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The album title Freebop for Mal is a tribute to the late Chicago trumpeter and Delmark recording artist Malachi Thompson who called his Jazz Freebop because it combined elements of Free Jazz and Bebop. On this, his fourth Delmark album, Ari is accompanied by brother Kirk Brown, Yosef Ben Israel, Avreeayl Ra and Dr. Cuz.","brand":"DELMARK","offers":[{"title":"CD","offer_id":44930232582378,"sku":"038153501129","price":15.7,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2295686.jpg?v=1778359556"},{"product_id":"soloist-1","title":"SOLOIST","description":"Solo jazz guitar is an exacting art, and Chicago guitarist Andy Brown has been pursuing his unique finger-style approach to chord-melody playing since falling under the spell of George Van Eps, Joe Pass, and Kenny Poole a couple of decades ago. 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From \"Holding You,\" his sensuous collaboration with R\u0026amp;B great Chant� Moore and Norman's re-imagining of the Five Stairsteps classic \"Ooh Child\" to the smoothly grooving \"Remember Who You Are\" and the serenely inspired \"Let It Go,\" Let It Go is Norman Brown at his best.","brand":"SHANACHIE","offers":[{"title":"CD","offer_id":44937613738218,"sku":"016351544629","price":17.24,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3461791.jpg?v=1778355153"},{"product_id":"lets-get-away-3","title":"LET'S GET AWAY","description":"Norman Brown again teams up with superstar producer Paul Brown to create more magic! Grammy Award-winning Contemporary Jazz\/R\u0026amp;B su-perstar Norman Brown has sold over 2 million albums in his extraordinary career and virtually lives at the top of the Billboard Contemporary Jazz sale sand radio charts. Let's Get Away has Norman Brown's hit-making talents on full display. Featuring inspired original com-positions such as the vibey \"L.A. Chill,\" the funk\/bluestinged \"Talk It Out,\" and the romantic tribute to Wes Montgomery, \"Wes Side Story,\" Norman tops it all off with a brilliant rendition of the classic \"Down Here On The Ground!\"","brand":"SHANACHIE","offers":[{"title":"CD","offer_id":44937614033130,"sku":"016351549426","price":17.24,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4060690-2791320.jpg?v=1778354064"},{"product_id":"promised-land-3","title":"PROMISED LAND","description":"2022 release. Two time Grammy winner, Paul Brown, both as an artist and producer, is responsible for more than 60 #1 jazz radio hits! Paul has produced and shared the stage with a who's-who of jazz greats such as George Benson, Patti Austin, Boney James, Norman Brown, and Peter White, just to name a few. With Promised Land, Paul Brown reaches the peak of his prodigious creativity. The album kicks off with the spirited \"Secret Sauce,\" a surefire contemporary jazz radio #1, and delivers with \"Don't Stop,\" Paul's sexy collaboration with Marion Meadows, and the Bluesy, in-the-pocket, \"7and7,\" featuring Euge Groove!!","brand":"SHANACHIE","offers":[{"title":"CD","offer_id":44937614098666,"sku":"016351549723","price":17.24,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4095156-2830944.jpg?v=1778354142"},{"product_id":"it-hits-different-3","title":"IT HITS DIFFERENT","description":"Produced by Paul Brown and Wirlie Morris. Grammy Award-winning Contemporary Jazz\/R\u0026amp;B superstar Norman Brown has sold over 3 million albums in his extraor- dinary career and virtually lives at the top of the Billboard Contemporary Jazz sales and radio charts. Having headlined with virtually every Contemporary Jazz superstar from Boney James to Dave Koz to Gerald Albright, Norman's non-stop touring has electrified audiences from coast to coast! It Hits Different has Norman Brown's hit-making talents on full display. Highlights include the uber-funky \"Chicken Shack,\" the romantic \"Too Forever,\" the joyful \"Strollin'\" and much  more.","brand":"SHANACHIE","offers":[{"title":"CD","offer_id":44937614328042,"sku":"016351551320","price":17.24,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4294935-3097287.jpg?v=1778367989"},{"product_id":"blues-in-st-louis-2-henry-brown-edith-johnson","title":"BLUES IN ST. LOUIS 2: HENRY BROWN\u0026 EDITH JOHNSON","description":"Recorded in 1961, The Blues in St. Louis, Vol. 2 celebrates 1930s and '40s style Barrelhouse Blues and Boogie Woogie. Henry Brown and Edith Johnson came from very different musical backgrounds: pianist Brown was formally trained, while Johnson learned the blues by singing along with music playing in her husband's record shop. Yet, the two came together in Jazz and Blues fan Bob Oswald's recording studio, and the result is a combination of Classic Blues instrumentals and vocals like \"Honeysuckle Rose\" and \"Little Drops of Water,\" often accompanied by Brown tapping his foot against the piano pedal. Musician and scholar Samuel Charters gives a first hand account of the musicians and circumstances of recording in the liner notes.","brand":"FOLKWAYS RECORDS","offers":[{"title":"CD","offer_id":44937623372010,"sku":"093070381520","price":17.16,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1505271.jpg?v=1778368169"},{"product_id":"empress-of-the-blues","title":"EMPRESS OF THE BLUES","description":"Archive release from the late, great blues vocalist.","brand":"GHB JAZZ FOUNDATION","offers":[{"title":"CD","offer_id":44937634906346,"sku":"762247236221","price":13.86,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3806264-2551094.jpg?v=1778364610"},{"product_id":"henry-brown-blues","title":"HENRY BROWN BLUES","description":"Solo piano from St. Louis musician Henry Brown, recorded in 1960. 12 tracks including: Henry Brown Blues, Bottled in Bond, Deep Morgan Boogie, O'Fallon Blues, Papa Slick Head, Scufflin' Boogie.","brand":"GHB JAZZ FOUNDATION","offers":[{"title":"CD","offer_id":44937645687018,"sku":"762247904328","price":13.86,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1642991.jpg?v=1778364398"},{"product_id":"good-company","title":"GOOD COMPANY","description":"Tenor saxophinst Ted Brown studied with, and belonged to the coterie of like-thinking players around Lennie Tristano. He recorded with Warne Marsh and Lee Konitz, and recorded under his own name with Warne Marsh and Art Pepper as sidemen. Here, after an eight year recording hiatus, he's in the company of legenday bebop guitar great Jimmy Raney \u0026amp; an all star rhythm section with pianist Hod O'Brien, bassist Buster Williams \u0026amp; drummer Ben Riley. This rare session from 1985, recorded at Rudy Van Gelder's Recording Studio, has 5 alternate takes, and was never released as a CD before.","brand":"CRISS CROSS","offers":[{"title":"CD","offer_id":44938807050474,"sku":"8712474102020","price":20.21,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/413818.jpg?v=1778362885"},{"product_id":"free-spirit-1","title":"FREE SPIRIT","description":"Tenor saxophonist's trio w. Hod O'Brien on piano and Jacques Schols on bass, recorded Oct. 4 \u0026amp; 10, 1987.","brand":"CRISS CROSS","offers":[{"title":"CD","offer_id":44938809999594,"sku":"8712474103126","price":20.21,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/144257.jpg?v=1778360451"},{"product_id":"dirty-works-at-the-crossroads-1947-1953","title":"DIRTY WORKS AT THE CROSSROADS 1947-1953","description":"28 examples of the scorching guitar work of Clarence 'Gatemouth' Brown ' one of the most influential guitarists from the Texas school, influenced himself by T-Bone Walker. These, his earliest recordings spanning 1947 through 1953 were equally influential of the next generation of guitarists. Albert Collins, Johnny Winter, The Fabulous Thunderbirds and Stevie Ray Vaughan were all influenced by these seminal recordings.","brand":"ACROBAT","offers":[{"title":"CD","offer_id":44945479041258,"sku":"824046521622","price":12.