Anna Vazquez Malacriata

Il romanzo è liberamente tratto da una storia vera accaduta negli anni Trenta e cui accenna Leonardo Sciascia nel romanzo "La scomparsa di Majorana". Si tratta di un clamoroso errore giudiziario che vide accusato ingiustamente un avvocato, ex deputato socialista, e la moglie quali mandanti dell’uccisione del nipote, arso vivo nella culla. In una Sicilia Fascista e povera si muovono personaggi al limite della depravazione, che compiono gesti scellerati senza averne consapevolezza, vittime essi stessi di un sistema giudiziario inquisitorio e asservito al Potere centrale. Protagonista è Serafina, una ragazzina deprivata culturalmente ed affettivamente, che in un momento di rabbia appicca il fuoco alla culla del bambino che le è stato affidato. Da questo terribile gesto, che subito confessa, nascono una serie di equivoci giudiziari, in quanto la sua confessione viene ritenuta reticente.

Sacred music occupied an important role in 16th-century Spain, but there is much evidence that secular vocal polyphony held a place in society too. Such music is to be found in the little-known Juan Vázquez’s Recopilación which dates from around 1560; as well as canciones and sonetomadrigals, the collection includes various villancicos – the main focus of this recording – then a popular style of song and which Vázquez clearly overhauled through replacing endless repetition with melodic and rhythmic variety. That Vázquez’s contribution to the genre was both popular and significant (he wrote over 90 in total, most of which were set to texts by leading Spanish poets of the day) is demonstrated by the many later arrangements of his villancicos for vocal soloists with vihuela accompaniment.

If it takes a village to support and sustain a Jazz trio, then what better way to acknowledge that cherished sense of community than with a marvelous piece of art. In the case of drummer Rodrigo Recabarren, pianist Yago Vazquez and bassist Pablo Menares, that takes the form of their new trio album Famila, releasing on February 23 via Greenleaf Music. Having played together for more than a decade, refining a chemistry and musical telepathy that defines their signature sound, Famila is the consummate expression of this talented trio, as well as the kinship they feel for each other, their collective families and the larger community supporting their music.

The album "Familia" is a captivating and innovative musical collaboration by Rodrigo & Pablo Menares and Yago Vazquez Recabarren. Released by Greenleaf Music, this album showcases the incredible talent and creativity of these three musicians.

Two years after the release of his debut album "Así!", Jorge Vázquez presents "Pasional". It participates the Nahuel Pennisi from Varelense and musicians of the stature of Daniel "Pipi" Piazzolla. Jorge Vázquez, owner of a remarkable voice, shines singing masterpieces of popular song such as "On this gray afternoon", "Serenade of quiet love", "Amnesia", "I want to see you one more time", among others.

Two years after the release of his debut album "Así!", Jorge Vázquez presents "Pasional". It participates the Nahuel Pennisi from Varelense and musicians of the stature of Daniel "Pipi" Piazzolla. Jorge Vázquez, owner of a remarkable voice, shines singing masterpieces of popular song such as "On this gray afternoon", "Serenade of quiet love", "Amnesia", "I want to see you one more time", among others.

Edna Vazquez is a fearless singer, songwriter and guitarist whose haunting and powerful voice and musical talent transcend the boundaries of language to engage and uplift her audience. Born in Jalisco, Mexico, and now based in Portland, Oregon, Edna has been touring full time with the globe-trotting "little orchestra" Pink Martini as a special guest singer for the last two years, her featured moments on stage inevitably bringing a roaring standing ovation at every tour stop. Now, to help give this incredible talent an even wider exposure, Pink Martini bandleader Thomas Lauderdale has produced a special five-song ep featuring Edna's soul-stirring singing accompanied by Pink Martini.

‘Why has this intense, brilliantly orchestrated, claustrophobically gripping masterpiece been so neglected since its 1977 premiere?’ asked Richard Morrison in The Times of the concert performance in the Barbican that preceded this recording.