Rigmore Gustafsson

Not every singer who is relevant to vocal jazz is a rigid purist who completely rejects the influence of R&B, pop, and folk. There are some jazz-friendly singers who stray outside of jazz, which is what Swedish singer/songwriter Rigmor Gustafsson often does on Alone with You. Parts of this CD offer straight-ahead post-bop, while other parts are more pop-minded and/or R&B-ish and draw on influences ranging from Joni Mitchell and Laura Nyro to Stevie Wonder.

Sometimes it’s wrong to rush things, even when everything might appear to be completely in place: "Straight after I had released my last album 'When You Make Me Smile' in 2014,” says Swedish singer Rigmor Gustafsson, “I knew what I wanted to do next, not least because the inspiration to write new music was coming so rapidly. It's a mystical and magic feeling when you can hear music inside you that you know you have to write down". But Rigmor Gustafsson is not one to rush in headlong. She prefers to let her ideas mature, to bring them to perfection. So before making "Come Home", she took her time.

GM Jan Gustafsson • A repertoire against 1.d4
Part 3 • Nimzo-Indian Defence
Chess24 | 2017 | English | True PDF, 41 pages | 627.46 KB

Grandmaster Jan Gustafsson is back with the third part of his black repertoire against 1.d4. This time around we study the Nimzo-Indian, 1.d4 Nf6 2.c4 e6 3.Nc3 Bb4. Jan gives a solid and classical repertoire against all of White's options on move 4.

Like Korngold, Toch, Schoenberg, Zeisl and Zemlinsky, Richard Stöhr (1874–1967) was one of many Austrian composers driven into American exile by the Nazis. His generous output of music, being rediscovered at last in these Toccata Classics recordings, includes seven symphonies, much chamber music, songs, and choral and piano pieces. His output for organ is not extensive, but its quality is high: the instrument plays an important role in a number of Stöhr’s orchestral works, and here Stöhr presents the organ in two thoroughly attractive duos and an imposing solo sonata. The Sonata and Intermezzi sit downstream from Brahms in the tradition of Viennese classicism; the chromatic touches in the later Suite lean towards the language of Korngold.