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/836934.jpg?v=1778365073"},{"product_id":"scott-pender-music-for-woodwinds","title":"Scott Pender: Music for Woodwinds","description":"Navona Records proudly presents MUSIC FOR WOODWINDS from composer Scott Pender, his fourth appearance on the label. On this album, Pender showcases his chamber works for woodwinds from the last thirty years in ensemble combinations both common and unfamiliar. On this release lyricism abounds throughout. In the lighthearted Kimchi Dreams for two clarinets and bassoon, Pender conjures gentle, dreamy imagery, balancing two lyrical pieces with two quirky, rhythmically charged ones. The cinematic Variations for Oboe \u0026amp; Piano uses the classic theme-and-variations form to paint a broad canvas, which dissolves into a veiled memory at the end. The dramatic Suite for Woodwind Quintet features bubbling, energetic outer movements surrounding a contemplative Adagio. The lower registers are used to great effect in rich, open chordal writing. The most candid and emotional work on the album, Lyric Set for bassoon and piano, fully exploits the wide range of the bassoon. The movements carry descriptive titles: from the flowing opening of “In the Tide of Times,” followed by the reflective simplicity of “Every Day Is Saturday” – then the stubborn humor of “Lord Berners’ Giraffe,” and ending with the sad grandeur of “Hopeful about the Past.” The remaining pieces—Toccatina for flute quartet and Five Dances for bassoon quartet—add an extra element of rhythmic excitement.","brand":"Navona","offers":[{"title":"CD","offer_id":46012877406442,"sku":"896931004275","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3744976.jpg?v=1778297692"},{"product_id":"legendary-albums-1954-56","title":"LEGENDARY ALBUMS 1954-56","description":"LEGENDARY ALBUMS 1954-56","brand":"ACROBAT","offers":[{"title":"CD","offer_id":46012882059498,"sku":"824046354022","price":20.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4399704-3322156.jpg?v=1778360438"},{"product_id":"gaveaux-leonore-ou-lamour-conjugal-brown-opera-58116","title":"Gaveaux: Leonore, ou L'amour conjugal \/ Brown, Opera Lafayette [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=2276265\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e A political prisoner awaits death in his cell. A woman puts herself in mortal danger to seek justice. With its atmosphere of revolution and tale of devotional romance and a dramatic rescue from captivity, Pierre Gaveaux’s Léonore, ou L’Amour conjugal was the direct forerunner to Beethoven’s Fidelio. Having been entirely overshadowed by its famous successor and lain hidden for centuries, this both darkly somber and entertainingly celebratory opéra comique is seen here in an acclaimed modern premiere whose timeless and inspiring story of female heroism and political injustice is as relevant today as ever. The Washington Post wrote of this production: “Opera Lafayette’s smart, efficient production brought the brief opera comique fully to life with vivid playing and singing… events such as this… are a rarity anywhere and a gift...”\u003cbr\u003e","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012892676330,"sku":"730099008563","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3844017.jpg?v=1778387792"},{"product_id":"sacchini-oedipe-a-colone-brown-loup-opera-135658","title":"Sacchini: Oedipe À Colone \/ Brown, Loup, Opera Lafayette","description":"Antonio Sacchini is one of those highly talented musicians who hover at the periphery of music history but were greatly successful in their lifetime. In the case of Sacchini an echo of his fame can be heard through the present work which has some claims to be his masterpiece. It was performed regularly at the Paris Opéra between 1787 and 1830, which is remarkable indeed and then was revived in 1843.\u003cbr\u003e  \u003cbr\u003e He was born in Florence but was taken to Naples at the age of four where he was admitted to the Conservatorio when he was ten. His teacher was Francesco Durante, who is probably more well-known today. He obviously moved about within Italy and gained recognition both as opera composer and singing teacher. One of his pupils was Nancy Storace, who among other things was Mozart’s first Susanna in Le nozze di Figaro - “The Julie Andrews of the 18th Century” as one source nicely puts it.\u003cbr\u003e  \u003cbr\u003e He then went to Stuttgart and Munich and came to London in 1772 where he remained for ten years. At first successful, he later ran into financial trouble and moved to Paris in 1781. There he became a favourite with the Queen but met opposition from parts of the musical establishment. His opera Dardanus was staged at Fontainebleau in 1785 but to his grief Œdipe lay unperformed during his lifetime. The disappointment is said to have contributed to his death. In 1787 Œdipe reached the Opéra; too late for the composer.\u003cbr\u003e  \u003cbr\u003e Listening to this recording it is easy to understand the longevity of the work. It is a highly accomplished piece of music drama, pointing forward beyond Gluck, who is the closest contemporary comparison. In fact there is a Gluckian nobility in the more reflective moments. Sacchini also has a dramatic integrity and power in the long and often intense accompanied recitatives. At his best, as in the long scene with Œdipe and Antigone in act two (CD1 tr. 14-16), he tends to overshadow even Mozart for dramatic acuity, though he can’t compete with the Salzburg master when it comes to musical invention and melodic memorability. Still he writes expressive and grateful music, as for example the singing part for Polynice in the first scene (CD1 tr. 3) and at the beginning of scene 4 (CD1 tr. 10). Antigone’s aria in act three (CD2 tr. 2), is heroic and tragic to match the text. This is a fairly long aria; mostly they are very short but his flexible style allows him to move more or less imperceptibly from recitative to aria with the orchestra a very active part, not just accompanying. In this respect he might almost be likened to late period Verdi. The writing creates a feeling of unity and cohesion, underlined here by Ryan Brown’s eager conducting. Just as in his recording of Gluck’s Orphée et Euridice (see review) he opts for swift tempos and had at least this reviewer sitting on the edge of his chair. There is such vitality and thrust in his reading that the work stands out as perhaps better than it actually is, but for my money this is an opera to set beside Gluck, Haydn and Mozart as a superb example of late 18th century music theatre. Readers should be warned though that, this being a French opera, there are some decorative elements, like scene 3 of the first act with choruses and dances. The whole opera ends in a kind of anti-climax with an eight-minute ballet sequence. All of this is superbly performed; good music but more or less superfluous.