Mariah Carey and Celine Dion, then I defy anyone not to love Lara Fabian.


title: Certainly didn't expect it to be this good!

text:
When i first listened to the album online, I was skeptical. I heard the previews and thought it sounded amazing. Then I bought the album on i-tunes and didn't like it. I bought the CD on amazon after that, and was so sorry for buying it, cos i really didn't like the album at all. I must've been drunk, cos this is an AMAZING Sonique album, and i think it's her best. It totally blows her debut album out of the water, although that one's amazing too.
The photos are cool and I like the design concept. This album probably didn't get much recognition and that's why it's harder to find it anywhere, at a decent price.
From start to finish, there is NOT a bad moment on the album. It's extremely alive and totally SMOKING HOT!!!
In fact, having and loving this album prompted me into buying her other album, titled "Born to be Free". I like it too, but not as much as "On Kosmo".
Any Sonique fans, you gotta have this album. You won't be sorry!

Tracklist:
01- Why
02- Thank You
03- Sleezy
04- Save Myself
05- Over
06 -My Dream
07- I Don't Even Know
08- Take You For A Ride
09- I Can't Wait
10- Another World
11- Another Moment
12- Alone
13- Why (video)
14- Another World (video)


title: 10 times better than "Encore"!

text:
Received the CD as a gift from a real good friend of mine (you know who you are). First of all, the CD showcases some of Sarah's most memorable songs which haven't received as much recognition as others have. This compilation features different versions of songs we're already familiar with...starting with "Love Changes Everything"...which isn't annoying & tinny, compared to the version on the "ALW Collection #1". I can't stand that version! This one has a heavier bass-line with a nicer, softer ending.

"Only You" is a track which I only heard as a poorly downloaded mp3 from a cracking, scratchy vinyl. So...I never really had the chance to enjoy it. But now that it's been re-mastered onto CD, I like it. It's a wonder this one got to see the light of day at all...seeing ALW has released so many compilations of Sarah's music. Why hasn't this song come out to us sooner? Moving on, "Any Dream Will Do" appears on the Japanese Version of "Sarah Brightman Sings the Music of Andrew Lloyd Webber"...and is harder to find, due to it's rarity in some parts. I'm pleased to have it on an up-to-date compilation of ALW's finest music written for Sarah's voice.

Can't understand why "Think of Me" appears on here...if it's on the "Encore" CD...even though it's part of Sarah's repertoire which made her the star she is today. "The Phantom of the Opera" with Steve Harley is rock-based and showcases Sarah's early "duet" talents. Anyone whose seen this video will agree it's got that certain edge.

All the new songs are simply stunning and are a treat to the ears, considering we've seen & heard so many repeated songs on all of ALW's "Sarah" compilations. Finally, we hear stuff which hasn't received the attention is so very well deserves. I love John Barrowman's voice better than Steve Barton's (God Rest Steve's Soul).

Finally, ALW has put together an "SB Compilation" worth every penny. With a few odd's & ends thrown in among a collection of stunning "earlies", I don't regret owning the album.

Tracklist:

01- Probably on a Thursday - 3:29

02- The Perfect Year - 3:25

03- Only You (Feat. Cliff Richard) - 3:53

04- Love Changes Everything - 3:29

05- Seeing is Believing (Feat. Michael Ball) - 4:32

06- Think of Me (Feat. Steve Barton) - 3:12

07- Any Dream Will Do - 3:50

08- I Don't Know How To Love Him - 3:53

09- Too Much in Love to Care (Feat. John Barrowman) - 4:40

10- The Phantom of the Opera (Feat. Steve Harley) - 4:40

11- Make up My Heart - 3:32)

12- Don't Cry For Me Argentina (No Llores Por Mi, Argentina (Spanish Version ) - 5:32

13- Everything's Alright - 4:32

14- Whistle Down the Wind (2002 Version) - 3:29

About the artwork & booklet...it's simple, yet polished, just like the other SB/ALW compilations. The inner tray is blood red, which brings out Sarah's lip color. The front image is stunning and was taken with a screened effect on the camera. Sarah's eyes tell it all. Everything's beautiful about this item. Even the one solitary picture inside the booklet, helps tell the story of a long, musical journey inside a young singer's early career. For all the diehard Sarah Brightman fans...this album is for you. Great for a stocking stuffer or as a gift for that unsuspecting music lover.


title: groovy beats for a "Diva"!

