Anthology of Polish Children's Animation (1947 2000)

Second Life' is the first-ever album featuring both acoustic guitar and string orchestra on each track. Acoustic guitarist Adam Palma is accompanied by one of the greatest European orchestras, The Chamber Orchestra of Polish Radio AMADEUS, led by famous conductor, Agnieszka Duczmal. This album is a very personal record, an intimate look at music and life from the perspective of a man who "regained" his life after waking from a long coma. Recovering gave Adam time to reflect, to review his own musical roots, and to view his life deeply from a new perspective. We hear the songs that the soloist grew up listening to: folk melodies, a scout song, a song belonging to the patriotic trend of music, known film themes, Chopin's compositions (never before performed on the guitar), and Adam's own compositions that show what he himself describes as his Polish soul. All the arrangements have been written by Adam Palma and orchestrated by the outstanding Polish film score composer Krzesimir Debski. On this album, classical music and jazz are intertwined. All this against a background of the characteristic harmony of Polish songs, combining the sound of acoustic guitar and string orchestra!

Ewelina Novicka came across Weinberg's traces while researching Shostakovich, and Laks was brought to her attention by pianist friend Milena Antoniewicz, with whom she recorded her own composition Kaddish in the version for violin and piano in 2011. The Polish-born violinist Ewelina Novicka was not only deeply touched by the fact that Laks and Weinberg had escaped the Shoah, but above all by the connection with the fate of her own family, which gave rise to her desire to place her artistic work in the service of the works of these two composers.

Tenor saxophonist Charlie Ventura (born Charles Venturo) was a byproduct of the Chu Berry/Coleman Hawkins methodology of gutsy swing and early bop improvisation. The Classics Chronological Series did the world an enormous favor when they reissued Ventura's earliest recordings as a leader and followed suit with this fascinating second volume of rare material. Back in Los Angeles during the spring of 1946, Ventura - still billed on record as "Charlie Venturo" – paired up with master clarinetist Barney Bigard in front of a rhythm quartet anchored by bassist Red Callender. Two of the four sides waxed on this occasion feature an unidentified male vocalist who sings wistful ballads without doing too much damage…