Winner of countless important competitions around the world and recipient of numerous academic and merit-based awards, Juan Carlos Laguna is nowadays not only a world-renowned performer, but also an internationally recognized educator. He is a full professor at the Faculty of Music of Mexico's National University and is the Artistic Director of the Taxco International Guitar Festival as well as the Artistic Director of the National University’s Guitar Festival. In this album Mr. Laguna has gathered a selection of previously recorded works, performed with some of his closest friends. With an emphasis on Mexican music, the repertoire also includes works by composers from other latitudes of Latin America. The program includes three works for solo guitar: La Catedral (The cathedral) by Barrios Mangoré, Agua y Vino (Water and Wine) by Gismonti and Seis Milonga (Six Milonga) by Ernesto Cordero. Other works include Por Siempre Sabines (Forever Sabines) for soprano and guitar, by Julio César Oliva, Tocata para flauta y guitarra (Toccata for flute and guitar) by Eduardo Angulo, Muy Cerca (Very Close) for cello and guitar, by Eduardo Gamboa and Fantasía Mulata (Mulatto Fantasy) for flute and guitar, by Ernesto Cordero.

In the last weeks prior to April 9th of 1866, Baudelaire left instructions for the care of the uncensored edition of his book The Flowers of Evil. Aware of his impending death, he knew that his work was destined for posterity, in spite of censorship and adverse criticism. But Baudelaire could not imagine that his work would transcend not only in universal poetry, but that the new themes, accents, environments, melodic figures and dissonances would shape the artery from which the new urban song would be nourished. What was an ironic moniker, a mockery to describe his poetry as Damned Poetry, would reach the twentieth century as a great poetic and cultural tradition. In Mexico it could not be different. Baudelaire's influence was present in the nineteenth century with the Symbolist and Decadent poets that were organized around the Modern Review, edited by renowned Mexican poet Manuel Gutiérrez Nájera. Mexico generated its own tradition and assimilated the late romanticism, decadence and symbolism trends. This abundant poetic milieu explains the richness and novelty of the urban song that flourished between the 19th and 20th centuries. The twelve songs that make up this second compilation of Damned Songs (Canción Maldita II) were arranged and produced by the great Mexican pianist, composer and arranger Abraham Barrera. With his aesthetic conception, his original arrangements, knowledge of Mexican music, jazz and contemporary music, we have achieved what we set out to do when creating this series: the Bolero of the 21st century.

Includes work(s) by various composers. Soloists: Carlos Prieto, Edison Quintana.

Playa Paraiso

Heras, J.G.: Fantasia Concertante / Zyman, S.: Cello Concert

Barrera, Abraham: Leyendo suenos (Reading dreams)

