An unusual sort of setting for tenor saxophonist Paul Jeffrey – an overlooked player from the east coast scene of the early 70s, and one who only cut a handful of records at the time! The date features Jack Wilkins on guitar, playing with these bright chromatic hues next to Jeffrey's sharper horn – a pairing that makes for an unusual sound, despite a familiar quartet setting – one that's even different from other matches of this nature, such as the work between Sonny Rollins and Jim Hall! Jeffrey's clearly got some bop roots here, but also opens up in other directions too – and the group features Thelonious Monk Jr on drums and Richard Davis on bass.
Chantal Santon-Jeffery est maintenant bien connue des baroqueux. Elle mène une belle carrière aussi bien dans le baroque français qu’italien des XVIIe et XVIIIe siècles, participant notamment à la plupart des résurrections du Palazetto Bru Zane. Depuis quelques années, on la croise même dans l’opéra contemporain, Janacek ou Britten. Il faut dire que son soprano ample, son timbre brillant, la qualité de sa diction et son attention à la dramatisation des textes ont de quoi séduire, d’autant que la dame est aventureuse.
Chantal Santon Jeffery and the Orfeo Orchestra, conducted by György Vashegyi, take us through a musical journey that leads straight to the French Enlightenments, the glorious time of the sopranos légères, whose agile voices allowed all fantasies and ornaments. It’s during Louis the Beloved’s reign that French opera reaches new heights: the public hastens to every representation to delight in hearing the demoiselles vocalize with their brilliant voices. Chantal Santon Jeffery pays tribute to these opera virtuosos with a beautiful recital that celebrates all the splendours of the repertoire, in association with the Centre de musique baroque de Versailles: with numerous unrecorded works, Chantal Santon Jeffery brings this admirable singing back to life.
The remarkable Hypermnestre by Charles- Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi.
Entitled McCartney II because its one-man band approach mirrors that of his first solo album, Paul McCartney's first record since the breakup of Wings was greeted upon its release as a return to form, especially since its synth-heavy arrangements seemed to represent his acceptance of new wave…
Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1968 and 1969 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."