At the centre of this production are the sonatas for keyboard instruments BWV 963-970 by J. S. Bach, which are relatively unknown and only rarely performed, recorded or published. The Italian pianist Francesco Tropea came across these musical treasures during his research in the library of the Mozarteum in Salzburg and realised that there are only a few recordings of this music, mostly on old instruments and rarely on a modern piano. He was therefore grateful for the opportunity to be able to explore these comparatively little-known compositions – two of which are still completely unpublished (no piano recordings of the sonatas BWV 969 and 970 exist to date) – composed by one of the most important geniuses in the history of music.
At the centre of this production are the sonatas for keyboard instruments BWV 963-970 by J. S. Bach, which are relatively unknown and only rarely performed, recorded or published. The Italian pianist Francesco Tropea came across these musical treasures during his research in the library of the Mozarteum in Salzburg and realised that there are only a few recordings of this music, mostly on old instruments and rarely on a modern piano. He was therefore grateful for the opportunity to be able to explore these comparatively little-known compositions – two of which are still completely unpublished (no piano recordings of the sonatas BWV 969 and 970 exist to date) – composed by one of the most important geniuses in the history of music.
At the centre of this production are the sonatas for keyboard instruments BWV 963-970 by J. S. Bach, which are relatively unknown and only rarely performed, recorded or published. The Italian pianist Francesco Tropea came across these musical treasures during his research in the library of the Mozarteum in Salzburg and realised that there are only a few recordings of this music, mostly on old instruments and rarely on a modern piano. He was therefore grateful for the opportunity to be able to explore these comparatively little-known compositions – two of which are still completely unpublished (no piano recordings of the sonatas BWV 969 and 970 exist to date) – composed by one of the most important geniuses in the history of music.
Steppenwolf was a Canadian-American rock band, prominent from 1968 to 1972. The group was formed in late 1967 in Los Angeles by lead singer John Kay, keyboardist Goldy McJohn, and drummer Jerry Edmonton, all formerly of the Canadian band the Sparrows. Guitarist Michael Monarch and bass guitarist Rushton Moreve were recruited via notices placed in Los Angeles-area record and musical instrument stores.
Excellent addition to any fusion music collection
Somehow passed over and nearly forgotten, languishing in the shadow of the 'Friday Night in San Francisco' set, is this great album from the guitar hero team.
After the release of Mardi Gras in 1975, Dr. John (aka Mac Rebennack) left Atlantic Records. In late 1977, he signed with A&M's Horizon imprint – a label whose purpose was to showcase the jazz side of its parent company. City Lights is the better of two recordings he cut there. Produced by Tommy LiPuma and Hugh McCracken, City Lights was recorded at New York's Hit Factory Studios with a band of studio aces: drummer Steve Gadd, guitarists Cornell Dupree and John Tropea, bassist Will Lee, and Richard Tee as an additional keyboardist; Arthur Jenkins added percussive effects. The five-piece horn section included both David Sanborn and Ronnie Cuber. What's really startling, however, is the material. For most of the 1970s, Rebennack had been playing well-known tunes by other Crescent City luminaries and pop songwriters, contributing precious little of his material to his albums. On City Lights he wrote or co-wrote everything on the set. His songwriting partner for part of this date was none other than Doc Pomus. The best of both men is captured on the opener, "Dance the Night Away with You," a strolling New Orleans R&B number.