\u003cbr\u003e  \u003cbr\u003e The Opera Lafayette perform with enthusiasm and flair and Brown and producer Max Wilcox have gathered a fine line-up of soloists. Some of the smaller parts are taken by members of the chorus and among the main characters the experienced François Loup is a deeply involved Œdipe, expressive and with a rich pallet of vocal colours. His daughter Antigone is the dramatically vibrant Nathalie Paulin who is also able to express the nobility of her character. The two tenors, Tony Boutté and Robert Getchell, are excellent; especially the latter who is a model of lyric tenor singing of music from this period. He should be a likewise excellent Don Ottavio or Tamino.\u003cbr\u003e  \u003cbr\u003e The booklet gives, in the usual Naxos manner, all the information one could possibly expect within the space available and besides a good track-related synopsis we also get the French libretto. The English translation can be downloaded.\u003cbr\u003e  \u003cbr\u003e This is one of the more thrilling “finds” within the operatic genre.\u003cbr\u003e  \u003cbr\u003e -- Göran Forsling, MusicWeb International\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012902539498,"sku":"730099619622","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/968208.jpg?v=1778224367"},{"product_id":"rutter-requiem-choir-of-clare-college-cambridge-234802","title":"Rutter: Requiem \/ Choir Of Clare College Cambridge","description":"\u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  John Rutter's own recording of his beloved Requiem--with his Cambridge Singers on Collegium--already has been reissued on a CD that includes the Magnificat. That performance, in its setting for choir and orchestra, remains the Requiem of choice, although this new version--with Rutter as recording producer--offers a first-rate rendition of the composer's alternative chamber arrangement of the Requiem along with several rarely-heard--or never-before-recorded--choral and organ works. The Clare College Choir, with whom Rutter has a history both during his days as a music student and later as the choir's director, gives the kind of technically solid and interpretively meaningful performance that we would expect, considering the composer's hands-on involvement and well-known concern for accuracy, both musical and sonic. Like Caroline Ashton on Rutter's Collegium disc, Clare's Elin Manahan Thomas delivers the soprano solos with a clear, ringing, effortlessly natural quality, and the choir is a model of responsiveness and sensitivity in phrasing and dynamics, preserving ideal balance across registers and among vocal sections.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The reason Rutter fans will have to have this is for the premieres and for the handful of rarely-heard organ works--and any listeners who believe this composer to be rather predictable and one-sided in style will find numerous surprises to jar their impressions. Two of the premieres--the anthems Arise, shine and Come down, O Love divine--show a more complex Rutter, whose harmonic style and concept of textual development takes us into richer and far more intellectually\/musically challenging territory than we're used to, a nod both to Howells and to Britten. The organ pieces--both for solo (Toccata in seven) and duet (Variations on an Easter theme)--show a thorough command of the idiom and are laced with Rutter's usual catchy rhythms and inventive melodic twists. One of the highlights is the anthem for choir and flute, Musica Dei domum, with its beautiful instrumental solo and organlike choral utterances. The sound, from Berkshire, England's Douai Abbey, provides ideal space and resonance for these eminently singable--and listenable--pieces, works that belong in the collection of every true lover of choral music. [4\/26\/2003]\u003cbr\u003e --David Vernier, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46012909682922,"sku":"747313213023","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/500728.jpg?v=1778294770"},{"product_id":"vaughan-williams-sacred-choral-music-timothy-brown-171387","title":"Vaughan Williams: Sacred Choral Music \/ Timothy Brown, Choir Of Clare College","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Mass in g. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eThe Voice out of the Whirlwind\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eValiant-for-truth. \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eThree Choral Hymns\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eNothing Is Here for Tears\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1.\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e A Vision of Aeroplanes\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eThe Souls of the Righteous. A Choral Flourish\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1 \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Timothy Brown, cond; \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eAshok Gupta (org); \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eJames McVinnie (org); Ch of Clare College Cambridge \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 8.572465 (63:11) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eVaughan Williams is probably my favorite 20th-century composer; I adore virtually every note that he set to paper. (There are admittedly a few clinkers, such as the Piano Concerto). One of the few works of his that heretofore has failed to appeal to me is the Mass in G Minor, which has always seemed pleasant but not particularly distinguished. That has now changed radically with this disc. The moment the Kyrie sounded through my speakers, I sat bolt upright in my chair, slackjawed and dumbfounded at the ethereal, pellucid purity and superb articulation of the singing, the fleet vigor and elegance of the pacing, and the astonishing inventiveness of the composer’s adaptation of Renaissance means to modern ends in the manner of his stupendous \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eTallis Fantasia\u003c\/span\u003e \u003cspan\u003e. (As in the earlier work, Vaughan Williams again created an antiphonal contrast between a solo quartet and a larger ensemble.) