Vladimir Ashkenazy turns to the fine art of the piano miniature in this album, unlocking the poetic expression and vibrant colours of forty exquisite pieces by Alexander Scriabin (1872–1915). Vers la flame, released in April 2015 to mark the centenary of Scriabin’s death, opens with the C sharp minor Étude Op.2 No.1, written during its composer’s mid-teens, and comprises such late masterworks as the album’s title track and the five Préludes Op.74.
A Bert Whyte recording of Maestro Stokowski conducting the Houston Symphony at the Houston Civic Center in 1959. Le Poeme d’extase is a big, one movement work in sonata form that combines the elements of a symphony and a tone poem. The work highlights Scriabin’s development and exploitation of new harmonic ideas including chord structures constructed on intervals of a fourth instead of a third. Coupled on this release is another Stokowski/Houston performance of Amirov’s “Azerbaijan Mugan” recorded on March 16th, 1959 at the Houston Civic Center. Amirov’s composition, masterfully performed by Stokowski and the Houston, exhibits the complicated system of mode scales and fixed melodic patterns characteristic of music of the East.
Albedo 0.39 is a studio album by the Greek electronic composer Vangelis, released in 1976. It was the second album produced by Vangelis in Nemo Studios, London, which was his creative base until the late 1980s. It was his first Top 20 UK album. It is a concept album themed around space physics (the reflection of light i.e. physical truth). Its title is inspired by the idea of a planet's albedo, the proportion of the light it receives that is reflected back into space. The album title refers to the average albedo value of the planet Earth as it was in 1976. From the explanation on the back of the LP cover : "The reflecting power of a planet or other non-luminous body. A perfect reflector would have an Albedo of 100%. The Earth's Albedo is 39%, or 0.39". It was performed at the Royal Albert Hall in 1977. The album reached #18 on the UK Album Charts.
Of Miles Davis's many bands, none was more influential and popular than the quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Davis's muted ballads and medium-tempo standards endeared him to the public. The horns' searing exposition of classics like "Salt Peanuts" and "Well, You Needn't" captivated musicians. The searching, restless improvisations of Coltrane intrigued listeners who had a taste for adventure. The flawless rhythm section became a model for bands everywhere. Steamin' With The Miles Davis Quintet is, in many respects representative of the total work of the quintet, it affords an excellent opportunity to examine just what this remarkable music was and how it was made. Such chemistry is inexplicable, and so, apparently, is the personality of the man who generated it.
“She is really the great new voice of Jazz“ this is what Quincy Jones said to Sarah Lancman when she won the Grand Prix of the International Competition of the Montreux Jazz Festival in 2012. 17 gold Records, Music awards, Django d’or, Grand Prix de l’Académie du Jazz Django Reinhardt, no need to introduce the italian pianist Giovanni Mirabassi. They are now accomplices of their new album “Inspiring Love” released since November 18 whose 10 original compositions were recorded in New York, high place of this music…