text:
Surprisingly, I haven't bought an actual Cd in a while! It probably doesn't sound like the truth, as I've reviewed many albums which I either bought over 10 years, or I have downloaded from the net. This album has been recorded from Cd onto mini-disc. It's a must have!
I've been waiting to get this album since it has come out! I'm glad for my persisting mind. Every track on this CD is great. The mixers have done such a marvelous job remixing these timeless hits, that I think it is the best remix album I've got my hands on in quite a while.
"Diamonds are forever" is so cleverly remixed, the original sound is hardly affected. There is a bit of Bjork style in some tracks, along with trance and techno beats. But, surprisingly, most of the orchestrations stay as superb as intended to be.
Over the years, I have listened to and collected 3 "Bassey" Cds, but I lost interest in them. The material didn't have the moving feeling as on this Cd, as times & styles have changed. I must state that after listening to this Cd a few times, I have learned to like the original "James Bond" theme music even more now.
Forgive me if I don't list names of tracks, but I can mention one thing which came to my mind. The popular song "Bits of history repeating" written by the Propellerheads, didn't find its way onto this CD. What has been included with master remixing, is "Goldfinger" mixed by the said band.
I'll cut it short now, but I think that giving each track an equal amount of praise is fair. They're all great! No complaints here. And there couldn't be a better time to get this Cd but in time for the holidays. Hope this review has helped you.


title: Five Stars

text: one of the best spiritual cd's, an old favorite<br />Virginia H


title: Glossy, enjoyable pop-rock from a great Quebecoise star.

text:
Julie Masse's career in Canada mirrored Mariah Carey's closely, at least in the beginning.  Both singers were 20 years old upon their debut in 1990; both singers had great vocal strength; both were ex-gymnasts and wholesome sex symbols; and both achieved a great degree of success right out of the gate.  In 1993, with only two French-language albums under her belt, Masse won a Juno Award (the Canadian Grammy) for Most Promising Female Vocalist, a rarity for an artist with limited English-language-market presence.  Everything seemed set for a Celine Dion-sized crossover.

It was a matter of somewhat unfortunate marketing, and personal decisions, that Masse never achieved the crossover success of Dion.  Masse's two French albums, Julie Masse (1990) and A contre-jour (1992), were filled with the kind of music French and French-Canadian artists excelled at:  Polished, melodic, guitar-heavy rock and pop-dance songs with big choruses and occasionally a French folk-song influence.  The guitar performances on Masse's French records were always surprisingly robust and rocking, probably thanks to the involvement of Roch Voisine guitarist Rejean Lachance.

On Circle of One, released in 1994, she collaborated with soon-to-be husband Corey Hart, and one of the unfortunate side effects was that some of the rock edge was lost in the mix.  Add that to the cheesy-sexy album cover layout, and a truly unfortunate choice for a first English single ("One More Moment", one of two utterly edgeless ballads on the record), and Circle of One was denied the success Masse seemed so ready to achieve.

It's not a bad record, though; far from it.  Aside from the oversaturated keyboard ballads "One More Moment" and "I Will Be There", which were almost devoid of dynamics, there are quite some good songs on here.  And Corey Hart's songwriting did have strengths.  The title track "Circle of One" and "Love Is All I'm Looking For" were pretty mellow as uptempo tunes go, but also catchy and well arranged enough.  Several fluffy bubblegum pop tunes ("Devious Nature", "You Left Your Kiss" and especially "Ice Cream") provided guilty pleasure.  However, listen to the album closer "Letting Go" and you'll hear what Masse truly excelled at.  A soaring, dramatic anthem to crushed love, filled with wrenching melodies, almost symphonic rock drums, and a bluesy lead guitar, this song provided the vehicle Masse needed for her voice to soar.  This was the music that had put me in a swoon on her French records, and I always thought this should have been her first English single.  There was a fieriness and strength in Masse's ballad performances; unfortunately, the record company probably thought it was too bombastic (ignoring the successful Carey model) and decided to release the more middle-of-the-road songs instead.  This approach almost always backfires -- just ask Lara Fabian and Laura Pausini.  Circle of One enjoyed moderate success, a gold record in Canada and another Juno Award nomination (for Female Vocalist of the Year, losing to Jann Arden), bu it was a far cry from her French success.  It was telling that she sold more French records than English, despite a significantly larger target audience for the latter.