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe experience sent me scrambling to audition every other recording of the Mass on which I could lay my hands, to find out what I previously had been missing. My conclusion is that most recordings err in using far too large a choir and correspondingly slower tempi, resulting in an overly opaque sound that overburdens a finely wrought, delicate score. To bring out properly the neorenaissance character of the music, a smaller ensemble is needed. In \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 26:2 James Miller cited a Cedille CD by the Chicago-based ensemble His Majestie’s Clerkes as his favorite, I suspect (though not explicitly stated) for reasons similar to mine. (Martin Anderson voiced a contrary opinion in 21:6.) However, the acoustic in that recording is extremely reverberant, overly so for my taste, whereas Naxos gets it exactly right, with balanced clarity and depth. The other recordings I have found with a similar approach are an ABC disc with the Trinity College Choir of Melbourne, which uses boy trebles instead of female sopranos (I prefer the distaff voices here), and a Delphian CD with the Laudibus chamber choir and a highly transparent, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eecht\u003c\/span\u003e \u003cspan\u003e-Renaissance ensemble sound (I find the Clare College Choir a bit livelier and better blended). In sum, this is now the recording of choice for this work. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe other pieces recorded here are performed on a similarly high plane, and have much less competition, especially since some \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e(The Voice out of the Whirlwind, Three Choral Hymns, A Vision of Aeroplanes\u003c\/span\u003e \u003cspan\u003e) are offered with organ rather than orchestral accompaniment. All are very typical of the composer’s choral works, except for \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVision\u003c\/span\u003e \u003cspan\u003e with its exotically spiky and dissonant opening section, evoking the roar of an aircraft squadron by analogy with the prophet Ezekiel’s apocalyptic vision of four winged creatures. The closest thing to a competitor in this combination of repertoire is the Hyperion disc with the Westminster Cathedral Choir, containing the Mass, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eValiant for Truth\u003c\/span\u003e \u003cspan\u003e, and \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVision\u003c\/span\u003e \u003cspan\u003e, but the Naxos CD is superior in every way. This is also apparently the first recording of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNothing Is Here for Tears\u003c\/span\u003e \u003cspan\u003e, and the only available recording of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eExultate justi\u003c\/span\u003e \u003cspan\u003e. The booklet notes, by the conductor, are excellent; the only flaw in this production is the lack of texts, which, given the density of certain passages, are a necessity even with fine choral diction. A Google search will turn up all of those on line; in addition to that of the traditional Latin Mass, they are: \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e•\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e The Voice out of the Whirlwind\u003c\/span\u003e \u003cspan\u003e: Job 38:1–10 and 16–17, 40:7–10. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e• \u003c\/span\u003e \u003cspan\u003eA Vision of Aeroplanes: Ezekiel 1:4–28. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e•\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e The souls of the Righteous\u003c\/span\u003e \u003cspan\u003e: Wisdom of Solomon 3:1–3. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e•\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Exultate justi\u003c\/span\u003e \u003cspan\u003e: Psalms 32:11 and 33:1–4. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e•\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Valiant-for-Truth\u003c\/span\u003e \u003cspan\u003e: The passage regarding that character in the last chapter of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Pilgrim’s Progress\u003c\/span\u003e \u003cspan\u003e by John Bunyan, beginning, “After this it was noised abroad.” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e•\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Nothing Is Here for Tears\u003c\/span\u003e \u003cspan\u003e: a potted version of lines 1721–40 from Book IV of\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Paradise Regained \u003c\/span\u003e \u003cspan\u003eby John Milton. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"BULLET12i\"\u003e•\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Three Choral Hymns\u003c\/span\u003e \u003cspan\u003e: German hymn texts (two derived through Martin Luther) translated by Miles Coverdale, beginning “Alleluya. Christe is now rysen agayne,” “Now blessed be thou, Christ Jesu,” and “Come, holy Spirite, most blessed Lorde.” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAside from this one drawback, this disc has my highest possible recommendation, and is a candidate for the 2010 Want List.\u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James A. Altena \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e ------------------------------------------------------------------------\u003cbr\u003e  \u003cbr\u003e Recordings of Vaughan Williams' Mass in G minor don't come along that often--but with this new one, Naxos has two first-rate performances in its catalog, the other with the Elora Festival Singers. That's where the similarity between the two recordings ends, however--and that's a good thing. In fact, this disc is different from most Vaughan Williams choral programs due to its abundance of rarely-heard works.\u003cbr\u003e  \u003cbr\u003e The two more-familiar items--Valiant-for-truth and the Mass--are performed as well as you'll hear anywhere on disc; the challenging a cappella scoring in both--but especially in the very exposed textures of the Mass--allows us to fully appreciate this choir's ensemble unity and solid intonation. The Mass is among the faster-paced versions on disc, similar to our reference recording (Cedille), but Timothy Brown knows that slower can mean trouble in this work, and he moderates tempo where it counts, most importantly in the Agnus Dei.\u003cbr\u003e  \u003cbr\u003e Among the lesser-known works, The Voice out of the Whirlwind is one of those grand cathedral anthems with a busy organ accompaniment, fun for all to sing and play, while Nothing is here for tears (written on the death of King George V) is in the best tradition of this composer's unison-voice anthems whose lovely, easily singable hymn-like tunes and well-crafted organ parts are always appreciated by choral directors and choirs. In a completely different universe is the motet A Vision of Aeroplanes, a tour de force for choir and organ (especially for organ!) that sets words from the prophet Ezekiel (the one about the vision of the \"wheel within a wheel...