Source: Qobuz.com

The first disk surveys film music from the thirties and forties; jazz was no longer "jungle music" (i.e., ludicrously termed as "non-white" music), but still "youth-oriented," as the liner notes assert. Off the bat, the best track is most certainly the eighth, Artie Shaw's all-too-brief Nightmare (from MGM's Dancing Co-Ed).

Johann Zach - Concerti - Barocksolisten München, Dorothea Seel (2018) {Musikmuseum CD13017 rec 2014}
FLAC (tracks) - 16bit/44.1kHz - Digital Download (qobuz.com) -> 402 Mb | MP3 @320 -> 183 Mb
Full Artwork (jpg+pdf) -> 21 Mb | 5% repair rar
© 2014, 2018 Musik Museum / Naxos of America | CD13017
Classical / Baroque / Oboe / Cello / Cembalo

The native of Bohemia Johann Zach (1699-1773) was considered in his lifetime as one of the greatest church composers. After he had given up his position as Kapellmeister in Mainz, he stayed in his last years several times as a guest in the Tyrolean Cistercian monastery Stams. He left the monastery a variety of his compositions, and so the Stamser monastery library today forms the world's largest source fund of his works. There are compositions for the Holy Week and concerts are heard, which prove Zach's musical and historical significance as a mediator between the late Baroque and the early Classical. Concerts by Zach can be heard on this production, which prove his musical-historical importance as a mediator between the late Baroque and early Classical.

Debuting in 2018 as the UK's new angry young men, Shame was at once a breath of fresh air and a kick in the teeth: an awesome guitar band that didn't care a whit about the winking irony of Britpop and railed against Brexit, Teresa May, selling out and more. The group's second outing, 2021's Drunk Tank Pink, was incredibly ambitious—and, at times, overly complicated.

Three decades on from her first release, 1989’s Affection, Lisa Stansfield is back with another album co-written and co-produced by her long-term partner Ian Devaney, and she still has the vocal chops and the songwriting nous that has brought her this far.

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

This recording realizes Barthold Kuijken’s long-held desire to restore to Jean-Baptiste Lully, and to French Baroque orchestral works in general, the power and intensity that once held the musical world in thrall. To the grandeur, finesse and diversity of the genre he has brought original source material to inform specific bowing techniques and the use of ornamentation. The result, as with Telemann’s Suite in E minor, which stands firmly in the Lully tradition, and Rameau’s magnificent Suite from Dardanus, evokes the spectacle and splendor of Versailles. Barthold Kuijken is an eminent leader in the field of early music. A virtuoso traverse soloist, teacher and conductor, he has shaped the fields of historical flutes and historically informed performance over the last forty years. Kuijken has widely performed and recorded the repertoire for the Baroque flute and has collaborated with other early music specialists including his brothers Sigiswald and Wieland Kuijken, Frans Bruggen, Gustav Leonhardt, and Paul Dombrecht.

For years, the Garage Beat ‘66 series spanned the U.S. and Canada, with each volume meticulously assembled from the original source tapes and with full participation of many of the artists. That means this stuff has never sounded so wonderful! Garage Beat ‘66 pushes its way onto the digital scene with a legion of rail-thin kids wielding obnoxiously loud guitars! The original army of teenage garage bands, the ones who made life worth living in the ‘60s and the heroic subjects of Sundazed’s long running series, has made their presence known. It’s the most far-reaching, legit, vintage garage-rock series ever, and we’ve culled from the piles of tape boxes a brief 49 track introduction to GB ‘66’s bruisingly upbeat screamers, longhaired R&B lunacy, and an unhealthy dose of some of the darkest, most disturbingly intense records from the summer of hate.

M. De Falla's work is strongly influenced by Spanish folk music in which the guitar is central. Although he composed only one piece for that instrument his inspiration was flamenco and early Spanish music, including the guitar works of Gaspar Sanz. The guitar also features in Falla's first great success, the opera ‚La Vida Breve'. For this recording, we have selected and transcribed works in which the influence of the guitar was dominant thus translating these pieces back to their original source of inspiration.