Soon after the album, Masse married Corey Hart, had children, and retired to a family life with only sporadic musical ventures.  Her 1996 best-of, called simply Compilation, is worth looking up; it included most of her hits as well as a great new song, "Sur les ailes du desir".  In 1998 she appeared on Hart's solo record Jade, on the lacklustre duet "La-bas".  Somehow when Hart writes with her in mind, he doesn't go for the intensity that suits her best.  Masse's two French albums, being big hits in Quebec, are still readily available in Canada, and they still represent her best work.  Circle of One was mostly a missed opportunity, but that said, it's still an enjoyable pop-rock album, even if it doesn't scale the heights of her best French songs.  If we had more songs like "C'est zero", "Un homme a pleure", "Comme un appel du coeur" and "Les idees noires" on this record, Masse could have broken through in an even bigger way.


title: Love It.

text: Love this CD.  This is perfect music to listen to when one needs to relax before bed.


title: Relaxing

text: Soothing


title: Great CDs

text: Kids and I enjoy listening to these great CDs to help learn the bible. Songs sound good as well as helpful learning tool.


title: Great Album

text: This is a great item, it arrived just as advertised and makes a great addition to my collection.


title: Great Album

text: Goes great into my collection. It arrived just as described. Great ambient music to throw on while working on stuff or taking a nice drive.


title: Great Album

text: Goes great into my collection. It arrived just as described.


title: Without a doubt Fantasia has talent, just needs refinement!

text: Here's the real truth about Fantasia.  Fantasia is a good singer.  However, I think she needs to work at refining her range otherwise her sound may end up sounding more like a duck or like Macy Gray instead of Aretha & Patti.  I really think Fantasia has a lot of talent but the talent may go UNHEARD if she doesn't get some training in refining her range.  That's all!  All these other bad things that are being said about Fantasia are from people that are either jealous or just don't like Fantasia on a personal level.


title: Masterpiece.

text:
K.P. has some of the most if not the most prolific penmanship & well thought out gems in any genere. If you want some thought provoking,enlightening & POSITIVE music in your life this is it.

PEACE


title: Five Stars

text: Everything about Macy is the best.


title: Five Stars

text: I cannot praise this enough. Gorgeous music sung by men who believe.


title: The very best.

text: Everything is the best of quality.


title: Five Stars

text: As described.


title: Is this in English???

text: Is this in English???


title: Sugoi, ne.  Excellent!

text: This is a beautiful interpretation of the orchestral music and the instruments used in the score, "Tonari no Totoro."  I am a big Totoro fan, even though I am 56 years old.  He represents youth, innocence, faith, fullfilled dreams, and hope in this world gone mad.  The orchestral version truly brings it to life more so than the soundtrack.  Yes, you will hear a "sensei" explaining various parts in Japanese, but in my opinion you don't need to understand a word of the language to comprehend what he is saying.  The music speaks for itself.  I cannot wait to share it with my friend who is a music researcher, publisher, and teacher.  She speaks not a word of Japanese and I am certain that she will agree with me 100%.  If you love classical music, if you love "Totoro", if you teach music, this is a must have in your collection.  Actually, I wish they had made two versions because the music is so lovely.  The other version could have been made without the "sensei"'s comments just to enjoy a fantastic orchestral score.  Anyway, this product seemed to arrive overnight!  Condition excellent!  Music superb!  Doomo arigatoo gozaimasu.  I am more than pleased!


title: Loved all the songs

text: Loved all the songs. Her voice is amazing. The cover with all the words is great. Favorite song is Arise My Love. Had this Cd for several years and never get tired of listening to it.


title: Five Stars

text: Love this CD


title: Frances and Friends

text: I grew up listening to Glynnis Johns (the mother in Disney's Mary Poppins) reading the Frances books. I bought the electronic collection several years ago, and have lamented not having the whole set. These are the stories and poems missing from the audio collection. It contains two of the longer Frances stories- A Bargain for Frances and Best Friend for Frances, as well as the collection of her poems, "Egg Thoughts". (My favorite poem is Homework.)


title: One Republic Fan

text: If you like One Republic you will like this cd.  I don't have it on me to tell you which songs I like best, but it is a good cd.


title: Five Stars

text: Cd is in great shape; every song was enjoyable; exactly what I wanted.


title: The song plays well and the cd came in not broken and in perfect condition. I feel very satisfied with my choice ...

text: I received exactly what I intended to buy.  The song plays well and the cd came in not broken and in perfect condition.  I feel very satisfied with my choice of sellers and thank you very much for the product.


title: Enjojable album for Sacred Harp fans.

text: Very satisfied. Recorded by the late great Alan Lomax.


title: Met my expectations and more

text: Good find on vinyl, setlist has an amazing version of sappy on it.

