Piano Instrumental

Since his international debut as an astonishing child prodigy in the early 1980s, Evgeny Kissin has matured into one of the finest piano virtuosos of the age. His phenomenal keyboard technique and impeccable artistry continue to astound and amaze audiences and critics alike, leading The Washington Post to call Kissin "one of the world's greatest artists".
Kissin continues his fruitful relationship with EMI Classics with this new recording of two of Mozart's most famous piano concerti: Nos.20 in D minor and 27 in B-flat Major.

Keeping up the mastery of composing and production, the successful producer Konstantin Klashtorni, known for Kool&Klean, produces another great collection of R&B flavored Smooth Jazz for lovers. Don't miss this great opportunity to listen what these albums has to offer. Make yourself a pleasure to be cherished by great sounds of these albums!

This entry in mail-order firm Collectors' Choice Music's series of reissues of Nat King Cole albums pairs two instrumental collections he recorded in the 1950s. In its original form as a 10," eight-song LP, Penthouse Serenade, recorded on July 18, 1952, found Cole returning to the small-band format of his jazz playing days in an ensemble that featured him on piano, John Collins on guitar, Charles Harris on bass, and Bunny Shawker on drums (with Jack Costanzo joining in on bongos and conga on "Rose Room," "Once in a Blue Moon," and "Down by the Old Mill Stream"). Three years later, on July 14, 1955, Cole re-entered the studio to cut another four songs so that the album could be reissued as a 12-song, 12" LP. Two songs each were added to the ends of the two sides of the album.

Naxos' album devoted to Carson Cooman's instrumental works, including symphonies, chamber music, and solos, represents an infinitesimal portion of his output; his opus numbers were in the 700s before he was out of his mid-twenties, and include pieces written in virtually every genre of Western music. Inevitably, there are some areas in which he will be stronger than others. His choral music is especially compelling: well written for the voice, with excellent text setting in a style that is not simple, but is also immediately engaging.

Heritage, Opeth's tenth studio offering, finds the Swedish band abandoning death metal: no growled vocals, no blistering fast power riffs, no blastbeats. Mixed by Steven Wilson (Porcupine Tree, King Crimson) and engineered by Janne Hansson, Heritage is easily Opeth's most musically adventurous - and indulgent - recording. Written primarily by vocalist/guitarist Mikael Åkerfeldt, these ten songs are drenched in instrumental interludes, knotty key and chord changes, shifting time signatures, clean vocals, and a keyboard-heavy instrumentation that includes Mellotrons, Rhodes pianos, and Hammond organs - ironic since keyboardist Per Wiberg left the band after Heritage was completed. Opening with the title track, a haunting solo piano instrumental, it careens into the explosive "The Devil's Orchard," with spectacular, arpeggiatic guitar work by Fredrik Åkesson and matching drums by Martin Axenrot…