Critics of funky, R&B-flavored jazz and fusion argue that electric jazz cannot swing, but in fact, electric bassist Alain Caron swings hard on the electric Play. Backed by his Montreal-based outfit Le Band, the French-Canadian improviser brings a lot of passion to this CD. A diverse effort that emphasizes Caron's own compositions, Play ranges from groove-oriented soul-jazz ("P.A.C. Man," "D-CODE") to fusion pieces that can be abstract ("In & Out," "B 12") or sentimental ("Apres la pluie," "Ton Jardin"). The only songs on the album that Caron didn't write himself are Leni Stern's cerebral "Trouble" and John Coltrane's often-recorded "Impressions," which gets an unusual funk-jazz treatment.
Structural weakness precluded Grieg's violin sonatas from being regarded as masterpieces. For instance, contrasting themes often jump from one to another without smooth transition. Yet it would be a most remorseful thing to dismiss these pieces as second-rate or mediocre, for they are among the most palatable dishes of violin music. The enchanting melodies are all of captivating beauty, and the essentially light-hearted music is in turn passionate, expressive, bittersweet, exuberant, and vigorous.
2007 release of a 3 CD box set that showcases the American singer/songwriter's best recordings, including all of her singles released between 1982 and 1991, her favorite album tracks, 16 extended song versions, 15 songs released on CD for the first time ever and five tracks that have been previously unreleased in any form…
True to the cute, winking title of her Heads Up debut, the glamorous and funky Dutch sax superstar offers a tasty little bagful of everything to please the funky, smooth, and exotic taste buds of jazz and R&B fans around the world. There's feisty, blistering jamming with multiple horn textures and jangling guitars (the sizzling opening track "Candy"), easy grooving, melodic old-school soul ("L.A. Citylights"), raw and thumping, brassy party singalongs ("Music = Love," the buoyant and breezy "Summertime"), and even a scorching Latin/Caribbean island dance-along ("La Cabana") and a jaunt to Jamaica (the jumpy, lilting "Smokin' Gun"). Dulfer's always had a little of that classic David Sanborn touch in her sound, and that inspiration shines through on the low-key, late-night vibing of "11:58," one of a few rich ballads here.
Antonio Vivaldi's probably early Nisi Dominus, RV 608, and Stabat Mater, RV 621, both for solo voice and ensemble, have received several top-notch recordings, so the listener can pick on the basis of voice type and stylistic preference. Countertenor David Daniels has essayed the pair with Fabio Biondi and his Europa Galante ensemble, and you can hear the preternaturally rich contralto Sara Mingardo in a reading with the fiery Italian Baroque specialist Rinaldo Alessandrini. Here you get a countertenor, Philippe Jaroussky, in the Nisi Dominus and a female contralto, Canadian Marie-Nicole Lemieux, in the Stabat Mater. The pairing robs the whole of unity at one level, but makes musical sense; the Nisi Dominus is a more athletic work that benefits from the power of the male voice, while the Stabat Mater, especially in Vivaldi's truncated and highly dramatic setting, may require the audience to identify with a female singer.