Original score to the 2012 motion picture composed by Henry Jackman.

Recorded between 1959 & 1975. Includes liner notes by Joseph F. Laredo.
Digitally remastered by Bill Lacey.

Track Listing
1. As Time Goes By
2. One For My Baby
3. Everything I Do (I Do It For You)
4. Stella by Starlight
5. Windmills of My Mind
6. Crazy World
7. That Old Black Magic
8. Unchained Melody
9. Mona Lisa
10. Call Me Irresponsible
11. Two For the Road
12. It's All There
13. Summer Knows, The
14. Tender Is the Night
15. Charade

This live recording was taken in the Theatre antique d’Orange in June of 2015, and features the Orchestre PHilharmonique de Radio France, conducted by Myung-Whun Chung. Classic favorites bookend this concert, beginning with Berlioz’s Roman Carnival Overture, and ending with Saint-Saens’s 3rd Symphony in C minor. Featured instrumentalists include pianists Martha Argerich, Nicholas Angelich, and organist Christophe Henry.

Conceived and built in 1931 by musical forward-thinkers Leon Theremin and Henry Cowell, the Rhythmicon was a musical keyboard instrument. The online one made by Nick Didkovsky, of Dr. Nerve fame, in 2003 takes the instrument to it's next logical step. In the hands of some of today's leading sound artist/composers, the Virtual Rhythmicon makes music that shimmers, pulses and haunts with a beauty that would do it's more famous cousin, the theremin, proud.

Voices of Women: From Unknown to Renowned began as an idea in a workshop soprano and album producer Heather Fetrow attended called The Twenty-first Century Singer with Soprano Susan Mohini Kane in Los Angeles in the summer of 2016. The focus of the album grew further to encompass the goal of honoring female composers as a result of collaboration with renowned soprano Dr. Julianne Baird in Philadelphia in December of 2016. These events coincided with the Women's March in Washington DC the next month in January of 2017, lending a sense of timeliness to the project. The focus of an album of songs by women composers and other songs about women is unique, and brings to the fore the vast social change the world is undergoing with respect to women in our society, both in the United States and elsewhere around the world. Each piece addresses this separately from different points of view, in some cases from a previous age where the standards of women's expectations were very different than today. The World Premiere of "Still" by outstanding and innovative composer Paola Prestini, sung as a duet by sisters, brings the album's concept full circle with a song composed for and dedicated to this album. Also included are two piano pieces performed by Mila Henry, both by female composers, "Light" by Iranian composer Gity Razaz and "No. 2" from "Nine Short Piano Pieces" composed by Ms. Henry's mother-in-law. In all, this is an album for the age of the woman and about the age in which we live.

Classical Music

Classical Music

DURUFLE: Messe Cum Jubilo / Organ Suite, Op. 5

In 1840s Leipzig the young Danish composer Niels W. Gade (1817-90) was welcomed with open arms, and became Mendelssohn’s successor with the Gewandhaus Orchestra. There, Gade himself conducted the first performance of his cantata Comala, which travelled as far afield as the USA and Russia. Comala is a lyrical-heroic legend based on James Macpherson’s famous Ossian poems about the warrior Fingal and his beloved Comala, here performed by the Danish National Symphony Orchestra & Choir and an inspired team of international soloists under the renowned French conductor Laurence Equilbey. While the dramatic work was one of Gade’s biggest successes, it has largely been forgotten over the last century. This first collaboration between Equilby and the Danish National Symphony Orchestra and Choir is a perfect revival.

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REVIEW:

Together they deliver a magnificent account of this undeservedly forgotten score. Taken from live performances, there’s also a vibrancy, which turns music that in lesser hands might be ordinary fare, into a highly memorable listening experience.

