Deluxe edition includes two bonus tracks. 2016 album from the acclaimed jazz artist. Esperanza Spalding presents Emily's D+Evolution, a rekindling of her childhood interest in theater, poetry and movement, which delves into a broader concept of performance. Taking a new approach to her on-stage persona, the remarkable Spalding taps into new creative energy, delivering musical vignettes inspired during a "sleepless night of full moon inspiration." As she puts it, "Emily is my middle name, and I'm using this fresh persona as my inner navigator. This project is about going back and reclaiming un-cultivated curiosity, and using it as a compass to move forward and expand. My hope for this group is to create a world around each song, there are a lot of juicy themes and stories in the music. We will be staging the songs as much as we play them, using characters, video, and the movement of our bodies".
Looking for a fresh start, Budgie signed with A&M Records in 1976 and released the strangely titled If I Were Brittania, I'd Waive the Rules. The band continued to incorporate new elements into their sound here, showing a special interest in funk on such tracks as "Anne Neggen" and "Sky High Percentage." …
Such stalwarts as Christopher Hogwood, Marc Minkowski, John Eliot Gardiner, and Nicholas McGegan tackled Handel's early oratorio La Resurrezione before Emmanuelle Haïm, but hers may well be the most passionate performance of the once-rare work yet recorded. Part of the reason is Haïm's own fiery nature. Nothing here is merely filler: every aria, recitative, and interlude is played for maximum musical and emotional value. Part of her success is due to Haïm's choice of soloists. While some listeners might wish soprano Camilla Tilling brought more strength to her part, she and the other four soloists bring plenty of intensity to their singing.
This collection on the U.K.'s Soul Brother imprint is a very compelling look at a big slice of Freddie Hubbard's long career as a leader, and one that gets ignored for the most part. Hubbard recorded over 20 records between Backlash, his Atlantic debut in 1966, and Ride Like the Wind for Elektra in 1982, with lengthy stops at Columbia and CTI (as well some straight hard bop and post-bop outings for labels Fantasy and Pablo). In many cases, some of these original recordings were not only disregarded by more traditional jazzheads, they were regarded with outright hostility. It didn't matter to Hubbard, however, because at the time, these were among his best-selling albums and connected with the public deeply.
Hervé Niquet – ici sans son ensemble Le Concert spirituel – réserve aux discophiles curieux une nouvelle découverte musicale, en la personne de François d'Agincourt. Mais qui était donc ce Monsieur d'Agincourt, dont on ne retrouve guère de notices biographiques dans la plupart des encyclopédies dédiées à la musique ? Né en 1684, mort en 1758, il fut la gloire artistique de la ville de Rouen où il tint les orgues de la cathédrale rien moins que cinquante ans, fonctions accaparantes qu'il cumula néanmoins avec celles d'organiste de l'abbaye royale de Saint-Ouen, puis de Saint-Jean de Rouen, tout en étant l'un des musiciens officiels du roi. Sur les grandes et belles orgues Tribuot, Hervé Niquet ressuscite un pan inconnu de notre patrimoine artistique, avec ces Dames de Saint-Jean, auxquelles il insuffle une vitalité et une profondeur de bon aloi.