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title: If you like Led Zeppelin, buy this.

text: Fantasiclc quality, fast delivery, no problems. Need I say more?


title: Five Stars

text: worth the money i paid for it.


title: Some excellent rock n roll on this LP

text: Enjoyed this vinyl and there are plenty of quality cuts throughout the song mix.


title: Worth a listen

text:
My other reviews of Blood Incantation albums have focused on conceptual aspects, so this review will be focused on the music.

The sound overall is of a death metal type crossed with an ambient influence. The metal content is similar to other BTDM (or TBDM) bands that lean more toward the 'technical' than the 'brutal,' such as Spawn of Possession and Origin. There is not such a barrage of changes in riff and time signature that the listener feels like they cannot gain equilibrium. There is also not such a ridiculous amount of speed and complexity that the music sounds like an annoying alarm clock blaring (e.g. Cephalic Carnage).

On the other hand, most of the note progressions take place high on the guitar. There is no low doom or sludge-based sections, unlike Suffocation or especially Incantation ('Hidden History' has one obligatory such section). Unlike Cryptopsy, there doesn't seem to be any jazz-fusion-like phrasing. It's overall difficult for me to be too enthusiastic about death metal that's sonically so far away from Sabbath-based riffage: I like my metal more on the low end. I can't comment on the ambient influences.

One of the most original qualities of this recording is the fact that it's in obscure, non-major (immediately-satisfying), non-minor (moody) keys that are either invented or very unusual.

The bass is very interesting, but somewhat lost in the mix (as per usual). The drumming is solid; I do wish the bass drum sound was harder or louder. The vocals are standard death metal with just a little more intelligibility.

All in all, a solid release but one that, minus the hype, I wouldn't probably have checked out and bought, and one that I won't put on when I want hard death metal. Thank you.


title: Varied Collection with Local Spice

text: All recordings from Indy appearances of the nation acts.  A lot of fun and unique take on music you already know.


title: Good Live Music, Local Flair

text: I really like this collection. Has a great mix from a station I listen to regularly and all the recordings happened in Indy so its a nice local flavor.


Five Stars


title: Five Stars

text: imagine dragons record more albums!!!


title: Five Stars

text: enjoyed music


title: Must have

text: Honestly, imagine dragons are some of the most talented artists out there.


title: Yeah! I Got the Whole Set!

text: I really like all these CDs of Christmas music. I finally completed my set. I had found 3 of the 4 at a garage sale for at a really low price. I just wanted to complete my set with the Pop music CD or Disc 2. I am very happy to have all 4. I have enjoyed listening to this set. The seller was very prompt getting it to me and answered my question before my purchase of "was it really the entire set ?"  I am enjoying the season getting to listen to the whole set! It is great when you can find a set of CDs made in 1994 on Amazon!


title: A+

text: LOVE THE KONGOS


title: Great album, but don't buy it here I got ...

text: Great album, but don't buy it here I got it in the town the band originated from at volumeone.org it was 8 bucks and all the money from those sales goes to local charity


title: The Buddy Holly Collection

text: I first time I heard Buddy Holly was in 1957, my last year of high school.  This CD contains some old country songs that I have never heard Buddy sing. I like country music, so this was a big plus for me.  I also purchased Rave On The Very Best Of Buddy Holly.  If you have to make a choice between these sets, buy the 3 CD set.  It was less expensive and has more songs.  If you like Buddy, buy both.  They are both great.

user_id: AEJMGGXUAPGTZHFQPKIUUVZLWTLA


title: How can anyone not love this album

text: How can anyone not love this album?!  I wanted to own an album of Elvis singing gospel for a long time...this one brings me great joy!


title: I never heard of Andy Grammer until his appearance on ...

text: I never heard of Andy Grammer until his appearance on DWTS when he preformed "Honey, I'm Good"! I couldn't get the song out of my head...just had to have a copy. I am enjoying most of the songs on the CD and I may purchase some of his earlier work on the comments of others before me!


title: It's cool

text: Really enjoy ever thing Matis does and this is no different. Kind of mellow and short leads to a 3 star rating.


title: LOVED IT

text: LOVED IT


title: Four Stars

text: good album


title: Four Stars

text: wanted this for my CD library


title: Five Stars

text: Great!


title: Y

text: It's music


title: Beyonce - None better

text: This song has got to be one of the best arrangements I have heard.  The lyrics are moving, the musicality is outstanding and emotionally connecting.  Beyonce's vocal range is superb and emotes a crispness and smoothness that is unparalleled.


