Rhythmize Heartstrings

The first Trees of Eternity full length is an amazing piece of music. Featuring re-recordings of the demo tracks from the first release that show the contributions of the newest members and fresh songs that give a larger scope to the band's ambition, this fantastic release is sadly the end of an era for a relatively short-lived band but is so very memorable that it will pull at your heartstrings in every way imaginable. ONE OF THE MOST GENTLE VOICES TO BLESS THIS EARTH !!!

James Milton Cleveland (May 3, 1926 – August 23, 2008) was an American jazz trombonist born in Wartrace, Tennessee. Cleveland worked with many other jazz musicians, including Lionel Hampton, Miles Davis, Sarah Vaughan, Antonio Carlos Jobim, Quincy Jones, Lucky Thompson, Gigi Gryce, Oscar Peterson, Oscar Pettiford and James Brown. He also recorded a sequence of albums for EmArcy/Mercury Records in the 1950s. He continued to make records with Zion Records later in his career. Cleveland died August 23, 2008 in Lynwood, California at age 82.

In the latest chapter in András Schiff’s ongoing documentation of Franz Schubert’s music, the great pianist plays the Four Impromptus D 899, and compositions from 1828, the last year of Schubert’s too brief life: The Three Pieces D 946 (“impromptus in all but name” notes Misha Donat in the booklet), the C minor Sonata D 958 and the A major Sonata D 959. Schiff again chooses to use his fortepiano made by Franz Brodmann in Vienna, around 1820. “It is to me ideally suited to Schubert’s keyboard works,” he has said. “There is something quintessentially Viennese in its timbre, its tender mellowness, its melancholic cantabilità.

In the latest chapter in András Schiff’s ongoing documentation of Franz Schubert’s music, the great pianist plays the Four Impromptus D 899, and compositions from 1828, the last year of Schubert’s too brief life: The Three Pieces D 946 (“impromptus in all but name” notes Misha Donat in the booklet), the C minor Sonata D 958 and the A major Sonata D 959. Schiff again chooses to use his fortepiano made by Franz Brodmann in Vienna, around 1820. “It is to me ideally suited to Schubert’s keyboard works,” he has said. “There is something quintessentially Viennese in its timbre, its tender mellowness, its melancholic cantabilità.”

My intention with this record was to refine a collection of the tracks most highly anticipated and requested by fans of my video content where I show the process of recording new songs. I selected each track not only on the basis of its connection with my audience, but also with the goal of curating a record full of emotive instrumental performances, positive moods and pure ear-candy.