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With Brad Goode, trumpet; Karl Montzka, piano; Larry Gray and Stewart Miller, bass; and Tim Davis, drums.","brand":"DELMARK","offers":[{"title":"CD","offer_id":44930253357290,"sku":"038153055028","price":15.7,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/592886_e7203804-2f68-4587-9a69-c689adeeb367.jpg?v=1778366724"},{"product_id":"number-stations-2","title":"NUMBER STATIONS","description":"NUMBER STATIONS","brand":"CUNEIFORM","offers":[{"title":"CD","offer_id":44936871674090,"sku":"045775035628","price":17.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2097970.jpg?v=1778368032"},{"product_id":"beautiful-lowdown","title":"BEAUTIFUL LOWDOWN","description":"With a career spanning forty years, award-winning soul, blues and R\u0026amp;B vocalist\/harmonicist\/songwriter Curtis Salgado is a one-of-a-kind talent whose music is as compelling as his story. From co-fronting The Robert Cray Band to leading his own band (and recording nine solo albums) to helping transform John Belushi into \"Joliet\" Jake Blues to touring the country with Steve Miller and Santana, he is a true musical giant. The Beautiful Lowdown, Salgado's 2016 Alligator album, is the singer's most fearless and adventurous release to date. For the first time in his career, he wrote or co-wrote virtually the entire album himself. He co-produced it along with Marlon McClain and Tony Braunagel and contributed to the horn arrangements and background vocal parts.","brand":"ALLIGATOR RECORDS","offers":[{"title":"CD","offer_id":44945479401706,"sku":"014551497028","price":18.93,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3292171.jpg?v=1778350899"},{"product_id":"superfly","title":"SUPERFLY","description":"Curtis Mayfield was best known for writing and producing the soundtrack to the film Super Fly. 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Ireland’s evocative piano works lend themselves well to string orchestra arrangement, including the poetic Soliloquy, and In a May Morning inspired by spring on Guernsey.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012925575402,"sku":"747313137275","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3328798.jpg?v=1778284137"},{"product_id":"you-get-more-bounce-with-curtis-counce","title":"YOU GET MORE BOUNCE WITH CURTIS COUNCE","description":"Vinyl LP pressing. Acoustic Sounds celebrates Contemporary Records with this new reissue of Curtis Counce's 1957 album You Get More Bounce With Curtis Counce! Originally released in 1957 the album sees Counce (bass) alongside Jack Shelton (trumpet), Harold Land (tenor sax), Carl Perkins (piano) \u0026amp; Frank Butler (drums). Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.","brand":"CRAFT RECORDINGS","offers":[{"title":"Vinyl","offer_id":46013084926186,"sku":"888072453746","price":33.26,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4206932-2984280.jpg?v=1780137985"},{"product_id":"la-notte-damore","title":"La notte d'amore","description":"Classical Music","brand":"Stradivarius","offers":[{"title":"CD","offer_id":46013326557418,"sku":"8011570336361","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3345479.jpg?v=1778283532"},{"product_id":"gluck-demofoonte-alan-curtis-il-complesso-barocco-397342","title":"Gluck: Demofoonte \/ Alan Curtis, Il Complesso Barocco","description":"\u003cp\u003eDemofoonte dates from the early ‘Milan years’ of Christoph Willibald Gluck (1714–1787), long before the radical ‘reform operas’ for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal. His first opera, Artaserse, on a libretto by Metastasio, premiered there on 26 December 1741 and opened the Milanese Carnival of 1742. Gluck went on to compose an opera for each of the next four Carnivals at Milan, Demofoonte being the second of these and his third opera overall, premiering on 6 January 1743. In celebration of Gluck’s 300th birthday, the early music scholar and harpsichordist Alan Curtis (1934–2015), founder of Il Complesso Barocco and leader of the period music ensemble for nearly four decades, prepared Demofoonte for performance. All of the arias had been preserved, but nearly all of the secco recitatives were lost. Curtis composed new recitatives in Gluck's style, using Gluck’s earliest fully extant opera, Ipermestra, written less than two years after Demofoonte, as a model. 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An exclusively male singing cast, as was the custom on Roman stages, to tell the tale of the battle between Hercules, accompanied by the heroes Theseus, Telamon and Alceste, and the Amazons led by Antiope. The story, which is based on the ninth of the legendary labours of Hercules, and which concludes with the traditional happy ending here decreed by Diana, who proclaims the nuptial unions of Hippolyte, Antiope’s sister, (with Theseus, prince of Athens) and of Martesia, Antiope’s daughter (with Telamon, king of Ithaca), was arranged by the “regular canon of La Carità of Venice” Don Giacomo Francesco Bussani, on a libretto that had already been performed in 1678 at the San Salvatore theatre in Venice. The opera was successful, winning appreciation and at the same time astonishment , through its introduction of many passages written in a new “manner”, with an exciting, incisive rhythmic gait. 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The orchestra, however, is present, punctually and in elaborate manner, not only in the more dramatic moments but also in the bucolic, descriptive arias, and stands in the service of the voice to accentuate onomatopoeic effects and to offer clearer depictions of the characters and the feelings that drive them. Now in his twenty-second opera score, Vivaldi brings into play all the technical means at his disposal to render the story comprehensible and to present the state of mind of the individual characters. The main desire of the “red priest” was to proceed smoothly, following the expressive substance of the verses, using shifting melodic invention to set the various scenic moments against a ceaseless search for lively collaboration between voices and instruments and a skilled use of harmonies and of a fanciful search for colors. 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