Children Song

The s in "Sessions" is important here. Contrary to certain claims, the Lost Sessions CD does not represent that Holy Grail of '60s aficionados and collectors: the elusive "lost album." What it is, though, should be plenty good enough for most fans of the era's music. The compilation pulls together recordings made during several trips to the recording studio by Eternity's Children between 1966 and 1972, and if the sum of the album doesn't necessarily trump its individual parts, The Lost Sessions is nevertheless a fascinating hodgepodge encompassing a couple different lineups of the group and at least twice as many interesting shifts in musical style. Roughly the first half of the album was recorded by the first, six-piece incarnation of the band, led by singer and keyboardist Bruce Blackman…

A beautiful and haunting album by Pete Trewavas (Marillion / Transatlantic) and Eric Blackwood about an individual who has experienced a surreal and bizarre happening and is trying to comprehend if it was all reality… or a descent into madness. Great keyboard work fills every song and some pretty darn good guitar playing and singing, too. There is some kind of thread of repeated themes and sounds throughout the album. Overall the album has a kind of Art of Noise plays with Pink Floyd and Hogarth- era Marillion, with a more soulful Ian Anderson performing the vocalese. This is an album full of very catchy, engaging sounds, hooks, chords and lyrics and amazing production value.

While Children of Bodom are used to personnel shakeups, the departure of longtime guitarist Roope Latvala before the recording of I Worship Chaos posed a challenge. A member since 2003, he was an integral part of the band's sound. This left vocalist/guitarist Alexi Laiho handling all six-string chores alone for the first time, making this COB's debut as a quartet. It was recorded in a converted warehouse rather than a conventional recording studio, and delivers a more spacious sound. Laiho and bassist Henkka Seppälä tuned half a step lower for each song, resulting in a much darker, heavier attack. Opener "I Hurt" is classic COB with a knotty, technical death metal riff, labyrinthine scalar flights, and piercing melodic interludes…

Blue Chamber Quartet - Chick Corea: Children's Songs
EAC+LOG+CUE | FLAC: 181 MB | Full Artwork: 107 MB | 5% Recovery Info
Label/Cat#: Stockfisch Records # SFR 357.4067.2 | Country/Year: Germany 2009 | 5% Recovery Info
Genre: Jazz, Classical | Style: Contemporary Jazz, Chamber Music

"…The music works beautifully in this arrangement by group member Thomas Schindl, scored for piano, harp, vibraphone, and double bass, along with a part for guest percussionist Sven von Samson. The colorful and unusual instrumentation creates an even broader expressive palette than the piano version, and the evocative percussion atmospherics that surround some of the pieces add about 10 minutes to the total duration of the suite. The playing is delicate and spirited throughout, and the sound quality of the SACD is balanced and detailed." ~allmusicguide

Three CD box set of Chick Corea’s piano music, reminding us that the distinguished solo piano tradition at ECM started in 1971 with Corea’s spontaneously-recorded volumes of improvisations and jazz tunes (all by Chick save for Monk’s “Trinkle, Tinkle” and Wayne Shorter’s “Masqualero”). The “Children’s Songs”, recorded in 1983, are finely-honed yet playful solo piano miniatures that can be related to the tradition of Bartók’s “Mikrokosmos” and Kurtág’s “Játékok”. Violinist Ida Kavafian and cellist Fred Sherry join Chick for an “Addendum”. Booklet includes liner notes by Chick Corea and Neil Tesser, plus archive photos.

Lebanese-born, Canadian-Armenian-American soprano Isabel Bayrakdarian is as celebrated for her beauty, dynamic presence, and style as for her strikingly multidimensional voice. With this deeply personal project, she gathers a selection of haunting and poignant lullabies that draw on the memories and experiences of the Armenian people. 29 tracks trace an arc from the Ottoman Empire through the Genocide and beyond, with songs and transcriptions by the country’s beloved folk composer Gomidas Vartabed, Parsegh Ganatchian who joined the diaspora in Lebanon, and Ganatchian’s contemporary Mihran Toumajan. For Isabel, these evocative songs span two centuries and five generations. Sung by her great-grandmother, grandmother and mother, and now to her own children, Isabel’s Armenian Songs have an appeal to children of all ages.