Vortex introduces a bold new chapter for the oboe and English horn, instruments too often overlooked as chamber soloists. Oboist Ari Cohen Mann, praised for their "brilliant virtuosity" (The Whole Note), joins pianist Benjamin Smith, guitarist Daniel Ramjattan, and composer-pianist Kevin Day in a program spanning wit, lyricism, turbulence, and introspection. Vortex introduces a bold new chapter for the oboe and English horn, instruments too often overlooked as chamber soloists. The journey begins with Stravinsky's Pulcinella-here newly transcribed for oboe and piano by Cohen Mann and Cornelia Sommer-where Baroque elegance collides with Stravinsky's tongue-in-cheek neoclassicism. From there, Jennifer Higdon's poignant Aria leads into the album's title track, Kevin Day's electrifying VORTEX, premiered to a standing ovation at the International Double Reed Society Conference. Works by Rodney Sharman (Famous Last Words), Jean Coulthard (The Enchanted Island), and C. Tyler Nickel (English Horn Sonata) reveal the expressive depth and modern versatility of the English horn, while Jocelyn Morlock's Verdigris, arranged for oboe and guitar, offers a gentle closing meditation. Vortex celebrates the oboe and English horn as instruments of colour, drama, and lyricism-capable of anchoring an entire sonic world.

Vortex introduces a bold new chapter for the oboe and English horn, instruments too often overlooked as chamber soloists. Oboist Ari Cohen Mann, praised for their "brilliant virtuosity" (The Whole Note), joins pianist Benjamin Smith, guitarist Daniel Ramjattan, and composer-pianist Kevin Day in a program spanning wit, lyricism, turbulence, and introspection. Vortex introduces a bold new chapter for the oboe and English horn, instruments too often overlooked as chamber soloists. The journey begins with Stravinsky's Pulcinella-here newly transcribed for oboe and piano by Cohen Mann and Cornelia Sommer-where Baroque elegance collides with Stravinsky's tongue-in-cheek neoclassicism. From there, Jennifer Higdon's poignant Aria leads into the album's title track, Kevin Day's electrifying VORTEX, premiered to a standing ovation at the International Double Reed Society Conference. Works by Rodney Sharman (Famous Last Words), Jean Coulthard (The Enchanted Island), and C. Tyler Nickel (English Horn Sonata) reveal the expressive depth and modern versatility of the English horn, while Jocelyn Morlock's Verdigris, arranged for oboe and guitar, offers a gentle closing meditation. Vortex celebrates the oboe and English horn as instruments of colour, drama, and lyricism-capable of anchoring an entire sonic world.

Bill Evans' creative imagination and deep capacity for lyricism altered the vocabulary of contemporary jazz. In Peace Pieces, flute master Herbie Mann approaches Evans' masterpieces of composition for the piano without a piano player, resulting in a unique tribute that does not suffer in comparison with the original. Bassist Eddie Gomez brought to the table 11 years as a vital element in the Bill Evans Trio, and other musicians featured include Randy Brecker, Louis Nash, Bruce Dunlap and others.

I turned 65 on April 16, 1995, and I thought it would be a lot of fun to invite musicians from my past and present to join me for a week of musical celebration... we managed to get together over 50 players for what was probably the most memorable week of my career." - Herbie Mann. This historic recording features guests Randy Brecker (trumpet), Ron Carter (acoustic bass), Paquito D'Rivera (alto sax), Tito Puente (timbales), Bobby Watson (alto sax) and many others. Highlights: "Give And Take, " "Au Privave" and "Jungle Fantasy.

Herbie Mann - The Complete Recordings Part III 1959-1962 Having already put out an impressive body of work by the end of 1958, Manns career witnessed a major creative shift thanks to one Sid Torin. Better known as Symphony Sid, Torin was the DJ credited by many as having introduced bebop into the mainstream, and it was he who suggested Mann add a conga player to his group. This, coupled with a State Department funded tour of Africa, influences the Afro-Cuban jazz album Flautista! (Verve, 1959). Recorded live at Basin Street East, New York on 30th June that year and featuring renowned percussionist Carlos Patato Valdes, the record was a vital stylistic development for Mann, and for the jazz genre as a whole. Across the next few years Herbie Mann's albums would become a veritable smorgasbord of legendary jazz percussionists, with 1960s Flute, Brass, Vibes And Percussion (Verve, 1961) regarded as one of Manns finest recordings, due in no small part to the inclusion of Ray Barretto and Ray Mantilla. This four disc collection features eight complete albums from one of the most exciting and experimental phases of Herbie Mann's career, and serves as a perfect illustration of how this unique, exciting and ultimately fearless musician favored the exotic over the traditional or mainstream and in so doing ended up among the most respected jazz men of all time.

