de Vito

Paco de Lucia is certainly Spain’s top Flamenco guitarist, and “Entre dos aguas” is arguably his best album. If you’re really looking for Nouveau Flamenco, this is where it all started! The artist combines Spanish guitar and traditional flamenco rhythms with the piano, percussion, flute, and jazz rhythms to produce a spectacular effort. Start with “Entre dos aguas,” the title song and one of his all-time best cuts. Paco de Lucia feels and interprets flamenco in a highly personal, yet accessible, style. Album’s best cuts: Title track, “Convite,” “Chanela,” “Rio ancho,” but the entire CD is first-rate!

This 50-CD set features Sir Yehudi Menuhin's most celebrated EMI recordings, made during his extraordinary 70-year exclusive recording relationship with the company. Includes works by composers such as Bach, Berg, Beethoven, Bartók, Brahms, Dvoøák, Enescu, Handel, Lalo, Mozart, Paganini, Sibelius, Vivaldi, and more!
Also includes a bonus interview CD, entitled Yehudi Menuhin: Highlights and Recollections of a Legendary Life.

Jean-Claude Petit ‎- Cyrano De Bergerac
The Paris Opera Orchestra, Thierry Caens / Jean-Claude Petit, dir.
EAC+LOG+CUE | FLAC: 225 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Colosseum CST # 34.8046 | Country/Year: Germany 1990
Genre: Classical, Stage & Screen | Style: Soundtrack, Neo Classical

Jean-Claude Petit is a French composer and arranger, born in Vaires-sur-Marne. After accompanying jazzmen in his childhood, Petit went to the Conservatoire de Paris, where he studied harmony and counterpoint. He did the string arrangements for Mink DeVille's Le Chat Bleu album, as well as orchestrating the backing parts to some French pop singles in the mid-to-late 1960s, including those of Erick Saint-Laurent and yé-yé girls Christine Pilzer and Monique Thubert…

Jazz and flamenco first crossed paths not in Spain, but in the USA when Miles Davis and arranger/composer Gil Evans recorded “Sketches of Spain” in November 1959 and March 1960. It became one of the most successful jazz albums of all time. And the jazz musicians in Spain? They attempted to emulate – as did their colleagues world-wide – the American model. Jazz stood for open-mindedness; national folklore was thought of as too parochial. Spanish saxophonist Pedro Iturralde was the only musician who, under the influence of “Sketches of Spain”, added a couple of flamenco melodies to his repertoire as he toured Europe accompanied by two Germans and a Swiss. That’s why Joachim-Ernst Berendt sought him out to play at the 1967 Berlin Jazz Festival. With the festival’s motto “Jazz Meets the World”, Berendt was looking for a jazz-flamenco combination to fit the bill.