2002 studio release from these dope-ass French brothers! Arsenik currently sits at the top of the rap game in Paris.
One of French pop's most poetic songwriters, Georges Brassens, was also a highly acclaimed and much-beloved performer in his own right. Not only a brilliant manipulator of language and a feted poet in his own right, Brassens was also renowned for his subversive streak, satirizing religion, class, social conformity, and moral hypocrisy with a wicked glee. Yet beneath that surface was a compassionate concern for his fellow man, particularly the disadvantaged and desperate. His personal politics were forged during the Nazi occupation, and while his views on freedom bordered on anarchism, his songs expressed those convictions more subtly than those of his contemporary, Léo Ferré. Though he was a skilled songwriter, Brassens had little formal musical training, and he generally kept things uncomplicated – simple melodies and spare accompaniment from a bass and second guitar. Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.
You will find here almost all Brassens' CDs: The official "Intégrale" (13 CD) plus 6 other important albums, live or with unpublished songs.
L'Age D'Or is a 3-disk set. Volume 1 is an anthology of Italian dances, diminutions, improvisations, and sonatas. Volume 2 is music by composers associated with Venice in the time of Monteverdi. Volume 3 is music by Buxtehude. Dongois plays with elegance and charming phrasing while offering the listener breath-taking technical virtuosity.
Hippolyte et Aricie was Rameau's first surviving lyric tragedy and is perhaps his most durable, though you wouldn't know it from the decades we had to wait for a modern recording. Now there are two: this one, conducted by Marc Minkowski, and William Christie's version on Erato. Choosing between the two is tough. Minkowski uses a smaller and probably more authentic orchestra, and with the resulting leaner sound, the performance has more of a quicksilver quality accentuated by Minkowski's penchant for swift tempos. His cast is excellent. –David Patrick Stearns
While it's true this set has been given the highest rating AMG awards, it comes with a qualifier: the rating is for the music and the package, not necessarily the presentation. Presentation is a compiler's nightmare in the case of artists like John Coltrane and Ornette Coleman, who recorded often and at different times and had most of their recordings issued from the wealth of material available at the time a record was needed rather than culling an album from a particular session.
Master Series is the title of a line of greatest hits albums, released in European countries primarily by PolyGram International, as well as A&M Records, Deram Records, FFRR Records, Mercury Records, and Polydor Records. In addition, some albums were reissued by Universal Music Group under the Universal Masters Collection and Millennium Edition titles.
Guitarist Barthelemy has spent much of his career working with orchestras, both jazz and classical, and on this album he teams up again with the 13-piece Orchestre National De Jazz. Stylistically various, the programme here ranges from wild free-form to tightly arranged passages, sometimes in pastiche mood. This is exciting, exploratory Euro-jazz.