title: Truly honest music

text: I saw Frank Yamma two years ago at the Vancouver Folk Festival. His haunting soulful heartfelt music sticks in your head. The contrast the between his gravelly voice and the sweet music is so good. The first song "she cried" brings tears to my eyes every time I hear it. I hope he has some more albums in him. I love this one. I plan on getting the earlier one. Also check out the compilation "Buried Country" for more down under music.


title: Music With a Manly and Majestic Punch

text: I recently re-listened to both Revanche and a group called Macho, both of whom I first heard in dance clubs years ago. I'm not sure if their producers were inspired by the far goofier (and more succcessful) Village People, but the end result was a really cool sub-genre of dance music that was what I thought of as "chest thumping music." As such, the arrangements are really pretty intricate and pulsate with musical muscle and rhythmic testosterone. I suspect some dismissed these records as fake fantasy of such cheesiness they could not be taken seriously, but a serious listen to not only the music but the lyrics reveal these tracks expressed the sentiments of gay men who weren't about to be oppressed or crapped on by anyone anymore. The tracks themeselves, especially "Revenge", "Music Man", and "I'm a Man" were wonderfully expressive midnight nocturnes to virility and men who loved being men. They are wonderfully arranged and take you on a sex-soaked journey that includes some of the hottest instrumental breakdowns I've ever heard in dance tracks! The production was anything but "cheesy", but rather complex, evocative, and majestic by dance music standards. If Tom of Finland men had a soundtrack, these tracks would be it. The Revanche album on Atlantic is, to me, a classic. Not every song was as strong as the ones mentioned, but both Revenge and Music Man alone are worth the cost of the album. It's an overlooked part of dance music history, but potent stuff that is anything but silly camp. Listen with headphones if you must and crank it up: These are the boys from the opposite side of the tracks from the Village People, and they're not to be messed with.


title: These Misses Could've Used a Few More Hits

text: I bought this collection on the basis of my love of the track, "Needle in a Haystack, which is a Motown girl group classic; only The Supremes' "Where Did Our Love Go" rivals this track for fantastic use of handclap effects. The thing is, these ladies could sing circles around a lot of other groups, but their producers and songwriters were asleep at the wheel. The Velvelettes needed to let it rip in the studio, but too often they were given those same tired "he did me wrong " songs so popular in that era, or sweet, Chiffons-like material that failed to utilize their powerful pipes. The collection is worth it, for it includes "He Was Really Sayin' Something" and "The Boy from Crosstown". The rest of the material is, to my ears, not so much "bad" as too safe and undistinguished. Had they pulled a few more hit needles out of the haystack of ho-hum material, these ladies would've marvelled as much as The Marvelettes. I was lucky enough to see them live once about 12 years ago, and they were great!


title: Of the others some fail dramatically and other are quite good. Dion's Book of Dreams is really nice so ...

text: Worth it for the Patty Griffin cut - Stolen Car. Of the others some fail dramatically and other are quite good. Dion's Book of Dreams is really nice so is Thea Gilmore doing Cover Me. Levon's vocals on Atlantic City are too twangy but it is The Band who are hard to get down on, at least for me. On the other hand I don't understand what Marah is trying to do to Streets of Philadelphia but whatever it was it fails.


title: An 8 STAR COMPOSITION - NON...CLASSICAL JAZZ

text: You will be mesmerized by the  complexity of Frank Zappa's intense arrangements. You have to listen to Hot Rats, a once in a lifetime miracle instrumental extravaganza. You will hear that Frank Zappa is a musical genius. Buy it, your music collection will thank you, so will your neighbors. Love it.


title: Four Stars

text: Dylan sounds great on some of his best songs.


title: Thank you!

text: Fast delivery. Excellent packaging. Album just as described. Thank you.


title: Expected more

text: I heard such great things about this CD that I thought it must be fantastic.  I love the Spanish guitar so I am always looking to add to my collection.  This was so-so in my book.  Nothing stood out as a WOW factor.  It's good, but I have plenty of others that I like better.


title: Great band

text: Love this group. Ww so excited to in a cd with this song. I wish they had more songs available on cd


title: Five Stars

text: saw them in concert then had to get the cd its great


title: A timeless wonderful story that is truly heartwarming.

text: A wonderful old favourite available on audio CD's.  Received in great condition amd the reader is great, handling the different genders, accents and classes spot on. a treat to listen to over and over again. The characters are real and you find yourself rooting for them all.<br />The Good Companions is a terrific companion.


