Brazilian jazz vocalist and pianist Tania Maria's career has spanned over three decades, starting when she was just 13 and she fronted a band of professional musicians organized by her father, who was a metal worker and gifted amateur musician. He had encouraged her to study piano so that she could accompany him on his weekend jam sessions, but her musical talent grew beyond those small performances. Maria's four sisters also had musical talents, but they eventually grew from their impoverished roots to become professionals, a path that Maria was on herself as well. She attended law school for two years, then married and had a family. The pull of music was too strong, however, and in 1971 she released her first album in Brazil, Olha Quem Chega.
Serious piano collectors and lovers of Rachmaninoff’s music, as well as those willing to be convinced of the greatness of this sonata, won’t want to miss this CD. A most auspicious debut.
No. 1 in Heaven is the eighth album by the American rock band Sparks. Recorded with Italian disco producer Giorgio Moroder, it marked a change of musical direction for the group and became influential on later synth-pop bands.
Both these couplings are extremely fine, but taken together they add up to even more than the sum of their parts. The point of coupling Shostakovich’s first and last string quartets is obvious, and the contrast between what the composer himself called his “Springtime Quartet” and the unprecedented sequence of six slow movements written months before his death could not be more poignant.
With No 2, Sammal releases the follow-up to their critically acclaimed eponymous debut on February 14th through Svart Records. The present-day flagship of Finnish progressive rock sails back in time again to the authentic tones and warm soundscapes of the 1970s on their forthcoming EP, titled No 2. The band doesn’t show off with unnecessarily technical playing or super-hard song structures, but focuses on forging upbeat atmospheres with strong melodies and fresh vintage sounds. Sammal relies on live playing in the studio, which brings the listener closer to the band: the production breathes so care-free that you can almost touch the notes floating in the air.