We're not sure what the title means originally, but over the past few decades, it's come to stand for some heavy heavy guitar work from the legendary Calvin Keys! Keys has a very unique touch here – a mix of open chords and tighter lines – beautifully wrapping up a history of soul jazz guitar that stretches back to the early 60s – then propelling things forward with loads of righteous 70s spiritual jazz energy! The set also features loads of sweet keyboards – played by Larry Nash, and mixed with flute and "hose-a-phone" from Owen Marshall – set to grooves from Lawrence Evans on bass and Bob Braye on drums. A stone classic from the Black Jazz label – and titles include "Gee Gee", "BK.", "BE", and "Shawn-Neeq".
Since departing from the urban R&B group Undacova in the late '90s, Calvin Richardson has recorded infrequently. While his 1999 debut nu-soul set, Country Boy, was a knockout, it was critically underappreciated. He followed this in 2003 with another fine album, 2:35 P.M., and When Love Comes in 2008. That said, his 2009 offering, Facts of Life: The Soul of Bobby Womack, a full-length tribute to one of his primary influences, is a wildly ambitious but logical step. The dangers in doing a tribute to a legendary artist, especially Womack, one of soul music’s most storied and colorful legends as both a singer and songwriter, is a daunting task. But Richardson’s and Womack’s voices are very similar, though the latter’s is not as rough as the former’s and has more gospel in it, which works very well in adding to most of these songs.
The young Swiss cellist Christian Poltéra released three remarkable discs of Swiss modernist music in 2007. First came Othmar Schoeck's concerto and sonata for cello plus four song transcriptions for cello and piano. Then came Arthur Honegger's concerto and sonata for cello plus two sonatines. And last there was this one, Frank Martin's concerto and ballade for cello and 8 Preludes for orchestra.
Maria Kochetkova is exceptional as Juliet, her movements always graceful, supple and beautiful. Her facial expressions early in the ballet radiate an ingratiating childlike innocence and joy, but in the darker and more tragic moments later on transform subtly to frustration, fear and sadness. She is a fine actress and a great dancer. Davit Karapetyan makes a splendid Romeo: his dance scenes with Juliet exude passion and deep love, and his sword fight with Tybalt divulges both exceptional athleticism and gracefulness. Luke Ingham in the role of Tybalt is also very convincing, both in his dancing and acting skills. (Robert Cummings, Classical Net)