– Classical Lost and Found (Bob McQuiston)

American Originals is the latest release from the Cincinnati Pops conducted by John Morris Russell and features iconic American songs interpreted by a diverse array of acclaimed musical collaborators including Rosanne Cash, Dom Flemons, Over the Rhine, Joe Henry, Aoife O'Donovan and the Comet Bluegrass All-Stars. The first-ever Cincinnati Pops album to be recorded live in concert, American Originals breathes new life into the first chapter of the Great American Songbook and the music of Stephen Foster. The 94th Cincinnati Pops album includes inspiring new renditions of My Old Kentucky Home, O Susannah, Camptown Races, Aura Lee, Slumber My Darling, Hard Times, and Beautiful Dreamer, among other classic tunes. According to The Cincinnati Enquirer, The fresh arrangements and unique talents who performed them set each in a new light.

Includes "Breakfast at Tiffany's," "Days of Wine & Roses," "Two for the Road," "Peter Gunn," "Mr. Lucky," "Moon River," "Baby Elephant Walk," "A Shot in the Dark" and many more classics!

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.

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.

THIS BRINGS US TO 2

To celebrate saxophonist/flutist Henry Threadgill's career retrospective at the 2024 Big Ears Festival, Pi Recordings is proud to release both Volumes I & II of This Brings Us To together in a limited-edition double vinyl set. Featuring his long-running band, Zooid, the two volumes were originally released in 2009 and 2010 even though the music was all recorded at a single session. They were his first releases in eight years, longer than any hiatus in his career, a time that allowed for the gestation of what was to become Threadgill's signature intervallic system of composition and group improvisation that ultimately won him a Pulitzer Prize for his work In for a Penny, In for a Pound. The original albums were voted the #2 and #5 best releases of the year by The Village Voice Jazz Critics' Poll, about which NPR said "The jazz world is coming to realize that Threadgill is a true idiosyncratic great... This Brings Us To staggers and lurches and creates dissonances, and it still brings the mad-scientist funk." Remastered for vinyl by Threadgill's long-time guitarist and producer Liberty Ellman and housed in a gatefold sleeve with archival photos of the band, the release focuses attention on an important turning point in the career of one of music's great iconoclastic masters.

2018 release. Double Up, Plays Double Up Plus is Pulitzer Prize-winning composer Henry Threadgill's highly anticipated follow-up to Old Locks and Irregular Verbs, which was voted the best jazz album of 2016 in the NPR and Jazz Times Critics Polls. Like on that release, which NPR called "a masterpiece," this album also features Ensemble Double Up, this time with the remarkable inclusion of three concert grand pianos, in addition to saxophones, flute, cello, tuba, and drums. Alive with the multi-layered counterpoint, and odd-angled swing that is Threadgill's hallmark, the work is rich with intricate detail and grand gestures.

Stravinsky has been compared to his near contemporary Picasso, the painter who provided d�cor for Pulcinella and who through a long career was to show mastery of a number of contrasting styles. Stravinsky's earlier music was essentially Russian in inspiration, followed by a style of composition derived largely from the eighteenth century, interspersed with musical excursions in other directions. His so-called neo-classicism coincided with the beginning of a career that was now international. The initial enthusiasm for the Russian revolution of 1917 that had led even Dyagilev to replace crown and scepter in The Firebird with a red flag, was soon succeeded by distaste for the new r�gime and the decision not to return to Russia. Stravinsky wrote his Danses concertantes in Hollywood in 1941 and early 1942, in response to a commission from the Wemer Janssens Orchestra, which gave the first performance in Los Angeles on 8th February under the direction of the composer. Although originally intended for concert use, the Danses concertantes were planned in balletic sequence, with an introductory and concluding march to bring the dancers on and off the stage and the necessary variety, not only in the Pas d' action and Pas de deux but also in the theme and variations, three of the latter based on an ascending semitone step. In 1944 the dances were choreographed by Balanchine for the Ballet russe of Monte Carlo. The style of writing reflects that of the earlier ballet Jeu de cartes.

DURUFLE: Requiem / 4 Motets / Prelude and Fugue