C Lofi 严爵 Yen j

Yen-j, also known as Yan Jue, is a Taiwanese jazz-pop singer-Songwriter. He has achieved rising success as a newcomer on the Mandopop scene.

This release by Russian-Finnish pianist Anastasia Injushina and the Hamburger Camerata under Ralf Gothóni doesn't fit into any of the usual pigeonholes, and it thus has a fresh, bracing quality. Injushina plays a modern piano, but she neither gives it a consistent, harpsichord-like sound nor plays the music with the full capabilities of the modern piano in mind. Gothóni likewise his small group of Hamburgers in accompaniments that are neither Baroque nor modern. What this enables the musicians to do is depict with uncommon accuracy the musical commonalities and differences among J.S. Bach and his sons.

Hundreds of years before the birth of Christ, a collection of love songs grew up. Under the title of the “Most beautiful of songs”, they found a home in the Old Testament-it was Martin Luther who first gave them the name of “Song of songs”-and since that time they have inspired and fascinated a vast number of theologians, mystics, philosophers, poets, painters, and, last but not least, composers. Particularly during the Baroque period, these poetic, sensual, vividly descriptive texts were set over and over again to music, and they inspired librettists to expand on the original texts.

In the early phase of the movement for authentic period practice, Trevor Pinnock and the English Concert were practically household names – in early music households, anyway – because of their critically acclaimed performances of the music of Johann Sebastian Bach and other Baroque composers. These exciting recordings of the Brandenburg Concertos, the orchestral suites, the harpsichord concertos, the violin concertos, and concertos for various instruments were made between 1979 and 1984, so they are a mix of ADD and DDD recordings.

J.J. Light is better known as Jim Stallings, sometime bassist with the Sir Douglas Quintet. In the summer of 1969, "Heya" - a hypnotic song with a distinctive Native American flavor - took much of Europe by storm, reaching audiences as far afield as Japan, South America and New Zealand. Yet, despite being the work of an American living in Los Angeles and signed to a major U.S. label, neither the 45 nor its attendant album would ever be released in America. They make their long-awaited CD debut here, complete with copious bonus tracks including foreign B-sides and his long-lost, never-released second LP, also from 1969. Featuring contributions from members of The West Coast Pop Art Experimental Band, The Electric Prunes, Derek & The Dominos and Love, and assembled with Stallings' close involvement, the package comes complete with detailed liner notes and many rare photos.

Trombonist J.J. Johnson's 1960 sextet is featured on this Columbia CD. Most notable among the sidemen is a rather young trumpeter named Freddie Hubbard on one of his first sessions; also helping out are tenor saxophonist Clifford Jordan, pianist Cedar Walton, bassist Arthur Harper and drummer Albert "Tootie" Heath. Seven of the compositions (which are joined by Dizzy Gillespie's "Blue 'N' Boogie") are Johnson's and, although none caught on, "Mohawk," "In Walked Horace" and "Fatback" (which is heard in two versions) are all fairly memorable. The six songs on the original LP are joined by three others from the same dates.

One of the most dynamic, most on-fire blues albums recorded during the 60s by Delmark Records - a set that bursts right out of the Chicago clubs with the guitar of JB Hutto firmly in the lead! Hutto's a killer right from the start - singing and playing with a ferocity that easily matches, if not beats, the bigger 60s names on Chess Records - and his style of inflection leaves us wondering how often he must have to change the strings, or maybe even his entire guitar! The album's got some great help in the small combo too - with Sunnyland Slim on organ and piano, and the unlikely Maurice McIntyre on tenor sax - blowing very well in a bluesy mode, before rising to later avant territory as Kalaparusha.

Haydn’s Missa in tempore belli (Mass in Time of War) ‒ a classical work for our times. Indeed, his faith was never of the bleak, incessantly penitential kind, but cheerful, reconciled and trusting, and it was in this spirit that he composed his sacred works, too. (Georg August Griesinger on Joseph Haydn, 1810).