Performer: Amsterdam Loeki Stardust Quartet
Composer: Johann Sebastian Bach
The Loeki Stardust Quartet play a variety of recorders from sopranino to sub-contrabass producing heavenly harmony. They offer a wonderful take on truly great but often difficult or unapproachable music. The recording is excellent. So good is it that the close miking may have you reaching for your distortion metre - don't panic: it's just the sound of spittle and air in the mouthpiece of some of the bass instruments.
A delightlful disc!
This collection represents the full range of Vivaldi recordings Christopher made with the AAM, and includes L'Estro Armonico Op.3, La Stravaganza Op.4, and the violin concertos Opp. 6, 8, 9, 11, and 12; solo concertos for flute (op. 10), oboe, bassoon, and cello; and various concerti grossi. Also featured are the complete cello sonatas, along with the cantatas "Amor, hai vinto" and "Nulla in mundo pax sincera", and sacred vocal works Stabat Mater, Nisi Dominus and the enduringly popular Gloria.
This is the 8th CD of an 11CD’s Boxset with the complete compositorian oeuvre of one of Netherlands greatest composers of the twentieth century, Tristan Keuris. This box is a reflection of mostly historical concerts and studio recordings of ensembles that played Keuris’ music. Many different players, Radio4, Radio Nederland Wereldomroep, the Muziekcentrum van de Omroep and the NPS worked together on this project and its wonderful realisation…….
Out of the Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet - which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes' drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan's piano playing is equally light and delicate; Grimes' bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk's sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.