An absolute firework of hits with symphonic pop reinterpretations, including Taylor Swift, Rihanna, Ed Sheeran, The Weeknd, David Guetta and many more! Through his creativity and musical versatility, the German star violinist has developed into one of the most successful solo artists in the world. On his new album, the musician presents himself from a completely new side. David Garrett combines the biggest hits of the last 25 years with his current project. Opulent classical-meets-pop hymns rearranged for the violin. A conceptual crossover album that more than lives up to it's title, Millennium Symphony!

Restock inventory available. For more than 3 decades saxophonist Kenny Garrett has been on the forefront of the most adventurous and creative collaborations in jazz, having performed with generations of innovators such as Miles Davis, Art Blakey, Freddie Hubbard and more. The living legend charts yet another path in his illustrious career with the release of his first ever electronic album, an avenue to explore new sounds.

Deluxe two CD edition includes three bonus tracks. Inspired by the legendary violinists whose dazzling showpieces and heart-melting melodies Garrett fell in love with as a child, Iconic includes more than twenty tracks featuring music by Bach, Dvor k, Gluck, Kreisler, Mendelssohn and Schumann, among many others. Garrett is being joined in duet arrangements by his former teacher Itzhak Perlman, star tenor Andrea Bocelli, flautist Cocomi and trumpeter Till Bronner.

Inspired by the legendary violinists whose dazzling showpieces and heart-melting melodies Garrett fell in love with as a child, Iconic includes more than twenty tracks featuring music by Bach, Dvor k, Gluck, Kreisler, Mendelssohn and Schumann, among many others. Garrett is being joined in duet arrangements by his former teacher Itzhak Perlman, star tenor Andrea Bocelli, flautist Cocomi and trumpeter Till Bronner.

Escaping from the noise and distractions of daily life provided the creative environment for Kenny's work on this project, an exercise that could benefit US all in an attempt to obtain a clearer view of the world. Kenny's last recording, SEEDS FROM THE UNDERGROUND, paid homage to those who inspired him and although PUSHING THE WORLD AWAYs primary focus US not on Kenny's tutelage of young musicians, the number of you young musicians who participated in this recording emphasizes his mentorship.

Kenny Garrett may have made it onto your radar playing for Ellington and Davis, but he's since made a name on his own, leading a variety of lineups in his takeover of the "post-bop" subgenre of jazz. Listen to him on this 2002 cut, where he'll make you one of his happy people.

The Passion of St. Thomas More is a chamber opera scored for three singers and four players (on English horn, guitar, Indian harmonium, and percussion). The plot, familiar to many from A Man For All Seasons, concerns Thomas More's refusal to countenance Henry VIII's divorce of Catherine of Aragon and sign a statement of support for the king's subsequent schism with Rome, for which "crime" he was beheaded. American composer Garrett Fischer (b. 1970) focuses on the moment of decision itself and its effect on three principal characters: More (who must follow his conscience knowing the penalty for refusal to renew his loyalty to the king); his daughter Margaret (who must come to accept her father's choice); and King Henry (forced to understand that his power to compel obedience is not absolute and that More has vanquished him spiritually). These singers also take on additional roles as "dark angels", figures that elucidate the spiritual consequences and implications of the decisions that the human characters make. There's also a role for a dancer, and a prelude and postlude consisting of a lovely traditional Norwegian poem that sets the stage by recalling the "old voices" of legendary times.


Fisher's work, haunting in its simplicity, consists largely of chant-like, at times highly ornamental vocal lines (think of Hildegard of Bingen with some occasional counterpoint added and delicate instrumental accompaniments), and might superficially call to mind the music of composers such as John Tavener, save for the fact that Fisher writes music whereas Tavener patently does not. There are no screaming countertenors, pseudo-apocalyptic visions, crude tonal analogs, or obscure, autobiographically motivated sectarian philosophies forced on listeners here.


Indeed, Fisher's laudable objective clearly has been to universalize the story through a ritualistic stylization that treats the music in the most traditional way possible: not as "representation" of some abstract concept or event, but as a means of elevating the expressive impact of the text. The libretto itself, by the composer, is as simple, eloquent, and direct as his setting of it, and finds room not only for its Norwegian prelude and postlude but also for a little Latin prayer and a touch of the poetry of William Carlos Williams (among other interesting things).


The result, while admittedly (and intentionally) slow moving and largely contemplative, is an extremely touching morality play about the consequences of choice, the need to be true to one's self and follow one's own conscience, and the struggle between temporal and spiritual values. The work stands pretty squarely in the tradition of Benjamin Britten's Church Parables, and above all Holst's Savitri. Even the choice of a soprano voice for the role of Thomas More has dual validity, first as a reinterpretation of an ancient tradition of male characters playing women (as in Japanese "Noh" plays or Britten's own Curlew River), and second in order to establish the musical opposition of More and his daughter on the one hand (both sopranos) and Henry VIII (a baritone) on the other.


This beautifully recorded performance features the composer on Indian harmonium, an amazingly expressive and creamy-toned Taina Karr on English horn (no quacking or honking here!), two more excellent players, and three absolutely superb singers--none really better than the others. They present the music with tremendous concentration and also wring a surprising amount of variety from Fisher's deliberately limited resources. Perhaps the most appealing thing about The Passion of St. Thomas More is the way it gently touches on spiritual matters without ever becoming preachy or pretentious, telling a human story with words and music that truly work well together. It succeeds most of all because Fisher never, ever, falls prey to the temptation to subordinate musical values for the sake of irrelevant, unmusical, philosophical point making, and that's a remarkable achievement all by itself.
--David Hurwitz, ClassicsToday.com

At age 17, Kenny Garrett joined the Duke Ellington Orchestra, led by Duke's son. In '87, Garrett was enlisted by Miles Davis and played on 4 albums with him, including Davis's final recording (Miles Davis & Quincy Jones: Live at Montreux). with his latest album, the alto sax powerhouse continues to add to his legendary body of work. Following '97s Song Book (Grammy nominated for Best Jazz Instrumental Performance), Simply Said (featuring Pat Metheny and Marcus Miller among others) is intense, imaginative and expressive.