Duo Sutre Kim Kreutzer & Bochsa 6 Nocturnes Concertants

The poetry and radiance of Bachs cello suites (BWV 1007-1012) are transfigured in these remarkable interpretations by Kim Kashkashian on viola, offering a different kind of somberness, a different kind of dazzlement as annotator Paul Griffiths observes. One of the most compelling performers of classical and new music, Kashkashian has been hailed by The San Francisco Chronicle as an artist who combines a probing, restless musical intellect with enormous beauty of tone. An ECM artist since 1985, she approaches Bach s music with the same commitment as revealed in her other solo recordings, the legendary Hindemith sonatas album and the widely acclaimed (and Grammy-winning) account of Kurtág and Ligeti.

The voice and violin duo Duo della Luna (Susan Botti and Airi Yoshioka, respectively) brings a remarkable versatility and integrated ensemble approach to a rarefied instrumental combination. Both musicians take advantage of their impressive range to broaden the scope of expressive possibilities within this duo formation. On Mangetsu, that range is in full bloom, from Botti’s fluid text delivery in different languages and vocal styles to both performers’ virtuosic navigation of extended techniques and gymnastic passagework. Throughout, the duo is engaged in a intertwined dialogue between the two players, always balanced elegantly, with each fulfilling an equal and essential role in the musical texture. Their sensitive performances are captured in a sensual recording by Grammy award winning engineer and recording industry luminary Todd Whitelock.

Love Is is the eighth studio album by Kim Wilde, released in spring 1992. Kim Wilde found herself working with Rick Nowels on this album, the same songwriter who had written for Belinda Carlisle and later for Madonna amongst others. Three of the eleven tracks were produced by him while the remaining eight were produced by Ricky Wilde. The majority of the tracks on this album were co-written by Kim. She'd taken a long hard look at herself, resulting in the song "Who Do You Think You Are?", in which she reflects on how she had behaved through the years in her career. There were more love songs on this album; titles such as "Touched By Your Magic" and "Heart Over Mind" are an indication of the themes of the lyrics.

Originally written for oboe (unique composition for this instrument), the "Drei Romanzen", Op. 94 were composed in late 1849 when Schumann seemed to be inspired by old legends.

Kim Wilde's second album didn't score any hits on the level of the debut's "Kids in America," although the dramatic "Cambodia" was a sort of cult favorite in some circles. That said, it's a far better album than the patchy debut; the songs, again by brother Rikki Wilde with occasional collaborations by father Marty Wilde, don't have the bubblegum tinge that colored much of 1981's Kim Wilde. The arrangements are more synth-oriented, at times approaching the dark atmospherics of Japan or Orchestral Manoeuvres in the Dark. The occasionally melodramatic lyrics cover topics like police brutality and paranoia – unsurprisingly, new insights aren't much in evidence – and even the love songs, like the delicate "View from a Bridge," aren't exactly happy. The overall vibe of this album is so chilly that the one basically upbeat song, "Can You Come Over," sounds really out of place, but overall, it works. Wilde sings with a clinical detachment here that suits her voice quite well; whenever Wilde tries to emote musically, the results sound forced and melodramatic, but her icy edge on this album is surprisingly appealing.

Kim Simmonds' outlet for his electric blues-rock remains the on-again off-again Savoy Brown. Therefore he uses his solo albums, of which this is the third, to elaborate on the acoustic Delta blues generally ignored by his full-time outfit. Unlike Eric Clapton, who has consistently returned to this unplugged music throughout his career, Simmonds seems driven to explore his acoustic blues roots only since 1997. Simmonds uses this outlet to play predominantly self-penned material, with a few obscure covers thrown in. Accompanied by subtle piano, bass, and drums, the guitarist/vocalist commands center stage with his dusky yet emotional, talk-sung vocals, somewhat like J.J. Cale. Simmonds' guitar work is consistently classy, substituting the flash and boogie impulses of his extensive work as leader of Savoy Brown with a more thoughtful, measured playing that perfectly fits these terrific folk-blues tunes.