title: Liston delivers strong, convincing readings of a set’s worth of airplay-worthy originals & co-writes

text: Southern rock vet Danny Liston displays soul-rocker vocal chops of a high caliber, delivering strong, convincing readings of a set’s worth of airplay-worthy originals and co-writes.  The Greg Allman Band and Mama’s Pride alum shines especially here on “Didn’t Find My Blues”, “Old Friends”, “Goodbye Jack Daniels” and the particularly infectious title track. The studio backup unit shows equally veteran prowess. (Duane Verh, Roots Music Report)


title: Songs from very solitary places of love, longing, lamentation, loneliness or desperation

text:
Singing about ghosts that haunt her life, Oregon-based singer/songwriter and guitarist Melissa Ruth turns to her music to lighten the load, persevere and endure. On her fourth album, Bones, she weaves tales of life’s passage, history stolen, dreams broken, love sustained and tough times weathered. With her slower-tempo’ed openers, “Edith Piaf,” “Passage of Stars” and “Nashi Lyuidi (Our People),” Melissa Ruth works a range of time-honored Americana themes, and she marks her bluesy turf with strategic sustains, hesitations and lyrics that fashion a rather distinctive and compelling vocal persona.

“Poor Man’s Daughter” picks up the pace a tad as Ruth sings about liking cheap beer, expensive whiskey and the intrigue of loving a married man. Ultimately, it becomes a poignant statement about the resolve and fortitude it takes to escape poverty and suffering. Singing about her rural home in Oregon where she works as a music educator, “Yoncalla Moon” is a lively, spirited, celebratory exclamation to “kick off your boots, we stay tonight.” The song was inspired by the all-women western band, The Slow Ponies, whose work celebrated the unsung: pioneering souls, especially women, people of color and Native Americans who contributed greatly to making the West what it is today.

Ruth’s music makes a persuasive case for “less is more” by arranging most songs without backup vocals and stripped-down instrumental accompaniment of guitars, keyboards, bass and drums. “A Good Man” is a loving tribute to her lead guitar playing husband, Johnny Leal, who shines brightly on several tracks including “Holding the Light” that also enlists Stacey Atwell-Keister on background vocals.

Besides Leal, Ruth’s core band also includes Scoop McGuire (bass), Cameron Siegel (drums) and Matt Hill (keys). Hill’s muted trumpet colors “Wild Roses.” Although I was left longing for a few measures of Hammond B-3 organ, sax, flute, blues harp, mandolin, fiddle, resophonic guitar or maybe even some pedal steel on a few of Melissa Ruth’s songs, the band still lays down some deep-in-the-pocket grooves that take us to places of contemplative, reflective thought and tranquility more than to smoldering scorchers or sassy blues workouts. Ruth’s style is more one of seriously mesmerizing minimalism, lacing roots sounds with melodic and harmonic spiritualism.

“Edith Piaf” pays homage to one of Ruth’s earliest musical heroes. “Passage of Stars” traces her paternal lineage across Canada. “Nashi Lyudi (Our People)” laments the heritage lost when her father, born into a religious sect whose followers had escaped tsarist Russia for Canada, became one of 200 children taken from their parents and sent to a Canadian residential school in New Denver, B.C.  Coming at the environmental topic from different views, “Wild Roses” and “Logger’s Lament” address the complexities of places and people and their reliance and dependence on precious resources.

With the seed for Bones borne from the despair of the pandemic, Ruth once stated that the project felt, in many ways, “like casting a stone into water on a moonless night. There was a lot of darkness. Making this record - casting that stone into the water just to hear the sound - felt like an act of curiosity, resistance, hope, and even defiance.”

With each subsequent album, since her 2011 debut with Ain’t No Whiskey, Melissa Ruth has fine-tuned her signature sound that has evolved from her earlier “doo-wop twang” moniker to her latest catch phrase, “north-country western” with elements of introspective deliberation, placid percussion, tender vocals, relaxing blues guitar riffs, and an atmospheric rhythmic foundation.

Ruth’s music, infused with spirits of artists, lovers, seekers, sinners and everyday people, makes observations of intimate interactions and transactions. The songs on Bones seem to come from very solitary places of love, longing, lamentation, loneliness or desperation. (Joe Ross, Roots Music Report)


title: Intricate passages that flow with distinctive mood changes & unpredictability

text:
A bassoonist who plays both classical and jazz music, Michael Rabinowitz was born in Connecticut, studied at SUNY at Purchase, and now makes him home in New Jersey. The bassoon, especially as a solo instrument, is not that common in the jazz genre although Charles Mingus certainly used it as part of his diverse instrumentations for big band. In one of my favorite Miles Davis sessions, Sketches of Spain added in some bassoon as the result of his collaboration with creative mastermind composer-arranger Gil Evans. Sun Ra also capitalized on the diversity possible with big band instrumentation that extended the range of tone colors. He used saxophonists who played unusual jazz instruments like piccolo, oboe, bass clarinet and bassoon. As part of the Art Ensemble of Chicago, I believe that Joseph Jarman occasionally played bassoon. And that group was no doubt influenced by Ornette Coleman who scored some of his pieces (like “Forms and Sounds”) for instruments like flute, oboe, clarinet, French horn and bassoon.