\"). In the hands of organist James McVinnie and these exceptional singers, the whole fantastic picture comes vividly to life.\u003cbr\u003e  \u003cbr\u003e Perhaps best of all--and also among the rarely-heard pieces--are the Three Choral Hymns. Although the three-movement work was originally scored for orchestra, Brown and his choir offer what apparently is its first recording with organ accompaniment. It works well, and perhaps in this form it will draw broader attention and more performances.\u003cbr\u003e  \u003cbr\u003e The Mass always seems difficult to record, and that's true here, with some harshness in the loudest passages and occasional uneven balances between the two choirs and between the choir and quartet of soloists. It's not a big deal, just a peculiar phenomenon that may be related to the particular features of the work's scoring, harmonic structure, and voicing. I also have to mention that for a recording of choral music to come without printed texts, as is the case here (they are only available online), is not ideal, especially when the majority of texts will not be familiar to most listeners. That said, this is an excellent and much needed addition to the Vaughan Williams choral catalog, and fans of the composer will not want to be without it. Strongly recommended.\u003cbr\u003e  \u003cbr\u003e --David Vernier, ClassicsToday.com\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012917547242,"sku":"747313246571","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1612309_69e577ec-21a2-4ff0-ac24-026ea132d2eb.jpg?v=1778324237"},{"product_id":"the-queen-of-r-b-singles-collection-1949-1961","title":"QUEEN OF R\u0026B: THE SINGLES \u0026 ALBUMS COLLECTION","description":"Perhaps more than any other artist, Ruth Brown helped lead the way in bridging the gap between R\u0026amp;B and pop as far as female artists were concerned, paving the way for the likes of Mary Wells and Aretha Franklin in the '60s. So successful was she that she became known as \"The Queen Of R\u0026amp;B\" and her record company Atlantic was sometimes referred to as \"the house that Ruth built\", so much did her hits contribute to the label's commercial fortunes. Between 1949 and 1962 she racked up 25 R\u0026amp;B hits, including five No. 1s, with several crossing into the pop charts. This great-value 109-track 4-CD set comprises just about all the A \u0026amp; B sides of her singles on Atlantic and Philips during these years, which include the titles from her albums \"Rock 'n' Roll\" and \"Miss Rhythm\", plus most of the titles from her albums \"Late Date With Ruth\" for Atlantic and \"Along Comes Ruth\" for Philips. It features all her 25 career R\u0026amp;B and pop chart hits including the R\u0026amp;B No. 1s \"Teardrops From My Eyes\", \"5-10-15 Hours\", \"(Mama) He Treats Your Daughter Mean\", \"Oh What A Dream\" and \"Mambo Baby\". It's a substantial and comprehensive overview of her primary career as a chart artist, and a highly entertaining showcase for her unique talent as a pop and R\u0026amp;B song stylist.","brand":"ACROBAT","offers":[{"title":"CD","offer_id":46012943991018,"sku":"824046715823","price":32.06,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3992466-2728537.jpg?v=1778359605"},{"product_id":"sing-levy-dew","title":"SING LEVY DEW","description":"The St Catharine's Girls' Choir, Cambridge, with director Edward Wickham, celebrate ten years since their foundation with this album of works for upper voices. In marking the momentous occasion in 2008 when St Catharine's created the first college-based girls' choir, the current choristers of this acclaimed group present a varied programme of secular works from British composers including Britten, Bennett and a world premiere by Sally Beamish. The St. Catharine's Girls' Choir- the only college-based girls' choir in the UK- was founded in 2008. The choir sings weekly in the College Chapel, as well as giving regular concerts and it's repertoire extends from the early Middle Ages to the twenty-first century, with several works written specially for it. The choir is made up of twenty girls, aged between eight and fifteen, drawn from local schools; and for this recording is augmented by former choristers. The choir has performed in some of the UK's leading venues, and has performed live in Radio 3's The Choir and toured to Poland and Hungary.","brand":"Resonus Classics","offers":[{"title":"CD","offer_id":46012957753578,"sku":"5060262791288","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3823067_1ef965df-1107-4b97-bc62-f4d136a704a5.jpg?v=1778246297"},{"product_id":"tavener-ex-maria-virgine-angels-etc-brown-157678","title":"Tavener: Ex Maria Virgine, Angels, Etc \/ Brown, Berkieta, Jacobs, Clare College Choir, Et Al","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eTAVENER \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eEx Maria virgine. Birthday Sleep. O Do Not Move. A Nativity. Marienhymne. O Thou Gentle Light. Angels \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Timothy Brown, dir; Clare College Cambridge Ch \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 8.572168 (63:46 \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eText and Translation) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eTwo of the selections are first recordings: \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eEx Maria virgine\u003c\/span\u003e \u003cspan\u003e, the major work at 38 minutes, and \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMarienhymne\u003c\/span\u003e \u003cspan\u003e. The other works are not widely available, for \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eBirthday Sleep\u003c\/span\u003e \u003cspan\u003e was recorded by Stephen Layton (28:4), \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eA Nativity\u003c\/span\u003e \u003cspan\u003e by Matthew Greenall (not issued over here), and \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAngels\u003c\/span\u003e \u003cspan\u003e by David Hill (23: 2). I cannot find the first recordings of the other two pieces. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-style:italic\"\u003eMarienhymne\u003c\/span\u003e \u003cspan\u003e is sung in German, while \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eO Thou Gentle Light\u003c\/span\u003e \u003cspan\u003e is sung in Greek (the ancient hymn \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ePhos hiláron\u003c\/span\u003e \u003cspan\u003e, which Dom Lucien David also set as a neo-Gregorian chant). The earliest work on the program, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAngels\u003c\/span\u003e \u003cspan\u003e, dates from 1985. