Claire Diterzi Propagande

Following their acclaimed collaboration in Percy Graingers Folk Music, soprano Claire Booth and pianist Christopher Glynn turn to the Lyric Music of Edvard Grieg, an apt sequel as the elder composer befriended Grainger- who idolized the Norwegians folkloric idiom- immediately on their first encounter in London in 1906. Interspersing intimate vocal miniatures with lyrical solo piano pieces, Claire and Christopher mirror many of the programmes that Grieg and his wife Nina performed on their many recital tours together. Each of the works on Lyric Music tells a story as does the album as a whole ranging in mood from bright, youthful innocence to shades of autumnal twilight. Sung in the original Norwegian, Claires and Christophers performances are as evocative as Norways varied landscape.

Because Emilie-Claire Barlow is a female jazz singer from Canada, some American jazz enthusiasts have inevitably compared her to Canada's most famous jazz export: Diana Krall. But truth be told, Barlow doesn't sound anything like Krall. While Krall's performances have a sultry, dusky, very nocturnal quality, Barlow's singing has favored a youthful, girlish sweetness. That isn't to say that Barlow's bop-oriented work is unswinging — in fact, she has no problem tackling complex arrangements, high-speed scat singing, and vocalese. Besides, Barlow is from Toronto, not western Canada (where Krall grew up). Barlow has spent her entire life in Toronto, where she was born on June 6, 1976. Her father is jazz drummer Brian Barlow…

Claire celebrates her jazz roots with a splendid line-up of some of Britain’s top jazz talents. Jazzwise called it 'one of Claire's best albums to date'. Secret Love features Gareth Williams and Richard Rodney Bennett on piano, Laurence Cottle on bass, Clark Tracey on drums and Nigel Hitchcock on saxophone.

Happy Feet is the third album by the Canadian jazz singer and actress Emilie-Claire Barlow. It was released in 2003. Toronto's Emilie-Claire Barlow is a Juno Award-winning singer with a warm, lithe vocal style and a knack for tackling urbane jazz standards.

The flautist Michel Blavet was among the foremost European instrumentalists of his time. His second set of compositions, Sonates mêlées de pièces pour la flûte traversière avec la basse (1732), offers us sonatas in four alternating slow and fast movements, built on the Italian model. But in order to bring out the French style, Blavet inserts character pieces - portraits of sorts, most often in rondo form, eitther bearing the name of an actual or fictitious person or a title evoking a quality. As with Blavet in his time, no doubt, Claire Guimond renders all the grace and agility of these fine works