Calypso is a form of folk music and dance from the Caribbean. Historically, Calypso can be traced back to the arrival of African slaves in the Caribbean islands in the seventeenth century. It has its roots on the island of Trinidad. The words of calypso songs are witty and humorous, usually involving social or political commentary in satirical form. The lyrics are characterized by arbitrary shifts in the accentuation of everyday English words. The infectious Calypso music is set in duple meter. It is a vital component of any carnival celebration in the Caribbean, and there are annual calypso competitions which are themselves a premier aspect of the carnivals. Born in Africa in 1968, King Selewa got into music through Jamaican 70s calypso, ska, rock-steady and early reggae music which he and his elder brother, Lord Skalipsoul, then performed live all over Europe in 1995. King Selewa and Chico, his guitar player, soon formed their own band of experienced musicians- their “Calypsonians,” in order to go deeper into the roots of Caribbean music, that is to say, Calypso. As Lord Invader said: “Calypso is folklore of Trinidad, a style of poetry recounting current events in song.”

Hossam Ramzy, Egypt’s Ambassador of Rhythm, was born in Cairo. His musical career began early, when at the age of three he was given his first drum- an Egyptian table. His passion for percussion was noted by his family (many of whom were themselves involved in the arts), who encouraged him to master his craft by studying with the leading music teachers of Egypt. A move to Saudi Arabia introduced Hossam to many of the Bedouin tribes who gave the young Hossam a rich insight into the cultural origins of Middle Eastern music that became the inspiration for many of his later rhythmic directions. This album of beautiful Egyptian love songs for belly dancers and lovers of Egyptian music also features the incredible quarter tone accordion player Mohsen Allaam.

With vol. 8, pianist Florian Uhlig reaches the midway point of his widely acclaimed, much admired first truly integral Schumann recording project. - This new CD deals with the dual nature of the composer and writer, finding it's finest expression in the David's bündlertänze (1st version, op. 6). - The typical romantic play of rubrics, musical ciphers and pseudonyms can also be found in the Carnival, op. 9. - Additionally, Mr. Uhlig has collected some related miniatures that Schumann either rejected or were never included in subsequent printed editions, at least three being world premiere recordings.

Missa Solemnis, Beethoven's sacred masterpiece, has thrilled audiences since its premiere with its monumental splendor and grandeur of vision. Even the master himself described it as "the greatest work that I have written so far." Helmuth Rilling, the Bach-Collegium Stuttgart, the Gächinger Kantorei Stuttgart and a quartet of vocal soloists have achieved worldwide acclaim in producing a reference recording of this great masterpiece, now available once again in a new edition as part of the “Great Choral Works” series. “A production of the highest professionalism.” - FONO FORUM

This truly unique recording for Signum sees Joby Burgess arrange some of Eric Whitacre’s ever-popular choral works for Marimba quartet. The warm, earthy sound of the marimbas makes for a spectacular record. One of Britain’s most diverse percussionists, Joby Burgess is best known for his virtuosic performances, daring collaborations, extensive education work, and regular appearances throughout Europe, the USA and beyond. Dedicated to the development of the percussion repertoire, often in combination with electronics, Joby spends much of his time commissioning and recording new music. Recent highlights have included the release Gabriel Prokofiev’s Bass Drum Concerto with the Ural Philharmonic Orchestra on Signum Records, ‘PUNKIT’ – an adventurous participatory project for massed percussion ensemble by Stephen Deazley, and ‘Pioneers of Percussion’ – a solo recital programme featuring new work by Nicol Lizée, Linda Buckley and Rebecca Dale.

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REVIEW:

Anyone who knows Eric Whitacre’s choral works will doubtless have been struck by their supremely lush harmonies and overall gorgeous sounds. With these clever arrangements of some of them for various combinations of marimbas and vibraphones, with either two or four instruments being employed, Joby Burgess has managed to breathe new life into what will I’m sure become timeless works. Who knows perhaps this opens the way to treating these pieces to the same kind of arrangements that has been the case for Arvo Pärt’s Fratres which shows that the same music can sound quite different when passed through the prism of varied and different instruments, each one equally valid in its own right.

Marimbas have that ethereal almost unworldly sound that so perfectly matches the similar qualities found in Whitacre’s music. In Lux Aurumque (Light, warm and heavy as pure gold) one can almost feel the warmth while similar aural textures come to the fore in October which describes the colours of autumn again with palpable luminosity. One of the features of marimbas and vibraphones is the resonance that comes from the sustained note that lingers after being hit adding to its other worldly sound.

A Boy and a Girl is played in short passages which serve up another way of hearing these evocative instruments and Sleep rounds off an experience that is quite unique and almost defies description; this is music that must be heard since words cannot do it the justice it deserves. The composer is quoted as saying that Joby Burgess is a “musical genius” in achieving “these really clever, beautiful arrangements” and I couldn’t agree more. At less than 22 minutes this is a very short programme but the asking price is commensurate with its length so if you are a marimba fan I can confidently predict you will love this sumptuous sounding disc.

– MusicWeb International (Steve Arloff)

An iconic release that launched a celebrated series of 'London Sound' recordings, this album assembles an unparalleled ensemble of 40 cellos from The London Philharmonic Orchestra, Philharmonia Orchestra, BBC Symphony Orchestra and Royal Philharmonic Orchestra. David Vernier writes: "Who knows where the idea for this incredible recording came from, but be assured, you've never heard anything quite like it before. The sound of 40 topnotch cellists from four London orchestras performing Saint-Saëns's The Swan or Rachmaninoff's Vocalise is indescribable-but when you hear the rich, warm, reedy resonance, you won't forget it."