Great AOR / Melodic Rock band from Spain, songs and production are on a top international level. Very catchy stuff in the vein of Firehouse, Frontline, early Jaded Heart and FM.
Here's a recording that doesn't introduce its star name until it's more than half over, and works quite well on that account. The understanding of the opening work, Alban Berg's six-movement Lyric Suite (1926), has evolved since scholars discovered a secret copy of the work that, despite its use of the abstract 12-tone system, outlines a quite specific program depicting the course of the composer's extramarital affair with Dorothea Robetin the previous year. The finale was even shown to contain an unsung melody, a setting of a very relevant Baudelaire poem, and to be performable with the melody sung.
One of Don Cherry's most spiritual, far-reaching projects – a wonderful record that builds both on his key avant work of the 60s, and some of the globally-inspired sounds he was cutting overseas! This date was done in close collaboration with the New York underground of the time – and the large group features work from a rich array of great musicians – including Charles Brackeen on soprano and alto sax, Carlos Ward on alto, Frank Lowe and Dewey Redman on tenors, Charlie Haden on bass, Carla Bley on piano, and Ed Blackwell on drums – working with additional string and percussion players in a sound that's completely sublime! There's a great ear here for unusual sonic twists and turns, yet these are mixed with some deeper organic tones, and some freer jazz passages – all to really ignite a great fire as the set rolls on.
Pianist Marita Viitasalo’s solo album on Ondine is a program focused on works by Claude Debussy (1862–1918). Préludes, Book II was composed during 1912–13 and represent the composer’s late style. Suite bergamasque, published in 1905, is one of the most well-known pieces in classic piano literature. It inclundes Claire de lune, possibly Debussy’s most famous piano piece. Marita Viitasalo studied first under Professor Timo Mikkilä in Helsinki. She continued her studies in Rome (Rodolfo Caporali) and in Vienna (Dieter Weber). Viitasalo is award-winning concert pianist and respected accompanist who has performed, among others, in Vienna, Salzburg, Berlin, Paris, London, Edinburgh and New York.
When Robert Fripp is away from King Crimson, truly magical things come from his guitar. In a solo context, Fripp presents Soundscapes, built on the tradition of Frippertronics, a mode of musical expression he pioneered with Brian Eno over the course of two albums in the 1970s, No Pussyfooting and Evening Star. Those early albums relied on actual physical loops of tape, adding new elements with each repetition. Such limitations no longer exist. Working here in the realm of one guitar, and many, many effects processors, Fripp produces tones and textures that one would not assume are coming from a guitar at all.
This is Reger at his most accessible. In both pieces there is plenty of atmosphere and colour. The Hiller Variations is possibly his greatest and most satisfying orchestral work and is indispensable. Reger was a prolific composer, and it has to be said not all that came from his pen was necessarily memorable. However, the two works on this disc are vintage Reger. He lived his short life as fast as he composed his music. His is a special and unique sound-world which offers great rewards to those who take the time to explore it. Radiant playing from the Concertgebouw under Jarvi and sound to match.
Where the typical ECM continental European chamber sound has been associated with Norwegian pianist Christian Wallumrod, Fabula Suite Lugano adds a new, expansive flavor to what might be expected. This rather ambitious program features a core ensemble, but the sounds are bigger or smaller depending on the inspiration or thematic concept. At the center of many tracks is the violin and viola of Gjermund Larsen and cellist Tanja Orning, but the Baroque harp, as played by Giovanna Pessi, adds more bright colors, while the lone horn (trumpet) of Eivind Lonnig completes the cycle of mystery to this spatial, in-the-main haunting music.
…The Grand Canyon Suite by Grofe has that same cozy nostalgic feel further enhanced by some UNusual instrument placement and editing. A serious recording technician would probably laugh at the approach used by this orchestra and Living Stereo, but to me it's a silly but highly enjoyable masterpiece. The SACD Stereo sound is fantastic, and this is one of my SACD Top Picks!