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If you can imagine the ideal soundtrack to driving through the scented country roads of France on a hot lazy summer’s daythen it would be the music of Martin Taylor’s Spirit of Django. To mark the 100th Anniversary of the birth of one of the founders of European jazz Django Reinhardt, Martin Taylor has reformed his award winning group Spirit of Django after a 15 year hiatus for the new album, ‘Last Train to Hauteville’.
This is billed as Ralph's first collection of original material for ten years, a typically modest undersell which should not overlook his reworking and rediscovery of some classic country blues and rags, Dylan and Guthrie material during that time (check out 'National Treasure' and 'Gates of Eden') and the autobiographical 'As Far As I can Tell')And this is indeed a cracker of an album. My favourite piece is Revd. Thunder, a wonderful tribute to the great Revd Gary Davis, blues and gospel picker extraordinaire. I'd defy anyone, from the first note, not to start tapping their toes and singin' along. And, as is characteristic of Ralph's songs and indeed the rest of this album, it has a narrative - sad, poignant, human, hopeful and ultimately uplifting. Ralph McTell stands head and shoulders above other ragtime and blues acoustic players because he's not just technically proficient but hugely entertaining with it and always adds an element of feel-good.
Our Love to Admire is the third studio album by the American post-punk revival band Interpol, released July 10, 2007 on Capitol Records. Recorded at Electric Lady Studios in Greenwich Village and The Magic Shop Studios in New York City, the album is the group's first to be released on a major label. On 25 April 2007, the band officially announced the album title as Our Love to Admire as well as the track listing. The first single off the new album, "The Heinrich Maneuver", was released on 7 May 2007. The album has received mostly positive critical response of 70 overall at Metacritic.
Über-lunged German saxophonist Peter Brötzmann teamed up with American vanguard legend Joe McPhee (who plays alto, tenor, trumpet, and pocket cornet here), bassist Kent Kessler, and drummer Michael Zerang (four-tenths of the Tentet Brötzmann toured and recorded with in the late '90s) for a single day of exchanging tunes and improvising in June 2002. McPhee and Brötzmann are perfect foils for one another on the front line. They both have requisite force, but McPhee is also a chameleon's player; he understands what lies in the spaces and knows how to make the most of it. His own compositions here, which account for over half the album, stress the kind of joint front-line melodies and close harmonics that create inner space in a tune – just check his two-part "Stone Poem" and his "Anticipation of the Next," dedicated to departed bassists Peter Kowald and Wilbur Morris, for evidence. Brötzmann offers some surprises here in his pieces as well, not the least of which is his reformulation of a hymn Thelonious Monk recorded shortly before his death, originally entitled "This Is My Story, This Is My Song." Titled "Blessed Assurance" here, it takes the hymn, moves through its changes twice, and extrapolates them through his solo and the band's collective improvisation. McPhee's trumpet is the perfect complement and the pair sound like Albert and Don Ayler swinging their chariots toward the heavenly gates. Likewise, the beautiful art-damaged composition "Pieces of Red, Green, and Blue" (supposedly written about a museum experience he and Brötzmann shared) offers killer honking saxophone phrases that are repeated, striated, warped, turned inside out and back on themselves, and finally exploded into intense and inspired group interplay. This is a fiery and yet accessible date that showcases many aspects of the two men not only as players, but as composers as well.
Giovanni Battista Pergolesi (4 January 1710 – 16 or 17 March 1736) was an Italian composer, violinist and organist.
Born at Jesi, Pergolesi studied music there under a local musician, Francesco Santini, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others. He spent most of his brief life working for aristocratic patrons like the Colonna principe di Stigliano, and duca Marzio IV Maddaloni Carafa.
Pollicino is a fairy tale for music based on Collodi, Grimm and Perrault, libretto by Giuseppe di Leva. German version by Hans Werner Henze.
This production of the opera Pollicino was performed recorded during the Klosterspiele Hirsau 2003.