The Fifteen

Albion is Ginger Wildhearts latest venture with the fan funded Pledge Music system, building upon the huge success of the 555%, Mutation and Hey! Hello! projects, and what a monster of an album it is. Albion has been recorded primarily by the lineup that Ginger put together for the live shows to support the 555% albums, hence the Ginger Wildheart Band monica and what a line up it is featuring the talents of Ginger Wildheart (The Wildhearts / Mutation / Solo / Hey! (Ginger Wildheart Band / The Loyalties / Bassknives / Michael Monroe Band), Victoria Liedtke (Ginger Wildheart Band / Hey! Hello!).

"The album title for us reflects the feelings that so many people have been experiencing over the last two unprecedented years of darkness. We feel it is time to ‘turn the lights back on’ and shine some positivity and joyousness…” CATS in SPACE are all set to return this summer with their fifth studio album which boldly promises to musically go “where no band has gone before..” the SUN![/quote

Jazz vocalist Connie Evingson is known for taking divergent musical paths. Her eclectic catalog of recordings for Minnehaha Music covers such varied themes as Peggy Lee, the Beatles, jazz elders, and most recently, "hot club" music a la Django Reinhardt and Stephane Grappelli (Gypsy in My Soul, '04). Anticipating her next release, one would expect Evingson's music to take another divergent turn. But a chance meeting with a young hot club group from Sweden inspired her to delve deeper into the Django style before moving in a new direction…

There's no grand, large-scale music on this exceptional disc–only psalms and hymns for soprano, tenor, bass and strings in various combinations. Typical of the music are three settings of "Confitebor tibi, Domine" (Psalm 110): a jaunty but graceful setting for soprano and tenor, with athletic runs and a gorgeous slow ending; a moderate but charged setting for three voices, each singer delivering a verse in turn before joining dramatically at "sanctum et terribile" ("holy and terrible"); and a setting for soprano and strings combining enchanting delicacy with astonishing virtuosity. That description fits the singing of Emma Kirkby perfectly here; Ian Partridge and David Thomas make ideal partners. After fifteen years in release, this remains one of the best Monteverdi records in the catalog.

There's no grand, large-scale music on this exceptional disc–only psalms and hymns for soprano, tenor, bass and strings in various combinations. Typical of the music are three settings of "Confitebor tibi, Domine" (Psalm 110): a jaunty but graceful setting for soprano and tenor, with athletic runs and a gorgeous slow ending; a moderate but charged setting for three voices, each singer delivering a verse in turn before joining dramatically at "sanctum et terribile" ("holy and terrible"); and a setting for soprano and strings combining enchanting delicacy with astonishing virtuosity. That description fits the singing of Emma Kirkby perfectly here; Ian Partridge and David Thomas make ideal partners. After fifteen years in release, this remains one of the best Monteverdi records in the catalog.

This album brings together the only recorded sessions that Chet Baker and Bill Evans shared, together, yes, but with other great musicians as Herbie Mann, Pepper Adams, Kenny Burrell and Zoot Sims among others. The records were held in New York in two sessions during 1958 and 1959. Whoever possesses the records 'The lyrical trumpet of Chet Baker' and 'Chet Baker plays the best of Lerner & Loewe', already has fourteen of the fifteen tracks on the album, except for the bonus in which the pianist Bob Corwin replaces Evans ('Almost like being in love').

The Q-music Sessions is a special Within Temptation cover album in which consists of eleven covers made by the band for the Belgian radio station Q-music in celebration of their fifteenth anniversary. Due to the positive reactions from fans and the radio audience, the band decided to release a special album containing eleven of the fifteen covers made

Like many of even the most prolific and celebrated composers of the sixteenth century, Jacobus Clemens non Papa (‘not the Pope’) has offered the history books little factual material with which to work. In contrast to the paucity of biographical material, however, many sources of Clemens' music survive. Indeed, he is one of the most widely published musicians of the entire century with fifteen Masses, over two hundred motets, many Dutch psalms and French chansons to his name.