Michael Rabinowitz uses his bassoon in the context of a jazz quartet. He heads up a band called "Bassoon in the Wild" that appears at clubs, festivals and other venues. In 2017, he released Uncharted Waters with bassoon, guitar, bass and drums. His seventh album as leader, Next Chapter was named in reference to his being able to focus more time and energy pursuing his passion as an improvising bassoonist and composer. Working with pianist Matt King (who penned “MRab” and “Twelve Note Samba” for this project), the bassoonist composed several pieces for shows and this recording. They enlisted Andy McKee (bass) and Tommy Campbell (drums) to capture their joy and musical magic for our listening enjoyment.

Profoundly earthy and organic, Next Chapter is an adventurous jazzy journey with intricate passages that flow with distinctive mood changes and some unpredictability.  Rabinowitz opens the album with a wistful “Lydian Dream,” presumably built on an almost-major scale but with a raised fourth. The tune’s genesis evolves into an unusually expressive experience. “Minor Blues Experiment” has a brawny, bassy, bassoon-charged groove.  The title track offers some soulful and stirring playing by Rabinowitz in an arrangement that reflects his prolific imagination and high degree of workmanship. I especially enjoyed hearing King’s “Twelve Note Samba,” a facetious creation based on the more familiar and conventional “One Note Samba” from Antonio Jobim. Tints of King’s melodica that color a few of the tracks also make for some interesting improvisational interludes.  Adapting the chord changes of Johnny Mandel’s 1964 composition “Emily,” the quartet artfully presents a fresh, plucky melody and cheerful vibe called “Emily Alt Line.” Rabinowitz’ “One Four All” starts out with a snappy exploration of the bassoon’s sax-like possibilities before evolving into a spirited ensemble romp. The album closes with a slyly soulful and rambunctiously wild “Tuesday Blues.” (Joe Ross, Roots Music Report)


title: A life-enriching musical communion with the divine that he strives to share with his audiences

text:
A professional musician since age 14, Dendê Macêdo is a percussionist, singer, composer, bandleader, teacher, and multi-instrumentalist who has been splitting his time between the U.S. and Bahia. Dendê & Band reflect the cross-section of his deep roots in the Afro-Brazilian religion of Candomblé  and world music traditions that combine Brazil’s rhythm heavy music with grooves of Afrobeat, reggae, merengue, rumba and mbalax. Their debut album, Bahia de Todos os Santos, showcased the band’s sizzling showmanship and versatility. On Agô, we hear the importance of drumming and percussion in Dendê music, and we also hear a range of cosmopolitan influences that have found their way to Bahia with the result being an eclectic, enjoyable range of new, different, spirited sounds.

Songs like “Epê Babá,” “Yemanjá,” “Saudades” and “Vai de Azul” include joyous melodies, lively instrumental work, positive inspirational messages and hypnotic grooves to make you dance. Opening the album, the title track means ‘to ask permission’ in Yoruba, a language used by Brazilian practitioners of Candomblé. “Crioula” is also mainly sung in the native language, but the song also has some hip-hop influences, sung in English by Dice Raw. “Black Lives Matter” and “You Can Dance” demonstrate that we can also find a lot of musical joy in political correctness. While the album has plenty of percussion, bass, guitar, and backing vocals, we also hear occasional colorings of accordion, keyboards, cavaquinho and sax.

With seven of the album’s twelve tracks dedicated to different Orixas, Agô represents a creative effort to celebrate the deities and the values of the religion that he credits with keeping him on the straight and narrow as a child and eventually leading him to career success he enjoys today. This latest album from Dendê & Band is a life-enriching musical communion with the divine that he strives to share with his audiences. (Joe Ross, Roots Music Report)


California-based Little Kahuna are highly regarded among the most recent batch of Surf-Rock bands. The group’s self-titled 2022 CD features a dozen classy instrumentals that wouldn’t feel out of place back in the 1960s despite being made in 2022. Lead guitarist and the band’s main composer Craig Skelly receives fine backup from his band mates including second guitarist Paul Wayne. The CD features a number of musicians.

