Jvli, Emma

Emma Myldenberger have a unique sound, essentially acoustic, mixing various elements from authentic pagan folk to medieval and psych-progressive rock. Their first album was released in 1978. Musical themes are closed to ancient music, ritualistic in nature. The instrumentation essentially refers to a nice orchestration made of guitars, oboe, ocarina, mandolin, crumhorn, hand percussions, with addition of a fragile female voice and an almost eastern-like exoticism. Their second album called "Tour de trance" is considered to be one of the most achieved psych-folk listenings. A very ambitious effort made of high quality kraut-folk improvisations. After two releases the band formed the Radio Noisz Ensemble (Third Ear Band, Between similar musical experiences). Garden of Delight reissues contain some precious informations about the band short history. An important document.

Emma Myldenberger have a unique sound, essentially acoustic, mixing various elements from authentic pagan folk to medieval and psych-progressive rock. Their first album was released in 1978. Musical themes are closed to ancient music, ritualistic in nature. The instrumentation essentially refers to a nice orchestration made of guitars, oboe, ocarina, mandolin, crumhorn, hand percussions, with addition of a fragile female voice and an almost eastern-like exoticism. Their second album called "Tour de trance" is considered to be one of the most achieved psych-folk listenings. A very ambitious effort made of high quality kraut-folk improvisations. After two releases the band formed the Radio Noisz Ensemble (Third Ear Band, Between similar musical experiences). Garden of Delight reissues contain some precious informations about the band short history. An important document.

Dice che non ha l'arroganza di piacere a tutti i costi, che ora si guarda allo specchio e si riconosce in ogni suo singolo difetto. Dice che ha cambiato spesso direzione, che ha provato a rialzarsi col vento a sfavore, ma che ora sa cosa vuole e non lo nasconde. Interpretatelo così, "Essere qui": come la fotografia di una cantante che a 33 anni, qualche disco di platino alle spalle e una carriera discografica ormai solida, si guarda indietro per guardare avanti in maniera diversa, punta il dito sugli errori e si racconta con un pizzico di consapevolezza in più.

Emma Kirkby, doyenne of the Early Music scene, here shows that she's just as comfortable in music of a more recent vintage. Amy Beach was a woman ahead of her time, performing as solo pianist with the Boston Symphony Orchestra by the age of 18. The same year (1885), she married Henry Beach and, no longer able to perform publicly (it would have gone against her social status), she instead settled down to composing. And delightful stuff it is, too, as Kirkby and friends demonstrate in this charming recital. A number of the songs add violin, cello, or both to the piano and voice combination. "Ecstasy," for instance, has a most effective violin part that is an ideal foil to the purity of Kirkby's voice. Other highlights include the Schumannesque Browning Songs and the amiable Shakespeare Songs (the last of which, "Fairy Lullaby," is irresistible). The final item here, "Elle et moi," is an upbeat little number that suits Kirkby's lithe soprano to perfection. Occasionally, in some of the more lushly textured songs, such as "A Mirage" and "Stella Viatoris," perhaps a fuller voice would have been preferable, but then sample "Chanson d'amour" (written when Beach was only 21 and with a wonderful cello part in addition to the piano) and try to imagine it being better sung. The purely instrumental items are played with unfailing sensitivity and elegance. The Romance is straight out of the salon, while the much later Piano Trio (though actually based on early material) packs plenty of emotion and variety into its 14 minutes. The recording is exemplary, as are the concise notes and texts and translations.

If American Josh Groban can make a killing singing Italian opera so convincingly, why not this operatically trained French singer – who has actually been a huge success in Europe while steadily building a name for herself stateside. While Groban is pop-minded, however, Emma Shapplin – like newcomer Laura Turner – seems content to emote powerfully over beds of nature-enhanced ambience and soulful grooves, finding a classical crossover niche with new age crossover potential. With the help of producer Graeme Revell (a noted film scorer and orchestrator for Evanescence), who provides these soaring textures with the London Symphony Orchestra, she blends dramatic solo arias – all original compositions – with passages where she interacts with the Symphony's great choir.

Emma Myldenberger have a unique sound, essentially acoustic, mixing various elements from authentic pagan folk to medieval and psych-progressive rock. Their first album was released in 1978. Musical themes are closed to ancient music, ritualistic in nature. The instrumentation essentially refers to a nice orchestration made of guitars, oboe, ocarina, mandolin, crumhorn, hand percussions, with addition of a fragile female voice and an almost eastern-like exoticism. Their second album called "Tour de trance" is considered to be one of the most achieved psych-folk listenings. A very ambitious effort made of high quality kraut-folk improvisations. After two releases the band formed the Radio Noisz Ensemble (Third Ear Band, Between similar musical experiences). Garden of Delight reissues contain some precious informations about the band short history. An important document.

Emma Rawicz’s ACT debut features a prominent quintet with pianist Ivo Neame, bassist Connor Chaplin, guitarist Ant Law and drummer Asaf Sirkis - all of whom are established figures on the UK scene. "Chroma," Greek for "color," shows the full spectrum of an artist who has long outgrown newcomer status. As Jazzwise Magazine stated: "Emma Rawicz is already the real deal!"

Boireann features two compositions specifically crafted for this release. “Five Études for Two Flutes” reimagines earlier pieces for two violins, demonstrating Buckley’s ability to transpose musical ideas across different instrumental settings. “In Memoriam Doris Keogh,” a three-movement piece for flute and piano, reflects the broad musical interests of Buckley’s flute teacher, Doris Keogh, offering a touching tribute to her influence.

The debut album by Emma-Jean Thackray feels exactly like the sort of thing we’ve been longing for over the last 12 months: a transcendent, human, shared experience. Across its 49 minutes, Yellow draws glowing lines between ‘70s jazz fusion and P-Funk, the cosmic invocations of Sun Ra and Alice Coltrane, and the gorgeous orchestration of the Beach Boys.