Sally Couleur Amere

This double-disc is a very solid collection of Sally Oldfield's recordings for the CBS subsidiary Bronze (don't laugh, Uriah Heep was on there too). Before her brief resurgence in the '90s, Oldfield's recordings were new age before there was such a term. She brought not only a songwriter's sense of elegance to tape, but also an instrumentalist's sense of silence and dynamic. Brother Mike Oldfield helped out on "Waterbearer," perhaps he best-known offering here, as well as on some of the subsequent tracks on later records. Oldfied was the real precursor to people like Enya and Loreena McKennitt, marrying a classicist's sense of arrangement and dynamic to a mystic's heart and a Celtic woman's abiding folk history, myth, and legend. These two discs are impeccably remastered and offer a wonderful introduction to a talent who, at least on this side of the pond, never got her proper due.

The sister of the Tubular Bells composer Mike Oldfield, Sally Oldfield had contributed to many of her brother's recordings before releasing her solo debut in 1978.
Strange Day In Berlin is her 5th studio album. Here Sally has eschewed her folktastic past for a more electronic very mid 80s approach.

The sister of the Tubular Bells composer Mike Oldfield, Sally Oldfield had contributed to many of her brother's recordings before releasing her solo debut in 1978.
Though Sally Oldfield's second album still contains some of the prog rock elements that made her debut so memorable, it also includes its fair share of pop gems, such as the ethereal, silvery harmonies of "You Set My Gypsy Blood Free" and "The Boulevard Song," which both conjure a distinct, romantic European atmosphere. The title track, with its shimmering vibes, is pure laid-back easy listening, and the darkly mysterious "Hide and Seek" is a rare experiment in folk-disco.

Pianist Sally Whitwell returns to the music of minimalist master Philip Glass in her latest album on ABC Classics, presenting a monumental and immersive journey for solo piano.

This is the second recording by BIS of Sally Beamish’s music, and the four pieces it contains confirm utterly her high standing. Her work is thoughtfully lyrical, intense, individual, instinctively dramatic, in ways that remind me somewhat of Nicholas Mawmusic. Like him she has a particular gift for expressive harmony and timbre. The earliest piece here is No, I’m not afraid (1989), six poignant poems written from prison by Irina Ratushinskaya spoken – by Beamish herself – against sparse but hugely effective instrumental backgrounds and interspersed with five purely instrumental interludes. The disc opens with The Caledonian Road of 1997. The name of this piece refers not just to the north London thoroughfare remembered by Beamish from childhood but to her own pilgrimage northward to Scotland, where she now lives. The music resonates with a sense of ritual, of something inevitable. By contrast, the work that follows, the unabashedly poetic The Day Dawn (written for a summer school organised by Contemporary Music-making for Amateurs in 1997, and revised in 2000) derives from a Shetland fiddle tune, and is all about new beginnings.

This is the sequel to the best selling “Bach Arias and Duets” featuring two of Australia's leading exponents of Baroque repertoire, Sara Macliver and Sally-Anne Russell. This recording is a collection of some of the most beautiful and charming works written for a soprano and alto, featuring the haunting Pergolesi Stabat Mater.

A Beautiful collection of standards and 2 original compositions by sally night, Gently swinging, sensual and intimate…