Rapson began on piano at age five before switching to trombone. He studied at Westmont College, graduating in 1976, then took his MA in composition at California State University. Rapson taught at Westmont from 1980 to 1990, concurrently playing in Los Angeles with Vinny Golia (1979-90). He also worked with Tim Berne (1980, 1986), Walter Thompson (1980), Bobby Bradford (1986-90), and John Carter (1988-90). He has worked extensively as a leader with noted West Coast jazz players.
Dominico Scarlatti: Love's Sweet Torment - Late Cantatas Vol 1 [IMPORT] Penelope Rapson (Conductor), Fiori Musicali (Orchestra), Kate Eckersley (Performer) is a beautifull recording with the talent Kate Eckersley. Her vocal skills are sublime and it truly sounds angelic when she sings. Unicorn-Kanchana Records have cheaped out completely on the book-let with a terrible font and it is truly paper thin. The essay written by Ms Eckersley is very well-written and informative. Over all this is a great production and I give it 5 well-deserved stars.
The artistic prowess of saxophonist John Coltrane was so expansive and influential - even in his own short lifetime, let alone in the decades since his death - that it's difficult to quantify or differentiate his significance as a leader, a collaborator, a sideman or any other role in the jazz idiom. What's certain, though, is that some of his most pivotal session work took place on the Prestige label in the 1950s.
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.
Andrew Nethsingha and The Choir of St John’s College, Cambridge release the second volume in the highly praised ‘Magnificat’ series, presenting nine settings of the Evening Canticles by celebrated Organist-Composers, written between 1932 and 1952 and non-church musicians from 1974-1989.
Ghostlight Deluxe, an imprint of Ghostlight Records, will release For Centennial Reasons: 100 Year Salute to Nat King Cole – the new album from the John Pizzarelli Trio – in physical, digital and streaming formats on Friday, February 8. Following high-profile collaborations with Sir Paul McCartney and Michael McDonald, Pizzarelli returns to his roots to honor his hero, the legendary jazz/pop vocalist and pianist Nat King Cole, whose centennial is being celebrated around the world this year with various concerts, books and recordings. For Centennial Reasons… completes an epic trio of Pizzarelli albums saluting Cole, starting with Dear Mr. Cole, which helped put Pizzarelli on the map as an influential jazz guitarist and singer in 1994, and continuing with P.S. Mr. Cole, which cemented his legacy five years later.