This is the 11th and therefore the last CD of an 11CD’s Boxset with the complete compositorian oeuvre of one of Netherlands greatest composers of the twentieth century, Tristan Keuris. This box is a reflection of mostly historical concerts and studio recordings of ensembles that played Keuris’ music. Many different players, Radio4, Radio Nederland Wereldomroep, the Muziekcentrum van de Omroep and the NPS worked together on this project and its wonderful realisation……

The Pacifica Quartet address the more intimate side of Dimitri Shostakovich, particularly his quartets composed in the fateful years in the Soviet Union, 1952-1960. In 1948, Shostakovich, along with Prokofiev and Miaskovsky, had been excoriated as “formalists” incapable of direct communication with “the people.” Shostakovich, however, employed the string quartet medium as means of personal expression relatively unhampered by “political correctness.”……

Gary Lemco @ Audiophile Audition

Remembering Red album by Red Mitchell was released Mar 30, 2007 on the Four Leaf Clover label. Remembering Red CD music is a 2-disc set with 26 songs.

Original Mob album by Jimmy Cobb was released Jun 10, 2014 on the Smoke Sessions label. THERE’S NO ONE ELSE LIKE JIMMY COBB now in his seventh decade in music and swinging as hard today as he did when he started in 1950 with Earl Bostic. His surgical skill at the drums and his artistic genius generally is the stuff of legend from his work with Dinah and Cannonball to Sarah and Wes. Jimmy is best known for his time with Miles Davis that included the recording of several history making albums including the classic Kind of Blue. His new release…

On June 17 1963, The Beatles were put through their paces at the BBC's Maida Vale studios, knocking out 18 songs inside a brisk seven hour radio session under the watchful eye of white-coated technicians. Fifty years on Sir Paul McCartney carries the weight of popular music history, but little else had changed when the star made a nostalgic return to the West London BBC studios' subterranean maze.

The return of the Belgian black-hearted emissaries is imminent. So is their aim to tame the unbridled black-art of metal. Critical acclaim of the former landmark "Obsidium" has only proven, that even the highest regard is not enough to bind the hands of an sovereign individual. With arms long enough to embrace the unknown and grasp the throat of excellence, Enthroned stands strong as never before. "Obsidium" sows the seed of perfection. The exquisite craftsmanship of "Sovereigns" sows the seed of transcendence!

"Gigantoid", the new album from Southern California hard rock mainstays FU MANCHU was released on April 29 via the band's own At The Dojo Records. After almost 25 years together, and following last year's Scion A/V Club split seven-inch single with friends MOAB and 2009's "Signs Of Infinite Power", Scott Hill and company return with their first full-length album in close to five years. Recorded with Andrew Giacumakis, singer/guitarist for the aforementioned MOAB at his studio in Simi Valley, California, the album features a slightly more primitive, raw and ultra fuzzed-out sound than previous releases.

What happens when you bring the worlds of jazz and Monteverdi together? Is there a musical meeting-point where the two can exist? Claudio Cavina clearly has been believing in this possibility for some time (witness some very "modern" moments in his recent Glossa recordings of the Scherzi musicali and L'incoronazione di Poppea). Yet this is not La Venexiana playing jazz: Cavina and his musicians do not change a note of the original scores.

Hot on the heels of Anne-Catherine Gillet’s performance of Les Illuminations ( comes another, quite different one from the Finnish coloratura soprano Anu Komsi. My suspicion that Britten wasn’t totally in sympathy with Rimbaud’s poetry is unsupported by documentary evidence, but in my own case there is no doubt: Rimbaud prevents me from fully appreciating the work. This performance has come as close as any to convincing me, however. The opening is crucial. The title is “Fanfare”; that is just what the strings should deliver, and my goodness, they certainly do. Anu Komsi’s is a big voice, easily capable of reaching the farthest corners of those opera houses that are her regular venues, and she uses it to dramatic effect in the “motto” at the end of “Fanfare”.

Few singers — few musicians in any branch of the art, for that matter — can have ranged with comparable expertise over so wide a range of repertoire as the American soprano Carole Farley. From Monteverdi and Mozart to Shostakovich and Berg (she took the title role in the first British production of Lulu), from Beethoven’s Ninth Symphony by way of Offenbach and Grieg and Lehár’s Merry Widow to Poulenc and Weill and the music of her husband, composer-conductor José Serebrier, taking in Verdi, Puccini, Massenet, Strauss, Ives, and Aubert Lemeland along the way, and recently adding an exceptional disc of Rorem songs, she has performed opera, oratorio, and song with commanding vocal fluency, dramatic flair, and an astonishing linguistic versatility.