Herbie Mann - COMPLETE RECORDINGS: 1955-1957 - A true pioneer of his instrument - indeed his predecessors were few and far between - Herbie Mann was one of the first to take the flute into the mainstream jazz spotlight. Embracing elements of numerous genres throughout his long and decorated career, Mann was lauded for his intricate playing and impeccable sense of groove that would influence generations of flautists to follow. Born Herbert Jay Solomon in Brooklyn, New York on 16th April 1930, Mann became enamored with music at an early age, initially wishing to learn drums but eventually being convinced by a family member to take up clarinet instead. His parents, both of Eastern European descent, were dancers and singers before becoming vocal coaches later on in life. Mann attended Lincoln High School in Brighton Beach, and gave his first ever performance at a resort in the Catskills aged 15. After serving four years in the army including time stationed in Trieste, Italy, where he had played saxophone in the military band, Mann returned to the United States in 1952, only to find the Lester Young-derived style he had adopted now oversaturated the music scene. Fate was on Mann s side however, as he was soon approached by Dutch accordionist Mat Mathews, who was seeking a flautist to appear alongside him on the debut album of the then-unknown jazz vocalist Carmen McRae. These sessions would later be released as Carmen McRae (Bethlehem, 1954), and would enable Mann to distinguish himself as one of the first and most groundbreaking jazz flautists. In December of that year he would also appear on Sarah Vaughan with Clifford Brown (EmArcy), an album that would go on to be inducted into the Grammy Hall of Fame in 1999. It was soon after these collaborations that Herbie Mann began taking part in his first studio sessions as bandleader. These would initially be released as the 10 East Coast Jazz/4 (Bethlehem, 1954), and later as a full album with additional recordings as Herbie Mann Plays (Bethlehem, 1956). These sessions also saw the first collaboration of Mann with esteemed jazz guitarist Joe Puma, who would feature on nearly all of Mann s albums over the next four years. Whilst well known for his adoption of different styles as his career progressed, Herbie stayed firmly within the realms of cool jazz during this early period, a direction which received mixed reviews from critics at the time but did little to halt his rising popularity. His proper debut album, Flamingo (Bethlehem 1955) would appear the following year, along with an appearance on The Herbie Mann-Sam Most Quintet (Bethlehem), a collaboration with one of his few flute contemporaries. Mann would also release two highly-regarded albums alongside Belgian flautist and tenor saxophonist Bobby Jaspar: Flute Flight and Flute Souffle (both Prestige, 1957). This four disc collection contains, in their entirety, the recordings that would prove the crucial foundation for this magnificent musician s career. Remastered in excellent quality and featuring nearly five hours of sublime music, this set captures perfectly the striking ability of Herbie Mann during the earliest period of his recording career, and hints at the potential that, when realized, would go on to establish Mann as one of the finest purveyors of his instrument within the world of jazz.

Herbie Mann was an American jazz flute player & important practitioner of world music. Reggae was originally issued in 1974 & features guitarists Mick Taylor & Albert Lee, along with keyboardist Pat Rebillot. Reggae II was issued in 1976 & features those same musicians.

Push Push is a 1971 instrumental album by jazz flautist Herbie Mann and features rock guitarist Duane Allman. The record explored a range of popular genres, such as R&B, rock and funk music. [Note: This product is an authorized CD-R and is manufactured on demand] This means it is an M.O.D. title.

Until Volume One of his orchestral music was released last year, the English composer-conductor Henry Cotter Nixon (1842–1907) has entirely disappeared from music history. But this series – presenting all his surviving orchestral music in its first-ever recordings – reveals him to have been one of the most accomplished English composers of his generation, with a style that takes in elements of Mendelssohn, Schumann, Verdi and Brahms. This second volume confirms his ability to handle extended symphonic structures and also presents a Sullivanesque lighter side. Ian Hobson, pianist and conductor, began his international career in 1981 when he won the Leeds International Piano Competition. This is the thirteenth album that he has recorded for Toccata Classics as either pianist or conductor. Paul Mann is a regular guest conductor with many orchestras throughout Europe, the US, Australia, and the Far East. He is well known for his collaboration with the rock group Deep Purple.

After recent releases devoted to David Hackbridge Johnson and Steve Elcock, Toccata Classics now rescues another British symphonist from oblivion. Rodney Newton (b. 1945) earned his living as an orchestral timpanist and percussionist, becoming known primarily for his works for brass bands. Until now his substantial output for orchestra has remained completely unknown. This first recording of two early symphonies reveals a composer with a strong sense of melody, drama, and color, in the tradition of such earlier British symphonists as Vaughan Williams and Arnold. The tone poem Distant Nebulae, inspired by Charles Ives’ The Unanswered Question, reflects the vastness of the heavens in music of understated beauty and elegance.

The first two Toccata Classics volumes of the orchestral music of the English composer David Hackbridge Johnson presented three mighty symphonies, conceived on a large scale and powerful in their utterance. The Fifteenth Symphony, tone-poems and other works offered here show a change in focus: an engagement with the natural world, reflecting the poetry of changing light and shifting winds, with man's impermanent presence dwarfed by the implacable grandeur of nature. Here Paul Mann, a frequent Toccata Classics artist, conducts the orchestra of the very town- Liepaja, on the coast of Latvia- that inspired the Fifteenth Symphony.