Hélène Sio J'veux Tout Savoir

This live performance of Offenbach’s witty, tuneful, swift-moving operetta smacks of the theater: in addition to some audible movement (not bothersome), the singers play off one-another in a marvelous manner, making the whole work gleam. Marc Minkowski’s field of expertise apparently is not only French Baroque–he leads with energy, charm, and an ear for Offenbach’s pointed orchestration (the brass is heard at its shiniest here) and reinstates some music dropped after the premiere (for whatever reason), including another little aria for Paris. The dialogue has been coyly updated and it works…

“Exceedingly satisfied with our musical collaboration on our Brahms/Schumann recording, I suggested to Helene Mercier that we take on the complete cycles of Brahms’s 21 Hungarian Dances and 16 Waltzes, Op.39, which, unlike me, she had already played in concert."

Until quite recently, the Faroe Islands were much better-known as a remote archipelago lost in the icy Arctic waters rather than a musical nation. Some may recall a Faroese tune used by Grainger in Let’s Dance in Green Meadows for piano duet and by Nielsen in his atmospheric, though rather slight An Imaginary Journey to the Faroes. Now, thanks to the tireless vitality of a Mighty Handful of Faroese composers (Kristian Blak, Atli Petersen, Pauli í Sandagerđi, Edvard Debess and Sunleif Rasmussen) whose music placed the Faroes on the contemporary musical map, things have changed considerably.

Après 12 albums et plus de 20 ans de carrière, Natasha St-Pier revient en 2018 avec le projet 'Thérèse De Lisieux – Aimer c’est tout donner'. C’est à la demande d’un public fervent, qu’un second album voit aujourd’hui le jour. Toujours aussi inspirés et inspirants, les poèmes de Sainte Thérèse de Lisieux, religieuse française du 19ème siècle morte l’année de ses 24 ans, sont à nouveau au cœur de ce nouvel de ce projet musical façonné par une toute nouvelle équipe.

Quand tout Recommence is the third French and twelfth overall studio album by Australian singer and songwriter Tina Arena, which was released on 6 April 2018, in France. The album title, Quand tout Recommence translates to mean When Everything Restarts in English. Arena has stated that when she records in the French language, she is careful not to record French versions of her English language hits, as the meaning of the lyrics differ between languages. Arena notes that too often the intention of the song gets "lost in translation", therefore she has always chosen to write in both languages.

Malia - Young Bones (2007) {Va Savoir 88697075262}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 320 Mb | MP3 @320 -> 119 Mb
Full Artwork @ 600 dpi (jpg) -> 308 Mb | 5% repair rar
© 2007 Va Savoir / Sony BMG Music | 88697075262
Jazz / Vocal Jazz / Neo Soul / Soul Jazz / Jazz Pop

Produced by Nouvelle Star judge Andre Manoukian, Young Bones is the third studio album from British-Malawian jazz-soul singer Malia. Released in 2007, the follow-up to Echoes of Dreams includes cover versions of Radiohead's "No Surprises" and the 1926 standard "Plus Je T'Embrasse," alongside 11 other self-penned tracks which showcase her effortless smoky vocals.

Errol H. Tout - Things I Never Said (1992) {Errol H. Tout EHTCD01}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 326 Mb | MP3 @320 -> 136 Mb
Full Artwork @ 600 dpi (jpg) -> 26 Mb | 5% repair rar
© 1992 Errol H. Tout | EHTCD01
Jazz / Rock / Experimental / Electronic / Jazz Rock / Minimal / Guitar

Describing Errol's music [it isn’t actually his - more on this later] is a little difficult, as it is not like a lot of other music you may be familiar with. It is certainly guitar music, but perhaps a little different from other guitar music you may have heard. Rather then song writing or storytelling, the objective is to describe a moment or a feeling. These occur in a frozen point in time. They are fragments, not necessarily in a series or a part of a puzzle. They exist as entities in themselves, in a similar manner as a De Stijl painting exists as an entity in itself. This does not mean the music is unapproachable, quite the contrary.