Since 1727, JS Bach's "Great Passion" has gripped the hearts and uplifted the minds of audiences all over the globe. Nearly three centuries after its premiere, the work has lost none of its power to evoke feelings of compassion for all those who suffer. Its mix of urgent story-telling, meditative arias and mighty choruses sets St Matthew's account of Christ's betrayal, trial and execution eloquently and emotionally.
Excellent addition to any fusion music collection
Somehow passed over and nearly forgotten, languishing in the shadow of the 'Friday Night in San Francisco' set, is this great album from the guitar hero team. The immediacy of that first release is still here but this session benefits from the quiet calm of the studio and less chance for the these luminaries to get caught up in showmanship. Rather, a proper selection of music is heard and the delicate balance the three achieve between jazz spontaneity, Spanish heat, and the precision of Latin fusion is more clearly rendered than on the beloved but somewhat cold 'Friday Night'. And the music is better, too, if only from lack of exposure.
Essential: a masterpiece of progressive rock music
Dreamy. Ethereal. Beautiful. These are the words that first spring to mind whenever I listen to A Taste for Passion by Jazz violinist Jean-Luc Ponty. Not only is the music incredibly powerful and memorable, but the playing itself is magnificent. Ponty has a way with musical phrasing that allows him to experiment with a myriad of different styles and approaches, yet somehow make it all fit together like a perfectly-cut jigsaw puzzle. One moment you're being swept away by otherworldly, melodious pieces such as ''Stay With Me'' and the album;s title track, and the next minute you may find yourself grooving out to one of the album's Jazz- aimed masterworks such as the wonderful ''Sunset Drive''. There really isn't much to dislike here, unless you want to get picky and say that much too much musical ground is covered. Granted, it may have appealed to more people has the music stayed in one area for the most part, but then we wouldn't have the wonderful, eclectic masterpiece that we have today.
Somehow passed over and nearly forgotten, languishing in the shadow of the 'Friday Night in San Francisco' set, is this great album from the guitar hero team….
Mr. Bojangles pairs Sonny Stitt with arranger Don Sebesky for one of the smoothest and most mainstream-facing dates of the saxophonist's career. Sebesky's luminous treatments underscore the elegance of Stitt's soulful alto and tenor leads–Roland Hanna's graceful electric piano leads the music even closer to funk, but the overall emphasis is more on atmosphere than rhythm. The material likewise spotlights ballads and slow-burn groovers, borrowing liberally from the pop charts for tunes including "Killing Me Softly with His Song" and "Ben"–even War's "The World Is a Ghetto" simmers instead of boils.
Features 24 bit digital remastering. Comes with a description. his 1966 date by Duke Pearson with an octet was originally issued by Atlantic. Reissued by Collectables, this is Pearson in full soul-jazz mode, driven deeply by the blues, with an all-star band (not all members play on all tunes): drummer Mickey Roker; Harold Vick on soprano; James Spaulding on flute and alto; bassist Bob Cranshaw; trumpeter Johnny Coles; tenor George Coleman; guitarist Gene Bertoncini; and Pearson on piano and celeste.
Although Chet Baker's recordings from late in his life varied dramatically in quality, this series of studio sessions is a high point in his career. After having his trumpet stolen, he plays beautifully with a borrowed flügelhorn throughout most of these songs with a powerful tone, especially on "Baby Breeze" and Hal Galper's intense "This Is the Thing." Baker delivers some strong vocals on the session led by pianist Bobby Scott, though Scott's huge hit "A Taste of Honey" is marred somewhat by his odd honky tonk piano in the background.
Despite the popularity of works such as The Four Seasons and La Stravaganza, many of Vivaldi’s 250 concertos for violin remain largely unknown. The new recordings of the concertos RV 187 and 281 are based on Vivaldi’s original manuscript scores and capture the thrilling spontaneity of his compositional style. The concerto RV283 also includes a previously unpublished cadenza from the notebook of Vivaldi’s protégé Anna Maria. Very much a man of the 21st Century, Giuliano Carmignola combines his passion for the baroque with his love of motorcycling, which he calls, “Vivaldi con moto - motion and emotion from a MOTOcyclist-musician.”
Features 24 bit remastering and comes with a mini-description. Quite possibly the best album to feature the talents of Chico Hamilton and Eric Dolphy – a set recorded at a time when Dolphy was an up-and-coming player on the west coast scene! Although Chico Hamilton had recorded with unusual reed players before, Dolphy brings a depth of soul and spirit to this album that's missing from a lot of Chico's earlier work at the time – a style that still holds onto some of the measured qualities of the Pacific Jazz work by the Hamilton group, yet which also opens up into some of the darker corners that Dolphy would explore more on his own recordings of the 60s.