Simon Mary Krystal Mundi (2019)

Simon Reeve travels from Alaska to Central America.

Salvator Mundi is the majestic and atmospherically rich album from saxophonist Mark Lockheart and organist Roger Sayer recorded in beautiful acoustic of Temple Church, London. Featuring interpretations of English composers including Stamford, Blow, Purcell and Tallis as well as new works by fellow collaborator John Ashton Thomas, Salvator Mundi is a captivating balance of sounds, genre and musicianship at its most glorious and resonant.

STUNNING 2000 RADIO BROADCAST IN SUPPORT OF PAUL SIMON S YOU RE THE ONE ALBUM The late 1990s were a difficult time for Paul Simon. His stage-play The Capeman - written with poet and playwright Derek Walcott - which Simon had been working on for most of the decade, opened on broadway in 1998, was panned by critics and it ran for less than 70 performances before closing.

Simon Reeve travels from Alaska to Central America.

Attiré par la musique dès le plus jeune âge, il a commencé la guitare dès 12 ans. Passionné également par l’art en général – le dessin, la peinture, la bande dessinée, la photo et le cinéma – il entreprit alors ses humanités artistiques à l’institut Saint Luc Secondaire de Liège. Ce n’est qu’à la toute fin de ses humanités qu’il fit enfin le choix entre ses deux passions. La musique l’emporta. Après un an au Conservatoire Royal de Musique de Liège en guitare classique dans la classe de Hughes Kolp, il poursuivit sa formation au Jazz Studio d’Anvers durant deux ans avec le guitariste brésilien Victor Da Costa et obtient une grande distinction en composition/arrangement.

On OMHU, the fourth album by the Simon Toldam Trio, the band presents a series of sonic explorations in slowness, elaborating on the concept of the titular word, which in Danish means “being precise, careful, and conscientious in the execution, treatment, or care of something.” Recorded in the magnificent acoustics of Germany’s Sendesaal Bremen, the trio explores Toldam’s freshly composed material with the utmost OMHU, vibrating presence, and breathless depth.

"Singer-songwriter" is a frustratingly confining term; to truly understand exactly just how confining, look no further than the recorded works of Simon Joyner, an artist whose work consistently transcends the narrow parameters of genre classifications and record shop bin cards. Though his music has always honoured, reckoned with-wrestled with-the tradition set forth by his songwriting forebears (Cohen, Van Zandt, Ochs, Dylan, Reed to name a few), Joyner can always be counted on to defy expectations; as a lyricist, melodicist, and arranger, Joyner likes to keep us on our toes. For his new album Pocket Moon, Joyner opted to engage in a risky artistic challenge.

Bliss composed The Enchantress in 1951, the year of his sixtieth birthday, for Kathleen Ferrier. The text is a free adaptation of the Second Idyll of Theocritus, made by Henry Reed, and well suited to Bliss’s love of classical Greek authors.
Meditations on a Theme by John Blow, from 1955, was written for the CBSO, the first in a number of commissions from the John Feeney Trust. Inspired by John Blow’s Coronation Anthems, the work is a set of variations on a Sinfonia from that collection, each variation reflecting the text of a verse from Psalm 23.Described as a sacred cantata, Mary of Magdala was Bliss’s second Feeney Trust commission, composed during 1962 and 1963. For a libretto, Bliss turned to Christopher Hassall, his collaborator on three previous works, including The Beatitudes.

A training combining modal jazz and world music, chamber music and imaginary folklore, writing and improvisation.