The Invitations

Music Director of Tafelmusik from 1981 to 2014, Jeanne Lamon was loved by audiences, and praised by critics in Europe and North America for her virtuosity as a violinist and her brilliant musical leadership. Under her direction, Tafelmusik achieved international stature with over 80 recordings to its name, and with tours to over 350 international cities including invitations to the most prestigious concert halls and festivals in the world.

John Coltrane - A Love Supreme: The Complete Masters - Super Deluxe Edition (2015) {3CD Impulse! B0023727-02 rec 1964}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 810 Mb | MP3 @320 -> 381 Mb
Full Artwork @ 600 dpi (png) -> 1.07 Gb | 5% repair rar
© 1964, 2015 Impulse! / Verve / Universal | B0023727-02
Jazz / Modal Music / Avant-Garde Jazz / Free Jazz / Post Bop / Saxophone

For many a jazz fan John Coltrane's A Love Supreme is their personal desert island pick, the one recording they would not hesitate to live their days out listening to. Recorded on December 9, 1964, the session has endured as a document of the saxophonist's faith, as it was the proclamation of his rebirth from the jazz life of alcohol and substance abuse.

In the Shadows is the third full-length studio album by Danish heavy metal band Mercyful Fate. It is the first offering of the band since their reunion in 1992. The album was released in 1993 via Metal Blade Records. Unlike previous Mercyful Fate albums, which were entirely centered around lyrical themes of Satanism and the occult, the lyrics on this album are rather focused on more conceptual horror-themes, akin to King Diamond's work with his eponymous band. The band would not return to a primarily occult/Satanic lyrical approach until the band's latest album, 9, released in 1999. Some editions of In the Shadows contain a bonus track, "Return of the Vampire… 1993", that is a re-recording of the song "Return of the Vampire", present in the homonymous 1992 compilation album, featuring Lars Ulrich of Metallica on drums.

Elgar’s Violin Concerto has a certain mystique about it independent of the knee-jerk obeisance it has received in the British press. It probably is the longest and most difficult of all Romantic violin concertos, requiring not just great technical facility but great concentration from the soloist and a real partnership of equals with the orchestra. And like all of Elgar’s large orchestral works, it is extremely episodic in construction and liable to fall apart if not handled with a compelling sense of the long line. In reviewing the score while listening to this excellent performance, I was struck by just how fussy Elgar’s indications often are: the constant accelerandos and ritards, and the minute (and impractical) dynamic indications that ask more questions than they sometimes answer. No version, least of all the composer’s own, even attempts to realize them all: it would be impossible without italicizing and sectionalizing the work to death.