Lancelot Guéri

If one's notion of "world music" promises a touch of the exotic and indigenous, often overlooked is the fact that the influence of western pop music has seeped into every corner of the globe, creating a hybrid that's often more than merely the sum of its influences. Theater vet Brightman steps into that pan-cultural hall of mirrors here, wedding her fascination with the music and rhythms of the "forbidden places" (the title's Arabic meaning) of the Middle East to her own oft ethereal vocal charms and rock-solid sense of drama. And if the diva's equally sound crossover sensibilities (and that of longtime producer Frank Peterson) sometimes mire it in familiar world-beat pastiche, Brightman's charmed muse manages some transcendent moments nonetheless. Her musical borrowings (Borodin for the title track; Puccini's *Madame Butterfly* for "It's a Beautiful Day") are as compelling as her choice of collaborators: classical violin star Nigel Kennedy and Iraqi vocalist Kadim Al Sahir add compelling touches to the weary timeliness of "The War is Over." The musical influences range from Europe across the Mediterranean and as far East as the Indian roots of "Bollywood" composer A.R. Rahman's "The Journey Home" and Brightman's own "You Take My Breath Away" to evocative recastings of the emblematic standards "Stranger in Paradise" and Louis Armstrong's "What a Wonderful World," while ex-Killing Joke keyboardist Jaz Coleman provides the savory East-meets-West orchestrations that ensure Brightman's star turns the seamless foundations they deserve. –Jerry McCulley

Harem is the eighth studio album by English singer and songwriter Sarah Brightman, released in the United States on June 10, 2003, through Angel Records. Brightman went for an arabian style as seen in the album's declarative theme of myth and fantasy. Although it has an inclination towards her signature ballads, the album encompasses dance-oriented and uptempo styles in keeping with its celebratory motif. In contrast to the classical crossover music style that framed her previous releases, Harem showcases a wider range of genres, exploring World music-related styles, such as Arabic music and Indian music.

Adopting a Middle Eastern flavor to enhance her blend of classical and new age pop, Sarah Brightman's Harem continues her experimentation with thematic discs that began with 1993's oceanic Dive. These themes, while never dominant or original, are simply meant to enhance her brand of crossover just enough to keep listeners interested in hearing her next project. Harem accomplishes that feat by shrouding new age pop songs in a thin Middle Eastern veil that disguises, but never completely covers, Brightman's true musical identity…

Concertos pour hautbois (Marcello, Haendel, Telemann, Albinoni, Cimarosa)
1954-1965 | Ape+Cue | Cover Scans | 77':04'' | 356 MB | 4 RARs

Considéré comme l'un des hautboïstes français les plus renommés, Pierre Pierlot est né le 26 avril 1921 à Paris et décédé le 9 janvier 2007.
Après des études musicales au Conservatoire de Valenciennes avec Gaston Longatte, Pierre Pierlot entre au conservatoire de Paris dans la classe de Louis Bleuzet et obtient en 1941 un premier prix de hautbois et de musique de chambre, classe de Fernand Oubradous. En 1949, il remporte le premier prix au concours international de Genève dont il a été plusieurs fois membre du jury ainsi que ceux de Munich et Budapest.
En 1946, de son amitié avec le flûtiste Jean-Pierre Rampal naît le Quintette à vent français avec Jacques Lancelot à la clarinette, Gilbert Coursier au cor et Paul Hongne au basson. À partir de 1952, Pierre Pierlot est membre de l’Ensemble baroque de Paris avec Robert Veyron-Lacroix et Robert Gendre.
Après les Concerts Lamoureux où il crée la "Symphonie concertante" de Jacques Ibert, il entre à l’orchestre de l’Opéra-comique en 1947 jusqu'à sa fermeture en 1972, devenant hautbois solo de l'orchestre de l'opéra de Paris. Nommé professeur de musique de chambre en 1969 au conservatoire national supérieur de Paris, il prendra la suite en 1974 de la classe de hautbois d'Étienne Baudo jusqu'en 1986. Durant cette période 47 de ses élèves obtiennent le Premier Prix.
Concertiste et chambriste reconnu du monde entier, dédicataire du concerto de Milhaud (1958) et du concerto de Martelli (1972), ses enregistrements des plus grands concertos pour hautbois d'Albinoni à Vivaldi, de Cimarosa à Mozart, ou de Strauss à Poulenc, avec les orchestres de Kurt Redel, Claudio Scimone et Jean-François Paillard restent et resteront des références en particulier "Le Charme du Hautbois" (I Solisti Veneti, Erato).
Son fils Philippe est flûtiste à l’Orchestre National de France.