Black Radio 2 is the sixth studio album by American jazz pianist and R&B producer Robert Glasper (and the second with his Robert Glasper Experiment band), released on October 29, 2013 by Blue Note Records. It is the follow-up to the Grammy Award winner Black Radio released in 2012. and won a Grammy Award for Best Traditional R&B Performance for the album cut "Jesus Children of America" featuring Lalah Hathaway and Malcolm-Jamal Warner in 2015.
Italian pianist turned DJ Robert Miles scored a massive international hit with his wonderful, dreamy dance cut "Children" (one of the 1990s biggest and best dance hits) from his debut album Dreamland. The album at times sounds as if it were one continuous song (or set of beats with similar chord progressions) stretched over an hour, which may detract some, but, in essence, is what makes his sonic dreamscape so engaging. It's at once both dancefloor and chill out material; one of those discs where one can hit the play button, drift into a different dimension, and forget about worldly worries. Dreamland, which is both melancholy and blissful, succeeds in its simplicity. Highlights include the second single, "Fable," which continues with the same formula he utilized in "Children," this time using ethereal female chant-like vocals (also included is an instrumental version of "Fable")…
Among all his remarkable and varied compositional talents, Purcell was the supreme craftsman when it came to setting his native language to music. Addison wrote of Purcell’s ‘Tunes so wonderfully adapted to his Words’ and Playford, in his introduction to the first volume of Orpheus Britannicus (1706) commented that ‘The Author’s extraordinary Tallent in all sorts of music, is sufficiently known; but he was particularly admir’d for his Vocal, having a peculiar Genius to express the Energy of English Words, whereby he mov’d the Passions as well as caused Admiration in all his Auditors’. Purcell combined an innate sense of the natural rhythms of speech and a wonderful melodic flair with a richness of harmonic language that few composers have ever matched.
Sublime musical expression does not necessarily proceed from serene spirits whose philosophical loftiness leaves them unmoved by the push and shove of the marketplace. Prefaces to printed editions of music in the sixteenth and seventeenth centuries seldom reveal much of the personality behind the writer's effusive urge to prostrate himself before the dedicatee and his invocations to the muses to make worthy his humble efforts. Robert Jones, Tobias Hume and John Dowland were exceptions in this regard and often used their printed prefaces as a platform for polemics, self-defence and bile. In so doing they illumine the contemporary pressures of public opinion and changing fashions, as well as highly individual — not to say curmudgeonly — natures.
Though many know it only in a later arrangement for soloists and choruses, Handel wrote this masque for five singers with a small orchestra. Despite the ending (the giant Polyphemus crushes Acis with a rock), the music suggests springtime and young love. There's humor, too: Polyphemus–so big, so dumb, so pleased with himself– is a comic baritone's dream. George doesn't capture all of the role's humor, but he is vocally well-cast. McFadden sometimes pushes her voice into a wobble, but her Galatea is appealing and sweetly sung. Best are Covey-Crump's graceful Damon (the voice of reason) and Ainsley's youthful, high-spirited Acis. (Ainsley also sings the slight but attractive "Look down.") The ensemble numbers are delightful, and Robert King brings the entire thing off splendidly.
Robert Parsons is something of a forgotten man of English Renaissance music, and annotator and conductor Barnaby Smith discusses in the booklet a startling reason why: Parsons fell into the River Trent and drowned in 1572, and there was "upset and suspicion surrounding his death" – apparently to the point where the choristers of the Chapel Royal uneasily began to avoid his music.
Sharecropper’s Son is the career-defining new album from Robert Finley, “the greatest living soul singer” who in a bizarre twist, found overnight success after 67 years of hard work. Following Finley’s semi-finalist appearance on America’s Got Talent, he returned to the studio to follow-up his critically acclaimed record, Goin' Platinum! The resulting Dan Auerbach produced album is a soulful masterpiece, rooted in the vintage sounds of southern harmony, rhythm and blues. Recorded at Easy Eye Sound studio in Nashville with legendary music studio veterans, Finley’s formidable vocals and lyrical stylings take center stage, sharing personal stories inspired by his Louisiana country childhood during the Jim Crow era south. His tales of pain and joy uplift as Finley reflects on his belief that you are never too young to dream and never too old to live.