Cuban jazz legend Bebo Valdés is in charge of this wonderful soundtrack for Fernando Trueba and Javier Mariscal's animated film about the romance between a singer and a pianist, set in La Havana and New York of the '40s and '50s. In addition to Valdés, the main performers include Freddy Cole, Jimmy Heath, Idania Valdés, Germán Velasco, and Amadito Valdés, in a collection of both originals and jazz and bolero standards arranged by Michael Philip Mossman. Estrella Morente sings the main title song, "Lily."
Hand crafted two artists who understand the music of a wide, creatively and without borders to either geographical or stylistic. The Cadiz Chano Domínguez (piano) and Almeria Niño Josele (guitar) flow in the succession of pieces that come with the explicit title "Chano & Josele". Behind this recording is Fernando Trueba, film director and producer who could see right that jazz and flamenco departing pianist and guitarist has entered them in as deep as beautiful waters. The repertoire interpret it termed "classical music of the century", and will spare no reason.
According to German theological tradition, which Bach knew very well, the alto voice was the very symbol of the Holy Ghost. Bach's three solo cantatas for alto demand enormous vocal virtuosity. Their extraordinary musical variety embraces sublime consolatory lullabies, a faithful echo of an organ concerto and the dramatic qualities of an oratorio. Andreas Scholl is the featured soloist in this reissue, backed by Philippe Herreweghe and the Collegium Vocale Gent.
Anyone with the slightest appreciation for Louis Prima's incredible Vegas shows of the '50s and '60s will instantly recognize Butera's name … and his hard-driving, don't-tell-'em-it's rock 'n' roll sound. Butera, with his band The Witnesses, backed Prima for the better part of 20 years, but had an equally interesting career before the Vegas run. Here Bear Family collects the whole of the four sessions Butera cut for RCA in 1953/54 19 tracks including gems like Chicken Scratch and Easy Rockin', 6 previously unreleased sides and two unheard alternate versions, all featuring his sweet-and-greasy, strip-joint-in-New Orleans sax.