To cap things off, Little Kahuna uses a range of vintage guitars and other gear to give the music that authentic West Coast surf-rock sound. Highlights are plentiful including “Warm Sand” with its vintage feel it sounds like a long-lost track from John Blakeley’s band The Sandals, famous for their Endless Summer soundtrack. The band’s theme song and title track “Little Kahuna” is a fun little romp that kicks up some serious sand. Some tracks rock a little harder, for example “Bond Girl”, while the CD closes out with “DD”, essentially a totally rocking tribute to the late great Dick Dale.

According to Craig Skelly, the music here was created during the Covid lockdown and after sending the music to his friends and family, the tracks were finally recorded with the results being the first Little Kahuna album. The LP was released on yellow vinyl but there is a CD available as well. While still falling into the surf-rock genre, Little Kahuna has a relaxed nature to it making it the perfect album to sit back and watch the waves roll in on your favorite beach. (Robert Silverstein, Roots Music Report)


title: Shawanda predictably & reliably scorches & powers her way through suitably tailored soul 'n blues

text: Vocalist Crystal Shawanda predictably and reliably scorches and powers her way through a suitably tailored soul-and-blues set.  Her sultry, drag-tempoed workup of Willie Dixon’s “Evil” should garner attention as should the self-penned title track and Kimberly Rew’s lyrically smart “That’s Just the Woman In Me’. (Duane Verh, Roots Music Report)


title: The celebrated Swede ... sets a new standard of musical excellence in the modern pop-rock era

text:
Singer-songwriter Su Andersson learned about bravery, as we all did, in the light of these strange times. Inspired by her new-found musical liberty, Su has taken pen to paper and composed ten fresh songs that not only reflect the times we live in, but that also shows just how far she has come since her acclaimed 2020 album, Train Stories. Whereas that album was an outward burst of musical creativity reflecting her train travels all across the U.S., 2022’s 34-minute, 10-track Brave album finds the celebrated Swede going deeper and the result sets a new standard of musical excellence in the modern pop-rock era.

Sparking the sound of Brave is Su’s new songs as well as the choice of musicians assisting in her latest musical outing, including Brave co-producer Henning Sernhede. Henning co-produced Brave as well as adding in all forms of guitar, electric and acoustic, and mando guitar, sitar guitar, keyboards and synths. Jonas Abrahamsson adds in drums and piano, while several guest artists join Su on backing vocals and a series of duets. Even with a star-studded crew of supporting musicians, the key to Brave is her new songs.

As Su tells it in her Brave liner notes, “Restrictions of freedom only enhanced my desire to want to interact with other people no matter how insular a world we might have found ourselves in.” As Brave reveals, the human desire to transcend dread and emptiness in times of hardship can lead not only to acts of courage, but it can also point the way to new artistic breakthroughs. In a world of angst and war, with Brave Su Andersson gives music fans reasons to be optimistic and brave. (Robert Silverstein, Roots Music Report)


2022 marks the return of Brooklyn’s best band, NYC rockers Zan Zone. Featuring the songs of band founder Zan Burnham, Start Where You Stand is the long-awaited result of 38 months of blood, sweat & tears that found the band enlisting the aid of a new co-lead female singer Angela Watson Modeste. Angela joins forces with long-time Zan Zone vocalists Zan Burnham, Philip Dessinger and Zan’s daughter Arianna Burnham. Angela’s voice rounds out the trademark, 4-part vocal harmony that is featured on a number of Start Where You Stand songs, including the title track composed by band member Philip Dessinger.

Key to the Zan Zone sound is Zan’s dazzling songwriting and his sizzling electric guitar skills. Dedicated to Zan’s wife Marilyn Lisa Feldman, who died in 2021, Start Where You Stand is the best-produced and best-sounding Zan Zone album yet. In contrast to the catchy, pop-rock anthems that are featured on the album in abundance, the Zan Zone approach to instrumental music is also put to the test on Start Where You Stand with “Extinction: Rebellion” and “Extinction: Romp”, proving that Zan Zone is not only rock and progressive music but rock instrumental too.

Driving Zan Zone’s powerhouse beat are Saadi Zain (electric / acoustic bass) and Marko Djordjevic (drums / percussion). In contrast to 2013’s It’s Only Natural, the cover art and album concept of Start Where You Stand is unsettled, perhaps alluding to the current global refugee crisis in the aftermath of the pandemic era. One thing is clear: long-time Zan Zone devotees and newcomers will come away with big smiles on their faces after witnessing the pop-rock magic in play on Start Where You Stand. (Robert Silverstein, Roots Music Report)