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe major work is a setting of nine age-old texts in Latin or English separated by a refrain, “Ex Maria virgine,” the first movement being repeated at the end. One movement has a Greek refrain, the original of “hail, Mary,” but the first word is pronounced “kay-ray” rather than “ky-ruh.” The composer has a devoted following, so these accomplished performances will delight them. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: J. F. Weber \u003c\/span\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013008806122,"sku":"747313216871","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1446695.jpg?v=1778337291"},{"product_id":"respighi-the-birds-three-botticelli-pictures-suite-235411","title":"Respighi: The Birds; Three Botticelli Pictures; Suite In G Major \/ Di Vittorio, Chamber Orchestra Of New York","description":"\u003cp\u003eOne of Respighi’s masterpieces, Gli uccelli (The Birds) includes transcriptions of birdsong and music of the seventeenth and eighteenth centuries in writing of evocative, captivating lyricism. Trittico botticelliano, an illustration of three paintings by Botticelli, employs dance rhythms, modal melodies and a variant of the medieval hymn Veni, Veni Emmanuel in deft, often sublime fashion. The Suite in G major, cast for strings and organ in the form of a Concerto grosso, is heard on this première recording in its original edition.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013020143850,"sku":"747313316878","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2565870.jpg?v=1778302976"},{"product_id":"the-road","title":"ROAD","description":"This \"new hard bop\" group plays originals by it's members.  Damon Brown has been around for more than twenty years, critically acclaimed by the public and the press. The Evening Standard called him \"best British mainstream trumpetist\". He played alongside Benny Golson, Steve Grossman, Dave Liebman and Peter King.  Belgium-based Stephane Mercier still tours around the world. One could hear him with Mark Turner, Avishai Cohen, Chris Cheek, Seamus Blake, Aaron Goldberg in New-York. He also leads the Jazz Station Big Band in Brussels.  The two leaders met in Paris, and recently toured in Asia, UK and Europe.","brand":"HYPNOTE RECORDS","offers":[{"title":"CD","offer_id":46013024108778,"sku":"5059505443039","price":14.63,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3840445-2597095.jpg?v=1778378329"},{"product_id":"philidor-sancho-panca-ryan-brown-opera-lafayette-152136","title":"Philidor: Sancho Panca \/ Ryan Brown, Opera Lafayette","description":"\u003cp\u003eInternational chess virtuoso François-André Danican Philidor’s fortunes as a musician at the court of Versailles were transformed when he turned his attention to the new genre of opéra-comique. Sancho Pança, gouverneur dans l’isle de Barataria derives from Cervantes’s famous novel Don Quijote, covering Sancho Panza’s adventures as governor of a fictitious island on which a succession of characters plot to cure him of his delusions of grandeur. Opera Lafayette’s production of this comedy revue is a ‘sparkle of shining surfaces’. (Washington Post)\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013036626154,"sku":"730099027472","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1900678.jpg?v=1778325312"},{"product_id":"mayr-saffo-hauk-94990","title":"Mayr: Saffo \/ Hauk","description":"\u003cb\u003eA \u003ci\u003eMusicWeb International\u003c\/i\u003e Recording of the Month!\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e  As an opera-lover with a particular interest in the ways opera developed and proliferated over the centuries, I’ve sometimes dreamt of a world in which every important composer’s first opera was available to listen to. It’s a fantasy: first operas are seldom as good as later ones and the recording industry, quite naturally, tends to seek out the best, not the earliest. Nevertheless, to anyone like me, first operas always have an intrinsic fascination, for they mark the point at which a particular individual talent joins the larger tradition. They often have much to say about a young composer’s influences and aspirations as well as the standards and expectations of those for whom the opera is written.\u003cbr\u003e  \u003cbr\u003e  Johann Simon Mayr’s Saffo (1794) is a superlatively good and superlatively interesting first opera. Mayr wrote some seventy operas in the course of his three-decade operatic career and the vast majority have not been recorded, nor indeed performed since he enjoyed his final premiere in 1824. Franz Hauk’s decision to excavate the very first is thus both enterprising and unexpected, yet the results fully vindicate the project and the efforts of those involved. Saffo is revealed as an extraordinarily confident and masterful work with the composer’s mature personality already largely developed. A major reason for this, no doubt, is its comparative lateness: Mayr was already thirty when it received its premiere at the Teatro La Fenice, Venice. It is hard to think of any other important opera composer from this era, Beethoven always apart, who waited so long before seeing his work on stage. Cimarosa, the leading Italian opera composer when Mayr’s career commenced, composed fourteen operas before he was thirty; Rossini, the dominant presence at the end of Mayr’s career, managed over twice as many as that.\u003cbr\u003e  \u003cbr\u003e  Delay, in Mayr’s case, appears to have been all to the good. There is something very deliberate about Saffo, a work bearing none of the signs of haste and inexperience that mar so many composers’ first operas. It is carefully planned and beautifully composed with a strong feel for the dramatic potential inherent in Antonio Simeone Sografi’s fine libretto. Gluck was surely a powerful influence and it is easy to suppose that Mayr, a German, may have dreamed of being a second Gluck. A more immediate influence was no doubt Ferdinando Bertoni (1725-1813), Mayr’s teacher in Venice, who was himself influenced by Gluck – to the point where Gluck did not scruple quietly to ‘borrow’ some of Bertoni’s arias. Then there was the larger influence of the Venetian operatic world which had become a hotbed for experimentation with the forms of opera seria – with Paris in turmoil, there was surely no better city for a composer of Mayr’s originality to be making his debut.\u003cbr\u003e  \u003cbr\u003e  Sografi’s libretto is in two acts; as Marion Englhart points out in the Naxos notes, this was itself unusual, as three acts were standard. As each act of Saffo lasts almost exactly an hour on this recording, we thus have the distinctively modern shape of a two-hour opera with a single interval. Nothing seems hurried, yet there are no longueurs either; the pacing and overall dramatic arc of the opera are finely judged. The story is simplicity itself. Saffo, Alceo, Faone and their attendants have come to the Greek city of Leucadia to hear the Pythia, or High Priestess, pronounce an oracle inspired by Apollo. Saffo, the legendary poetess (known in English as Sappho) loves Faone, but it is not reciprocated; he is mourning the death of his wife Cirene. Alceo, a poet, loves Saffo. This much is established in Act One. In Act Two, the oracle is finally pronounced, and as was often the case with oracles, it is not perfectly clear:\u003cbr\u003e  \u003cbr\u003e  Saffo ardisca! Saffo dare!