Rod Stewart, with simple backing from friends, drawing magic from his own songs as well as some of his favorite songwriters. Folksy, brash, vulnerable and raw, this is vintage Rod Stewart - understated, uncomplicated, unsurpassed.

Sergei Dorensky (b. 1931) is a Russian pianist. He was trained under Grigory Ginsburg at the Moscow Conservatory. Dorensky was awarded a Gold Medal at the 5th World Festival of Youth and Students and the 1957 Rio de Janeiro Competition's 2nd Prize, which allowed him to perform through Western Europe and America. That same year he was appointed a teacher at the Moscow Conservatory, where he held a professorship from 1978-1997. He was named a People's Artist of Russia in 1989, and was decorated the Order of Friendship eight years later. He is the Russian Fryderyk Chopin and Sergey Rachmaninov Societies' vice-president.

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This is a breathtakingly beautiful recording – Kashkashian has always been masterful in selecting the elements of her albums, but she’s outdone herself here. She performs works by Betty Olivero, Tigran Mansurian, Komitas and Eitan Steinberg – the settings include a viola-percussion duet, a piece for viola and small ensemble with tape, a solo piano piece (performed by Mansurian), a piece for viola and orchestra and one for viola and string quartet.

Westernhagen - Williamsburg
year: 2009 | mp3 @ 192 - 224 kbits vbr | genre: pop | 73 MB

Darauf haben wohl viele Fans schon lange gewartet: Marius Müller-Westernhagen besinnt sich auf seinem 18. Studioalbum auf seine Wurzeln und findet wieder ganz zu alter Größe zurück. Vier Jahre nach seinem letzten Studiowerk Nahaufnahme präsentiert sich der Sänger auf Williamsburg so entspannt wie nie zuvor.
In aller Ruhe hat er in einem Studio in Williamsburg, einem Stadtteil von New York, zwölf neue Songs eingespielt, in denen er sich wieder stark seinen Wurzeln annähert und die liegen neben der Rockmusik nun mal im Soul und Blues.

"This music comes from far away. It was surely heard in Gothic and Romanesque cathedrals, in the Roman catacombs or in Daniel's lion's den. It is a music that does not seek to convince, to overwhelm, to incite revolt - it gently insists on its differentness, its distance from all actionan and triumphant modernity; it speaks of many things that are lost - but of many more things that are merely hidden, and therefore not lost. " (Peter Hamm)