Retour à Lemberg

Howard Shelley continues his survey of Hummel's works for piano and orchestra and this disc features the premiere recording of Le Retour à Londres.

Depuis son enfance, le co-réalisateur de C'EST ARRIVÉ PRÈS DE CHEZ VOUS collectionne des bobines de films. Grâce à ces instants de vie de cinéastes anonymes et ces traces d'émotions préservées, il reconstitue l'aventure de sa famille. Avec ET J'AIME À LA FUREUR, André Bonzel déclare son amour pour le cinéma. Sur une musique originale de Benjamin Biolay, il raconte une histoire qui pourrait être la nôtre…

This is a musical love affair in all its splendor. Produced by the seemingly chameleonic producer T Bone Burnett, the septuagenarian legend and his unlikely contemporary foil affectionately court a dozen songs from the Louis Armstrong repertoire with the warmth and natural grace that have been a deceptively effortless Bennett trademark for 50-plus years. The album won the Grammy Award for Best Traditional Pop Vocal Album. In the U.S., the album achieved gold record status, and reached top 40 in the UK.

Prescient jazz-techno mutator Jamie Hodge (Conjoint, Studio Pankow) ushers a long overdue solo debut album, of sorts, with Demdike Stare’s DDS label; an archival harvest spanning his earliest experiments circa his Plus 8 debut thru to ’00s anomalies - hybrid ambient techno jazz and incredibly inventive forerunners of dubbed electronica - bookended by two Demdike Stare edits. Essential listening if yr into anything on the axis from Move D to Detroit Escalator Company, Jan Jelinek or Tortoise.

Texas Cannonball is the 1972 album by American blues guitarist and singer Freddie King. Originally released on Shelter Records, this was remastered by Robert Vosgien for the DVD-A format (24bit/96Khz) in 2002 on Hi-Res Music and features seven tracks not on the original album.

In a Silent Way is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis, released on July 30, 1969, on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969, at CBS 30th Street Studio in New York City. Incorporating elements of classical sonata form, Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances. Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis's electric approach. Since its initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works.

The Russian composer Nikolai Kapustin (1937-2020), who died at the beginning of the pandemic-related cultural hiatus which has been unique with regard to world history, was able to experience considerable appreciation in his last two decades, which recently gained more and more momentum.

With specially made instruments and a range that can emulate that of a whole orchestra, the acclaimed Guitarra a Seis bring us a colorful program that includes works written specially for the ensemble. Opening with a real feast for the ears in Bach’s lively Brandenburg Concerto No. 3, we further encounter the magical moods of Ravel’s Ma mere l’Oye, a blend of Bulgarian folk and modern music from Atanas Ourkouzounov, Tobias Krebs’ jazz-infused Suite Panamericana, and Sergio Assad’s humorous Juan Sebastian’s Bar, which alludes to Bach and Beethoven but is Brazilian through and through.