"Known as "Monsieur 100,000 Volts" for his dynamic stage presence, Gilbert Bécaud was one of France's most popular singers during the 1950s and '60s, and enjoyed a career of more than four decades in show business. (…) his primary impact came as a singer. In an era when cabaret vocalists remained largely stationary on-stage, Bécaud's energetic showmanship drove his audiences into a frenzy, as they strove to match his boundless enthusiasm. He became a regular presence at Paris' legendary Olympia concert theater, where he performed over 30 times – more than any other artist. A notoriously heavy smoker, Bécaud succumbed to lung cancer in 2001, but kept performing almost right up to the end.
Hoelscher demonstrates a formidable mastery of Spohr’s technically challenging passagework, although his efforts are somewhat undermined by the recessed sound of the orchestra. (…) Nonetheless, it is fascinating to experience a bird’s-eye view of Spohr’s development, from the elegant if somewhat four-square First Concerto to the more sophisticated harmonic and formal structures of the Fourteenth and Fifteenth.
Hoelscher demonstrates a formidable mastery of Spohr’s technically challenging passagework, although his efforts are somewhat undermined by the recessed sound of the orchestra. (…) Nonetheless, it is fascinating to experience a bird’s-eye view of Spohr’s development, from the elegant if somewhat four-square First Concerto to the more sophisticated harmonic and formal structures of the Fourteenth and Fifteenth.
Improvisations with Han Bennink and Derek Bailey in 1970. The monumental first release on the Incus label formed by Parker, Bailey and Tony Oxley, augmented here by nine minutes of material from the same session. The Topography of the Lungs is finally re-issued. Considered by many to be a key recording in the history of improvised music, it brought together three musicians who then continued to develop the genre in the intervening three decades: EVAN PARKER (soprano & tenor saxophones), DEREK BAILEY (guitar) and HAN BENNINK (percussion, etc). Reissue of LP 1 plus over 9 minutes of extra material from the same 1970 session.
Hoelscher demonstrates a formidable mastery of Spohr’s technically challenging passagework, although his efforts are somewhat undermined by the recessed sound of the orchestra. (…) Nonetheless, it is fascinating to experience a bird’s-eye view of Spohr’s development, from the elegant if somewhat four-square First Concerto to the more sophisticated harmonic and formal structures of the Fourteenth and Fifteenth.
Rodolpho Richter plays them with virtuosity and expressive warmth, qualities which are complemented by Alison McGillivray's sensitive and self-effacing partnership on the viola da gamba. In summary, there is no dull music on this recording and no dull playing of it.
"The Flemish masters have been at the heart of our work from the beginning, just as they were at the heart of the whole Renaissance musical scene - and their Masses were the showcase in which they displayed their most sophisticated achievements…"
From gospel and early R&B to soul and jazz to blues and straight-up pop, Lou Rawls was a consummate master of African-American vocal music whose versatility helped him adapt to the changing musical times over and over again while always remaining unmistakably himself. Blessed with a four-octave vocal range, Rawls' smooth, classy elegance – sort of a cross between Sam Cooke and Nat King Cole – permeated nearly everything he sang, yet the fire of his early gospel days was never too far from the surface…