William Orbit is a British musician and record producer, best known to the public for producing Madonna's album "Ray of Light", which received four Grammy Awards.
His speciality is atmospheric keyboard electronica although much of his work features accomplished guitar playing.
Like its predecessor, "Pieces in a Modern Style 2" is a collection of classical music "covers": from Puccini to Elgar, Bach to Tchaikovsky. Special Bonus CD: 6 bonus tracks from William Orbit plus 8 remixes by Ferry Corsten, John Digweed & Nick Muir, Jakwob, Timo Maas & Santos, Alex Metric, Rockdaworld.
William Orbit is a British musician and record producer, best known to the public for producing Madonna's album "Ray of Light", which received four Grammy Awards.
His speciality is atmospheric keyboard electronica although much of his work features accomplished guitar playing.
Like its predecessor, "Pieces in a Modern Style 2" is a collection of classical music "covers": from Puccini to Elgar, Bach to Tchaikovsky. Special Bonus CD: 6 bonus tracks from William Orbit plus 8 remixes by Ferry Corsten, John Digweed & Nick Muir, Jakwob, Timo Maas & Santos, Alex Metric, Rockdaworld.
Strange Cargo III is the fourth album by electronic instrumentalist William Orbit. The album matches elegant sequencer trance and understated organic instruments (piano, guitar) with ethnic-fusion and soft house rhythms. It's the only Strange Cargo record featuring vocals, with Beth Orton making an early appearance (more earth mother than neo-folky) on the beautiful ambient-trance single "Water From a Vine Leaf." "Into the Paradise" and "The Story of Light" are variations on the same form, while Orbit borrows from hip-hop and dub for "Time to Get Wize," with the toasting of Divine Bashim. While still tied to the '80s Fourth World aesthetic of its predecessors, on Strange Cargo III Orbit begins moving toward a more completely electronic form of music in keeping with the productions of his Guerilla label.
After years of making his own esoteric ambient albums and paying for them by doing dance remixes for pop acts, William Orbit hit the big time in 1998 by co-writing and producing Madonna's Ray of Light album. With his own debut solo album on Madonna's label, he returned to his esoteric pursuits, programming a variety of calm classical pieces into his computer and rearranging them to one extent or another. Samuel Barber's "Adagio for Strings" came off relatively unscathed, but by the time he got to "Ogives Number 1" by Erik Satie, Orbit was mixing in the sounds of a helicopter, as if he were Francis Ford Coppola doing sound design work on Apocalypse Now with the Doors' "The End." Handel's "Largo from Xerxes" remained recognizable, but Beethoven's "Triple Concerto" was largely transformed…
The piano trio with bass and drums is one of the paramount forms of jazz. It permeates history and is a sort of “banner” for the standard measure of this music and a reference point by which one may appreciate the evolution of a century-old form of jazz. And ORBIT is a new chapter in that story. A pun on the initials Oliva-Rainey-Boisseau International Trio, ORBIT is a theme that drives the music of the group, perfectly illustrating what today’s trio can be: a universe of individual paths, instruments, personalities in orbit around each other. Three spheres of attraction and freedom, influence and feed into the two others. This theme naturally lends itself to the tracks that make up the album - Circles, The Tourniquet, Spirals, Wavin - but the music itself draws its energy, kinetics and interactions from it.
Arkestra bandleader Marshall Allen presents Sun Ra classics and rarities. Includes previously unreleased track 'Trying To Put The Blame On Me' + previously unissued versions of 'Reflects Motion' and 'Island In The Sun'. As the longest-tenured member of the Arkestra (55-plus years and counting as of 2014), there is no one with a deeper understanding of the music of Sun Ra than Marshall Allen, and that's part of what makes In the Orbit of Ra such a special collection. The Arkestra's long history is often divided into musical/geographic periods or spoken of as a progression from inside to outside playing. This set spans from the late '50s to the late '70s but the non-chronological sequencing shows how artificial those stylistic boundaries are.