\u003cbr\u003e  Alceo, gemi! Aleco groan!\u003cbr\u003e  Tremi Faone! Faone tremble!\u003cbr\u003e  (The Naxos translation gives ‘Saffo ardisca!’ as ‘Saffo bears it’, which is surely an unfortunate mistake.) This winds the emotional situation up to a higher pitch. Saffo, with some encouragement from the Pythia, believes she should commit suicide by undertaking the famous Leucadian leap. However, at the last moment the tragedy is averted by Faone, encouraged by Alceo, showing some sympathy for Saffo’s sufferings.\u003cbr\u003e  \u003cbr\u003e  I must say this ending came as a complete surprise, and not a welcome one. It has the sort of tacked-on happy ending quality found in so many earlier opere serie — and beautifully sent up in The Beggar’s Opera — but this was certainly not a requirement in Venetian operas of the 1790s. I was taking it for granted that the opera would end with Saffo’s spectacular suicide, in the manner of Giovanni Pacini’s much more famous Saffo of 1840. Interestingly, another Sappho opera of 1794, Jean Paul Égide Martini’s Sapho, did end tragically. The general dramatic movement of Mayr’s opera seems to be towards tragedy, and the sombre colouring of his music prepares one for it. Perhaps, for some reason, he was not allowed to compose the ending he would himself have chosen.\u003cbr\u003e  \u003cbr\u003e  This was my only disappointment with this really exciting release. At no point does Mayr’s score sound routine or turgid, nor is there any of the fluff and padding that make so many eighteenth-century operas much longer than they need be. His recitative is incisively dramatic; his arias strongly shaped, brief and to the point; his choruses noble; his use of the orchestra colourful and inventive. One feels throughout that the subject and libretto were very congenial to Mayr, allowing him to play to his strengths in the alternation of grand ceremonial scenes with the emotionally-fraught conflicts between, and within, the three principal characters. In his 1989 book on Mayr, John Stewart Allitt refers to Saffo briefly as ‘a block-buster of an opera’. He does not elaborate on his grounds for that judgement, but now the evidence is here, such an accolade seems fully justified.\u003cbr\u003e  \u003cbr\u003e  The Naxos studio recording is bright and forward to the point of occasionally being a little claustrophobic, but there is something gripping about its immediacy. Franz Hauk, who has done so much for Mayr (see below) and is surely the greatest living authority on the composer, conducts with authority and panache. The singers are uniformly impressive, with the principals entering into the drama of the opera rather than just singing beautifully.\u003cbr\u003e  \u003cbr\u003e  What’s not to like? Well, you have to download the libretto, which always annoys me, but I haven’t enjoyed a first opera so much for a long time, nor felt so enlightened by the experience of listening to one. Saffo will be an essential acquisition for anyone who loves Mayr’s music and, at Naxos prices, it should prove very attractive to anyone interested in the way opera developed in the crucial period after the French Revolution and Mozart’s death.\u003cbr\u003e  \u003cbr\u003e  – MusicWeb International","brand":"Naxos","offers":[{"title":"CD","offer_id":46013054288106,"sku":"730099036771","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3067913.jpg?v=1778301038"},{"product_id":"donizetti-aristea","title":"Donizetti: Aristea","description":"Classical Music","brand":"Naxos","offers":[{"title":"CD","offer_id":46013054517482,"sku":"747313336074","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2580206.jpg?v=1778317350"},{"product_id":"pipa-potluck-lutes-around-the-world","title":"Pipa Potluck: Lutes Around the World","description":"When pipa player and composer Gao Hong has a potluck, the guests include a couple of Grammy winners, one of the nation’s foremost Arabic music authorities, and a healthy helping of string instruments.Featuring two original compositions by Gao and collaborations on both new and traditional songs, Pipa Potluck – half studio\/half live concert – stirs up a warm and nourishing multicultural meal on pipa, banjo, fiddle, slack key guitar, oud and regular guitar.Ms. Hong is currently on the Carleton College music faculty and is Guest Professor at the Central Conservatory of Music in Beijing.","brand":"Innova Recordings","offers":[{"title":"CD","offer_id":46013074079978,"sku":"726708691622","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2865847.jpg?v=1778286267"},{"product_id":"gretry-lepreuve-villageoise-brown-opera-lafayette-188137","title":"Gretry: L'epreuve villageoise \/ Brown, Opera Lafayette","description":"\u003ca class=\"links\" href=\"http:\/\/blog.naxos.com\/wp-content\/uploads\/2016\/10\/8.660377.mp3\" target=\"_blank\"\u003e\u003cb\u003eListen to the Naxos Podcast to learn more about this release\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  L’épreuve villageoise – which, in its original form, was first performed before Marie Antoinette at Versailles - was one of André-Ernest-Modeste Grétry’s most popular works. For a century after its 1784 premiere it enjoyed huge acclaim across Europe and even travelled to the New World, where it captivated audiences in New York. Grétry was a master of eighteenth-century opéra comique and his crisp and lively farce centres on a clever farmer’s daughter and her two competing suitors. Employing divergent stylistic registers – finesse and naiveté, music reminiscent of popular song, and extended ensembles – Grétry fashioned a score of sophisticated wit and huge charm.\u003cbr\u003e  \u003cbr\u003e  -----\u003cbr\u003e  \u003cbr\u003e  REVIEW:\u003cbr\u003e  \u003cbr\u003e  Every so often it’s nice to take a break from operas with deep meanings and just feel like a bit of French royalty at Versailles in 1784, where this sweet, fluffy operetta was first performed. L’épreuve villageoise (The Village Trial) has simple country folk in a sitcom situation: soprano Denise is engaged to tenor André, but his jealousy, recently ignited by the attentions being shown Denise by the more sophisticated Monsieur de la France, is really getting on her nerves.\u003cbr\u003e  \u003cbr\u003e  Soprano Madame Hubert, Denise’s mother, until recently was being wooed by de la France, so mother and daughter plot to get back at both men. Denise pretends to care for de la France and André claims to have found another girlfriend, which makes Denise sad and reflective (in a lovely aria). She then overhears de la France tell the town’s finer ladies that he has found a “rural” girl, and this angers her and her mother. Denise publicly denounces de la France and he leaves, making way for André and Denise to live a jolly life. Dancing ensues.