The incomparable Johnny Cash takes the stage with his wife, June Carter Cash, the Statler Brothers, Carl Perkins and the Carter Family in this 1971 concert filmed live for Danish television. A memorable set list includes "Folsom Prison Blues," "I Walk the Line," "A Boy Named Sue," "Man in Black" "Me and Bobby McGee," "Help Me Make It Through the Night," "Blue Suede Shoes," "Flowers on the Wall" and the Maybelle Carter tribute, "Dear Mama."
12-CD LP-sized box set. He might not have been the King Of Rock 'n' Roll but Pat Boone was certainly King Of The Hit Parade during the rock 'n' roll era. He sung ballads with a beat and up-tempo pop tunes such as I'll Be Home, Don't Forbid Me, Love Letters In The Sand, Why Baby Why and I Almost Lost My Mind. Hits like this kept him in the charts every week from 1955-1959! This boxed set contains Pat's rare 1953 Republic recordings and every single DOT recording made during the Fifties - over 320 tracks in total.
Reedition bienvenue avec un exellent son remastérisé de cette trés belle version de Gardiner d'un oratorio de Handel qui est une oeuvre singuliere au sein de la production de ce grand compositeur. L'Allegro, il Pensiero ed il Moderato est dans sa structure trés different de l'oratorio traditionnel et consiste en un assemblage assez libre de solos et de choeurs, mettant en scene 3 personnages allegoriques , un peu comme "il trionfo del tempo", mais chaque" personnage" est ici representé par plusieures voix. Exellent casting choisi par Gardiner au niveu des voix, d'ou emerge Patricia Kwella, dont la beauté et la pureté du timbre illumine cette tres belle oeuvre, proposée a un prix trés doux, aucune raison de passer à coté.
Mendelssohn (1809-1847) is a perennially underrated composer who finally may be coming to greater appreciation. Certainly this fine recording (in English) of a masterpiece that he believed joined the Jewish faith of his fathers with his own Protestant Christianity should not hurt his reputation. The superb Welsh baritone Bryn Terfel gives a dramatically charged performance in the title role, while soprano Renee Fleming sings with beauty and limpid understanding; the cast is almost uniformly strong. The Edinburgh Festival Chorus, directed by David Jones, sings with care and conviction, and Paul Daniel conducts his forces firmly. –Sarah Bryan Miller.
This 12-CD box set containing 347 songs – Pat Boone's entire 1950s recorded output, including over 80 previously unissued tracks – deserves an honest, open-minded, and thorough examination. Listeners may like or dislike Pat Boone's early R&B hits – "Two Hearts," "Ain't That a Shame," "Tutti Frutti," etc. – but it is important to remember that those songs comprise but a very small part of his 1950s recorded output and demonstrate one side only of his amazing versatility.
The mainstream came to know this remarkable tenor sax player via bossa nova – his unforgettable, breathy solo on "The Girl from Ipanema" propelled the song to number five in 1964 and to continued popularity to this very day, every bit as much as Astrud Gilberto's equally stunning, spare voice. But Stan Getz's involvement in this populist '60s craze actually displeased many a serious jazz enthusiast who'd admired his work in that field for more than two decades. After all, this 17-time winner of the Down Beat poll for top tenor saxophonist had already staked out a remarkable reputation, playing in the bands of such vaunted names as Stan Kenton, Jimmy Dorsey, Benny Goodman, and Woody Herman from 1944-1949, and then leading his own bands thereafter. This three-CD box, then, finds Getz in top form as a jazz soloist and bandleader.
The artists on this album, Joanne Lunn, Charles Daniels and Peter Harvey emulate "the portrayal of emotion is at the heart of all music". This "shepherd's ode" by George Frederic Handel illustrates the head-to-head of two contrasting personalities as they are joined by a third, "Il Moderato" who aims to reconcile the dueling characters with soberminded rationality.
Conductor Diego Fasolis and his Coro della Radio Svizzera always can be counted on for a very good show, and this one, featuring two well-known if not necessarily top-drawer Handel works, is no exception. The early Dixit Dominus, with its Vivaldian "De torrente in via" movement and other Italian stylistic elements, is appropriately lively and crisply articulated in the fast sections and fully indulgent of the slow passages, allowing us to hear in gorgeous detail the promising signs of Handel's germinating genius.