This album is a passion piece … a coming of age project for me. It embodies my fantasies, my dreams, my history, my optimism, and my soul. There is more and more to express each day, yet this album is a launching point for me. So quite literally This Is Where I Wanna Be " This is the kind of album you can pop into the stereo in the car and play on a road trip, or stay at home and curl up by a fire with a loved one… It's romantic, it's dreamy, it's lush and it is swinging!
The second installment in Sakari Oramo's superb hybrid SACD cycle of the symphonies of Carl Nielsen on BIS presents the Symphony No. 1 in G minor and the Symphony No. 3, "Sinfonia espansiva," two ruggedly independent works that reflect the composer's late Romantic style yet point to the modernism to come. While the Symphony No. 1 was influenced by Brahms and offers a rich harmonic language, propulsive rhythms, and a fairly homogenous orchestral palette, the Symphony No. 3 is striking for its reliance on unfolding counterpoint and long-breathed lines, and most notable for the use of wordless parts for soprano and baritone voices in the pastoral slow movement. These performances by Oramo and the Royal Stockholm Philharmonic Orchestra are exceptional for their stunning power and spacious feeling, though the crisp details and focused sound quality will be the biggest draw for audiophiles.
First new WAR album in 20 years includes bonus original platinum + greatest hits album never before released on CD. Features special guest collaborations with Cheech & Chong, Tower of Power, Joe Walsh, Malik Yusef and the USC Marching Band.
Even though Angela Hewitt's repertoire is quite extensive and diverse, encompassing the Baroque, Classical, Romantic, and modern eras, her true specialty is the music of J.S. Bach, which she has recorded almost exclusively for Hyperion since the 1980s. With this recording of The Art of Fugue, Hewitt completes her long-running series of piano renditions of the solo keyboard works, and while not everyone is convinced that Bach composed this study of fugal techniques for the keyboard, Hewitt's performance is credible and satisfying. She controls the often unwieldy counterpoint by regarding the lines as if they were vocal parts, and her phrases are shaped by natural breathing points, as well as the different emotional qualities she brings to each fugue and canon. The Art of Fugue can be daunting for both performer and listener because its persistent tonality of D minor and monothematic material can be quite tedious in the wrong hands.
Goodrum has written songs that became hits for such performers as Kenny Rogers (What Are We Doin’ in Love), Anne Murray (You Needed Me), Steve Perry (Foolish Heart) George Benson (20/20), Toto, El Debarge, among others. This is his first album as a performer, and while nobody is likely to start thinking of him as a golden voice, it’s appealing to hear a good pop composer sing his own material. In this case it’s disappointing that Goodrum decided not to do any of his hits, singing instead eight of his mostly unrecorded songs, plus the sometime Chordettes and Harris-Parton-Ronstadt hit Mr. Sandman. The fact that Goodrum does all his own backup playing and singing, and even recorded the LP at his house, makes it a little sterile too. He nonetheless has a gentle touch as a songwriter—his tunes are full of sighs of regret—and his vocals bring to mind Michael Franks.