I must admit that before I began this survey, I had never listened to this piece. I wasn’t sure what to expect, but I was anticipating that it would be recognizably Petterssonian from the outset, perhaps strident string writing reminiscent of the string orchestra concertos, accompanying a choir (which is struggling to be heard above the tumult). The first time I heard the opening two movements I double-checked to make sure that I was actually listening to Pettersson and not Rosenberg, the other composer on this disc. Although in some of the later movements it is clear that we are listening to Pettersson……

allanpettersson100.blogspot

The Dialoghi were composed between 1955 and 1957 and involve various instrumental groupings, from two pianos (Dialogo 2) and voice and two piano (Dialogo 3) to Concerto for Two Pianos (Dialogo 7) and Chamber Orchestra (Dialogo 1). The order of numbering does not exactly replicate the order of composition, which apparently followed a rising order of instrumental forces, from two pianos to large orchestra. The Dialogues are not all of concertante nature ……..

The Second Concerto can seem an oddly diffuse work in lesser hands and it is to Sol Gabetta's credit that she offers a distinctive, introspective approach, daringly spacious at times, deliberately eschewing superficial excitement.

The works of the French lutenist and composer Charles Tessier give evidence of his vast curiosity and extensive travels in the years around 1600. His Premier livre de chansons & airs de cour tant en françois qu'en italien et en gascon à 4 & 5 parties appeared in London in 1597 with a preface in Italian; the title-page refers to him as musitien de la Chambre du Roy (i.e. musician to Henri IV of France).

Just 26 years old, Nicola Benedetti has been making chart-topping recordings for 10 years. This album celebrates the best of those recordings, and her other successes – from winning the BBC Young Musician of the Year competition in 2004, to her 2012 best-selling album ‘The Silver Violin’, the highest charting classical instrumental album in the UK of the last two decades. A collection of great violin music – from Vivaldi’s Four Seasons and Vaughan Williams’ The Lark Ascending to the Tchaikovsky and Bruch violin concertos and Arvo Part’s Spiegel Im Spiegel. Featuring brand new recordings – Brahms’ invigorating Hungarian Dance no. 5, Monti’s ever-popular Czardas, and Chopin’s emotional Nocturne in C# minor. The album includes Nicola performing with leading orchestras and conductors, as well as some of her favorite chamber players.

Growing up in his native Dublin in the 1850s and ‘60s, Stanford was no stranger to high-quality chamber music, even if the visits to Ireland’s capital by pre-eminent executants of the genre were sporadic. As a teenager he recalled with some affection and excitement the solo recitals of Anton Rubinstein, Sigismond Thalberg and Charles Hallé, and string players such as Camillo Sivori, Ludwig Straus, Henry Vieuxtemps, Alfredo Piatti and of course Joseph Joachim, a friend of his father. Hearing Joachim play Beethoven’s ‘Kreutzer’ Sonata and unaccompanied Bach at semi-private concerts left a deep impression on Stanford (himself a budding violinist), as did Joachim’s appearances as the leader of Levey’s (his tutor’s) quartet. As a result of these formative experiences, Stanford became a devotee of chamber music.

Miles Davis - Miles Davis At Fillmore: Live At The Fillmore East (1970) [2CD] {1997 Columbia Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 666 Mb | MP3 @320 -> 241 Mb
Full Artwork @ 300 dpi (jpg) -> 48 Mb | 5% repair rar
© 1997 Sony Music / Columbia / Legacy | C2K 65139
Jazz / Fusion / Jazz Funk / Trumpet

With the critical reviews for Bitches Brew popping up in everything from local and national newspapers to jazz magazines, and Steve Grossman firmly established in the saxophone chair recently vacated by Wayne Shorter, Miles threw his band a curve ball. He added Keith Jarrett on organ to a group that already included bassist Dave Holland, electric pianist Chick Corea, percussionist Airto Moreira, and drummer Jack DeJohnette for a four-night stand at the Fillmore East. This double-LP/CD package puts together selections from each night, without regard for repetition. It's fine that there are numerous performances of certain tunes: the problem is that, although the music is compelling, it's schizophrenic because there are no full performances on the final release; they were all edited severely (as was standard practice by Teo Macero and Davis).

In 1970, Louis Armstrong went to the Newport Jazz Festival as a special guest to perform his own set, but also to be honored by friends and admirers on the occasion of his 70th birthday. Louis Armstrong: Good Evening Ev'rybody is a document of that event, a collection of interviews, backstage rehearsal footage, and performances. It's footage that had remained unreleased until now. The concert film is an amazing discovery, a surprising time capsule that needed to be unearthed.

Tenor saxophonist Bob Berg channeled the bold dynamics of hard bop to emerge as one of contemporary jazz's most expressive and resourceful improvisers, honing a richly articulated sound bolstered by flawless technical command. Born in New York City on April 7, 1951, Berg grew up in Brooklyn, initiating piano lessons at age six. At 13, he moved to alto saxophone, first discovering jazz when a high school teacher introduced him to the music of Cannonball Adderley and Horace Silver.

Metal Blade released Just Highs No Lows (12 Years of Persistence), a 2-CD compilation of Brainstorm hits and rarities. This is the band's final release on the Metal Blade label and this 32-track compilation pulls 4+ selections from each of the five albums that the band recorded for Metal Blade between 2000 - 2008 along with eight rarities.