For the true follow-up to 2002's Every Day - since 2003's Man with a Movie Camera soundtrack had actually been recorded four years earlier - J. Swinscoe & co.'s Cinematic Orchestra produced another soundtrack, this one virtually invisible. Not long after Every Day's release, Swinscoe began writing music for another Cinematic LP, but in another direction from where he'd gone previously. This was a series of quiet, contemplative instrumentals, with Rhodes keyboards and reedy clarinets, simply begging for a narrative (call them orchestrations for cinema). With scripts for each supplied by a friend - each track got its own story, together comprising different scenes from a single life - and a series of unpeopled photographs supplied by Maya Hayuk, Cinematic Orchestra had the narrative they needed for their invisible soundtrack…
The Les Humphries Singers was a 1970s musical group formed in Hamburg, Germany in 1969 by the English born Les Humphries, who had been inspired to do his own version of the Edwin Hawkins Singers. The group consisted of a large number of singers of diverse ethnic origin, some of whom such as John Lawton also performed with other groups. Another member was Jürgen Drews, who later started a long-running solo career, starting with his 1976 hit in Germany, "Ein Bett im Kornfeld", a cover version of "Let Your Love Flow" by the Bellamy Brothers.
Recorded by the band in 1969, this was a frantic year for the Bonzos, and the album shows the lads going in several directions, but still with many strong numbers and the Bonzos trademark brand of whimsy (such as "Mr. Slater's Parrot", "Sport", and the Rhinocentric "We Were Wrong.") I was delighted to learn from the liner notes that the "hexachloraphine" referred to in "Keynsham" is the red stripe in a well-known brand of toothpaste. There are no coincidences, but sometimes the pattern *is* more obvious.
This live German recording of Messiah is based on a manuscript Handel marked up for a performance of the work in Dublin, adding a variety of new dynamic markings and ensemble indications. There's no reason to regard it as quite the definitive version of the work that it is proposed to be by the booklet here; it can equally well be considered an experiment on Handel's part in dealing with the new stylistic currents of his day.
South African expatriate Jonathan Butler isn't really a jazz artist, but his laid-back, slightly jazz-tinged approach to R&B/pop has earned the singer/guitarist/songwriter/producer a lot of supporters in the urban contemporary, adult contemporary, quiet storm, and smooth jazz/NAC markets. Butler has enjoyed a following since the late '70s, although he reached his commercial peak in the late '80s, and he continues to tour and record in the 21st century. Born in Cape Town, South Africa in October 1961, Butler was only a child when he started singing and playing acoustic guitar.
South African expatriate Jonathan Butler isn't really a jazz artist, but his laid-back, slightly jazz-tinged approach to R&B/pop has earned the singer/guitarist/songwriter/producer a lot of supporters in the urban contemporary, adult contemporary, quiet storm, and smooth jazz/NAC markets. Butler has enjoyed a following since the late '70s, although he reached his commercial peak in the late '80s, and he continues to tour and record in the 21st century. Born in Cape Town, South Africa in October 1961, Butler was only a child when he started singing and playing acoustic guitar. Butler, who was the youngest of about 12 children, absorbed a variety of music when he was a kid. He was an admirer of South African stars like singer Miriam Makeba, but he was also hip to the American soul and jazz artists who lived thousands of miles away in the United States.