\u003cbr\u003e  \u003cbr\u003e  Sophie Junker’s bright voice is ideal for Denise; Talise Trevigne’s more darkly colored tone gives Mme Hubert a certain wisdom. Thomas Dolié sings with “attitude” and a fine baritone, while André is sung by a rather timid Francisco Fernandez-Rueda.\u003cbr\u003e  \u003cbr\u003e  Nothing here will change your life, and you’ll be happy to learn that all we get on this 54-minute CD is the opera’s music, shorn of its spoken dialogue. There are two fine ensembles and a duet or two. Nothing outstays its welcome. A bon-bon, nothing deep, that’s good for you. Ryan Brown leads his Opera Lafayette–24 strong, with lovely flutes–and small chorus spiritedly.\u003cbr\u003e  \u003cbr\u003e  – ClassicsToday (Robert Levine)","brand":"Naxos","offers":[{"title":"CD","offer_id":46013146530026,"sku":"730099037778","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3496111.jpg?v=1778292728"},{"product_id":"beethoven-leonore-brown-opera-lafayette-chorus-397503","title":"Beethoven: Leonore \/ Brown, Opera Lafayette Chorus","description":"\u003cp\u003e\u003cstrong\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e \u003ca class=\"links\" href=\"album.jsp?album_id=2307157\"\u003e\u003cstrong\u003eAlso available on standard DVD\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e \u003cbr\u003e Beethoven started composing Leonore in January 1804. The subject – the release to freedom of an unjustly imprisoned man by his devoted wife – was part of the genre of ‘rescue operas’ which were very popular at the end of the 18th century. The premiere of Leonore, given before an uncomprehending audience at a time of political upheaval, was a failure and Beethoven responded by shortening the work from three acts to two, which was the version performed in 1806. After further revisions it was to emerge in 1814 as Fidelio. This performance is from Opera Lafayette’s Leonore Project which included a performance of Pierre Gaveaux’s Léonore, ou L’Amour conjugal (available on Naxos DVD 2.110591 and Blu-ray NBD0085V) – the opera on which Beethoven modelled his Leonore.\u003c\/p\u003e","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46013218128106,"sku":"730099012164","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3886885-2646992.jpg?v=1778438673"},{"product_id":"laura-karpman-ask-your-mama-112356","title":"Karpman: Ask Your Mama (Poetry by Langston Hughes) \/ Manahan, SF Ballet Orchestra","description":"Epic poetry set to powerful music, brought to life by a cast of legendary performers: Ask Your Mama is an original musical setting by four-time Emmy Award-winning composer Laura Karpman of the 1961 masterpiece by Langston Hughes, delivered with majesty and magnetism by sopranos Janai Brugger and Angela Brown, hip-hop innovators The Roots and Medusa, jazz vocalist Nnenna Freelon and others, conducted by Grammy-nominated George Manahan. \u003cbr\u003e  \u003cbr\u003e  Ask Your Mama: 12 Moods For Jazz is the most modernist, defiant work by Langston Hughes, an icon of the Harlem Renaissance known as the pre-eminent voice of the African-American experience. It gives voice to the outrages and the joys of African-American life through the eyes of a child and the man he becomes, alternating between the fury of indignation and wild comedy, taking us on an odyssey from Africa to the Americas, high art to low art, from south to north, from cities to suburbs, from opera to jazz – and in Hughes’ own words, “from shadows to fire.” Hughes conceived his epic 12-part poem as an interdisciplinary creation, including in the margins suggestions for types of music including hot jazz, German lieder, cha-cha, patriotic songs, post-bop, Arabic and more. \u003cbr\u003e  \u003cbr\u003e  Laura Karpman’s composition is the first musical setting of Hughes’ complete masterpiece. Her score takes its cue from Hughes’ boundary-exploding text and musical notations. Integrating 21st century technology, Hughes’ words are brought to life with orchestral music, live singers, rap artists, and recorded voices of African-American icons from Louis Armstrong to Leontyne Price to Pigmeat Markham. The result: an exhilarating tapestry of jazz, carnivale, tent revival, film, opera and poetry slam. \u003cbr\u003e  \u003cbr\u003e  Ask Your Mama premiered to a sold-out Carnegie Hall in 2009 and has since played from Harlem’s Apollo Theater to the Hollywood Bowl, and has reached millions more through media coverage by National Public Radio, PBS, NBC TV, The New Yorker and the Huffington Post. The release appropriately comes in the wake of Independence Day: as Hughes says in his poem, “your country is your mama.”\u003cbr\u003e  \u003cbr\u003e  Tracklist: \u003cbr\u003e  \u003cbr\u003e  Ask Your Mama\u003cbr\u003e  Music by Laura Karpman\u003cbr\u003e  Poetry by Langston Hughes\u003cbr\u003e  \u003cbr\u003e  CD 1\u003cbr\u003e  DEDICATION (4:20)\u003cbr\u003e  CULTURAL EXCHANGE (12:53)\u003cbr\u003e  RIDE, RED, RIDE (4:16)\u003cbr\u003e  SHADES OF PIGMEAT (7:42)\u003cbr\u003e  ODE TO DINAH (10:37)\u003cbr\u003e  BLUES IN STEREO (5:12)\u003cbr\u003e  HORN OF PLENTY (7:39)\u003cbr\u003e  GOSPEL CHA-CHA (11:00)\u003cbr\u003e  Total time CD 1: 62:15\u003cbr\u003e  \u003cbr\u003e  CD 2\u003cbr\u003e  IS IT TRUE? 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Guitarist Mel Brown's 1967 Impulse! Debut is possibly the funkiest and most unique album ever released on the label. His clean blues picking style - honed while playing in John Lee Hooker's and T-Bone Walker's bands - marinates funkily with the swinging soul-jazz organ of Gerald Wiggins. The title track and the simmering lament of \"I'm Goin' to Jackson\" standout. Verve By Request Series features transfers from the analog tapes.","brand":"VERVE","offers":[{"title":"Vinyl","offer_id":46013266788586,"sku":"602445991600","price":33.54,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4143354-2973612.jpg?v=1780137075"},{"product_id":"piece-of-mind-various-359868","title":"Piece of Mind: Adonis Rose Live at Blue Llama \/ Rose, Fuller, Brown, Masakowski, Hayama, Weaver","description":"\u003cp\u003e\u003cem\u003ePiece of Mind\u003c\/em\u003e is an all-star group that features some of the most talented voices in jazz today. 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Members of the group include Adonis Rose: drums; Tia Fuller: alto sax; Maurice Brown: trumpet; Sasha Masakowski: vocals; Miki Hayama: piano; and Jasen Weaver: bass.\u003c\/p\u003e","brand":"Storyville Records","offers":[{"title":"CD","offer_id":46013267837162,"sku":"717101848621","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3842182-2610294.jpg?v=1778261356"}],"url":"https:\/\/arkivmusic.com\/collections\/anthony-brown.oembed?page=3","provider":"ArkivMusic","version":"1.0","type":"link"}