Pena, R.: Flute Concerto / Torres, R.: Flute Concerto / Monc

Así

Mexican Contemporary Saxophone, Vol. 1

Guitar Duo Recital: Laguna, Juan Carlos / Sato, Norio - TAKE

Vocal Recital: Lenero, Carmen - DIAZ, M. / PEREZ, A. / LENER

TRACKS 1. Ech� Alejandro Cardona 2. Telegramas Alejandro Cardona 3. Profec�a Alejandro Cardona 4.Usted Gabriel Ruiz 5. Vayamos al Diablo Astor Piazzolla 6. The Day After Miguel del Aguila 7. Lo que Vendr� Astor Piazzolla 8. Dan-S�n Enrico Chapela 9. Jog-Alap Sidartha Siliceo-Alvaro Bitr�n 10. Ciudades Oscuras Eduardo Gamboa 11. Mountain Song Nawang Kechog-Alvaro Bitr�n 12. Digital Gabriela Ortiz 13. El Tiempo y el Olvido Cesar Olgu�n �lvaro Bitr�n �lvaro Bitr�n was born in Chile of a family of distinguished musicians. He started playing the cello at the age of seven and concluded his formal studies at Indiana University under the guidance of world renowned cellist Janos Starker. In 1982 he founded the Cuarteto Latinoamericano, a string quartet that now enjoys world-wide recognition. In addition to frequent tours of both North and South America, the quartet also tours Europe, Israel and New Zealand. Recent performances have included New York's Carnegie Hall, Washington's Kennedy Center and Milan's Teatro Alla Scala. His recordings (more than 50 in all) have appeared in various labels such as Dorian, New Albion and Urtext and have received several prizes, including two Grammy Nominations in 2001: Best Chamber Music Performance and Best Classical CD at the Latin Grammys. �lvaro Bitr�n is regularly invited to play as soloist with some of the major orchestras in our continent: Mexico, Uruguay, Argentina and Venezue- la symphony orchestras, Dallas Symphony, Los Angeles Philharmonic, Seattle and San Antonio Symphony in the U.S. and Ottawa's National Arts Center Orchestra in Canada, among others. �lvaro Bitr�n is firmly committed to the creation of new music for his instrument and has premiered and recorded many new works dedi- cated to him. He has recently released two cello and piano CD's featuring new mu- sic by Latin American composers, as well as traditional repertoire. He has devoted much of his energy to teaching and is responsible for the development of an entire generation of cellists in Mexico. Currently he is a faculty member at the National Arts Center in Mexico City, at the UANL in Monterrey and at Pittsburgh's Carnegie Mellon University. He offers seminars and master classes in many universities in the US and M�xico and plays in a cello built by Martin Stoss, in 1817, in Vienna. Mi Chelada This project was born in the attic of my house in The Woodlands, Texas in 2004. On those lonely Texan nights, with my son Daniel controlling the recording sessions and playing percussion and myself at the cello, we discovered the great pleasure of mixing strings, microphones and mallets ... years later, while living in Monterrey, that experiment materialized in this disk. In this musical adventure many different sounds converge, as well as many external and internal characters, all born in a delirious year, marked by strong personal life experiences. How could I explain such a diverse combination of musical works, united only by the sound of the cello? Perhaps as a self-portrait, using as a brush only the music that surrounds me at this moment in my life? Or maybe as a 'divertimento', a project -heterogeneous in appearance brought together solely by the fine thread of pleasure? Or perhaps as my birthday present a wink of an eye to my half-century of 'residence on Earth'? In any case, a small sign, my minimal contribution with what I do best, to this violent world that surrounds me. This unique experience of recording so many voices with my cello led me to explore my inner voice in search of the sound and character that each part required: a classic Mexican bolero, a Hindu raga with sitar, a tango with bandoneon by Piazzolla, a duet with Tibetan flute, a Dan-Son with tropical percussions, a blues for six cellos, and many other sound universes. In this musical journey, I lived with many of the characters who share my world as an interpreter. Nevertheless, my goal has been to disap- pear in order to let the music speak, leaving, however, a minimal personal mark along the way: the texture of the sound, the tempo of a sigh, a slight trace of the soul. This musical adventure led me to put forth all the traditional and con- temporary virtuosity of cello playing in works as complex as Ech� and Digital, while at the same being thrown into the fascinating world of improvisation in Raga Jop and Mountain Song. An additional challenge was the synchronization of all voices, reaching it's extreme with nine cellos in Dan-Son. The challenge was not only the rhythmic coordination, but also and above all, the unity of musical intention, in order to make the music flow in the atmosphere of freedom in which it loves to dwell. Finally I must thank the dear friends who have enriched this recording with their talent: Gabriela Ortiz, Cesar Olgu�n, SidarthaSiliceo, Nawang Kechog, Ricardo Gallardo, Alfredo Bringas. Alejandro Cardona, Miguel del Aguila, EnricoChapela, Javier Alvarez, Javier Montiel, and Enrique Mendoza. And of course to my dear daughter Alina, whose solar presence has illuminated my life and my dear son Daniel, without whom this recording would not exist. In addition to collaborating with his musical talent and his impressive technical knowledge, Daniel has been my partner and accomplice in this whole project. This album is dedicated to Marielena Arizpe, my muse, wife and partner, with whom I have had the privilege of sharing this life journey. Credits: Alvaro Bitran: Violoncello, Liner Notes, Executive Producer, Arranger Daniel Bitran Arizpe: Engineer, Producer, Percussion Nawang Khechog: Flute Sidarta Siliceo: Sitar Cesar Olgu�n: Bandoneon, Arranger Bogdan Zawitowski: Mastering Javier Alvares: Arranger, Cadence Ricardo Gallardo, Alfredo Bringas: Percussion Album ID: W 170720.

Cello Music from Mexico & Brazil.

Includes work(s) by Armando Luna Ponce. Soloists: Mercedes Gomez, Janet Paulus.

PABLO HIDALGO JAZZ QUARTET: Tuesday the 13th

Patricia Belieres: El Otro Brasil

Includes work(s) by various composers. Ensemble: Ars Moderna. Conductor: Jesús Medina.

Includes work(s) by various composers. Soloists: Martha Molinar, Jozef Olechowski.

Valenzuela, C.: Harp Music

Includes work(s) by Guillermo Diego. Soloist: Guillermo Diego.

Pomer, J.: Quimera (La) / Mazurkas Nos. 1 and 3 / Piano Sona

Luna, A.: Chamber Sonata No. 2 / Uribe, H.: Trio No. 1 / Der

BELIERES, Patricia: French and Brazilian Music from the 40's

Includes work(s) by various composers.

Chavez, C.: Madrigal / Guarnieri, C.: Choro / Ibarra, F.: Ce