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Reznicek: Symphony No 1 "tragic", Etc / Beerman, Prudenskaja, Brandenburg State Orchestra Frankfurt
CPO · Jan 2009CD$18.99 -
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PROMISE
CRISS CROSS
CD
$20.21
May 23, 2006
For his debut recording, Los Angeles-born pianist Danny Grissett, who played frequently in 2004-05 with such artists as Vincent Herring, Tom Harrell and Nicholas Payton, displays his mastery of the piano trio function. Joined by Vicente Archer (bass), his frequent partner in Payton's quartet, and drummer Kendrick Scott, best known for his work with Terence Blanchard in recent years, Grissett uncorks a polished set of standards (Autumn Nocturne, Everything Happens to Me, Moment's Notice, You Must Believe in Spring) and well-wrought originals.
MUSINGS OF MILES
FANTASY
Vinyl
$31.49
Jul 15, 2014
The jazz legend's first 12" LP, originally released in 1955, has been newly reissued on 120-gram vinyl to commemorate the 65th anniversary of Prestige Records and the 90th birthday of legendary recording engineer Rudy Van Gelder. Hear Miles, pianist Red Garland, bassist Oscar Pettiford and drummer Philly Joe Jones perform sublime renditions of Will You Still Be Mine?; I See Your Face Before Me; I Didn't; a Gal in Calico; a Night in Tunisia, and Green Haze ! Fantasy.
VIVUM - YOJO CHRISTEN PLAYS GERSHWIN HUMMEL &
EUROARTS
CD
$17.42
Sep 15, 2023
When Yojo Christen plays the piano, his eyes light up and you realise that for him there is nothing more beautiful, nothing more significant in this world. The love story between the pianist and music started early, because as soon as Yojo could walk, he was drawn to the fascinating black grand piano in his family's living room. Yojo was taught early on by his stepfather, the successful concert pianist and composer Franz Hummel. In his youth, Hummel himself was a student of the famous Mozarteum piano professor Hans Ehlers, who in turn was a grand-disciple of Franz Liszt through his studies with Moriz Rosenthal and placed great value on teaching his students all of Liszt's secrets and playing techniques. Yojo on this CD Recording "For this CD, I have chosen a musical composition that deviates from the usual conventions. George Gershwin's "Rhapsody in Blue", a very original homage to early American jazz, is followed by a contemporary work. It is Franz Hummel's second piano concerto with the title, "War and Peace", to which he asked me to contribute the finale. From my composition IRINI (Peace), for which I won the second and audience prizes at the International Diabelli Composition Competition in Munich at the age of 18, I created an orchestral version especially for this purpose: the third movement of the piano concerto. In 2016, I premiered the work with the Regensburg Philharmonic under Tetsuro Ban, whose recording I may publish here with the orchestra's permission. The musicians masterfully realized the truly difficult score with great dedication and profound skill. As a third stylistic variant, I have given room to my desire for romanticism and recorded the four Impromptus op. 90 by Franz Schubert. I would like to present these natural, naive-philosophical gems, whose profound simplicity can move one to tears, to Schubert lovers as well as to the pop-trained ear.
Integrale Charles Trenet, Vol. 15 - "Kangourou" 1960-1962
Frémeaux
CD
$32.99
Nov 21, 2025
La chanson doit donner l'impression d'être nee toute seule. Une chanson doit être intelligente sans qu'on s'en apercoive, sans qu'elle hurle : "je suis une chanson intelligente"... Le parolier ideal est pour moi Charles Trenet. Il fait descendre la chanson dans la rue sans qu'elle se casse la figure en se jetant du troisieme etage. Jean COCTEAU L'integrale Fremeaux & Associes de Charles Trenet realisee sous la direction de Daniel Nevers, puis de Vincent Lisita et Pascal Halbeher, reunit la totalite des enregistrements phonographiques originaux disponibles aupres des collectionneurs sensibilises à l'ambition museographique d'un catalogue raisonne de l'oeuvre enregistree du fou chantant. Aux enregistrements choisis et commercialises de l'epoque, le directeur artistique presente les alternates qui proposent d'autres versions des mêmes titres. Cette vocation d'exhaustivite historiographique dediee au patrimoine sonore phonographique s'accompagne (toujours chronologiquement) de documents radiophoniques, de publicites chantees afin d'eclairer la diversite de la production de l'artiste et de reveler retrospectivement les raisons de son appartenance à notre memoire collective. Patrick Fremeaux & Claude Colombini "A song must give you the impression it was born on it's own. A song has to be intelligent without you noticing it, without it having to shout, 'I am an intelligent song'. For me, Charles Trenet is the ideal songwriter. He brings the song down into the street without it falling flat on it's face after throwing itself off the third floor." Jean COCTEAU CD 1 : JULIETTE GReCO ET CHARLES TRENET : PReSENTATION DES SPECTACLES DE CHARLES TRENET ET D'eDITH PIAF À PARIS - CHARLES TRENET - ReCITAL 1961 - THeÂTRE DE L'eTOILE - ORCH. DIR. GUY LUYPAERTS, CHOEURS DIR. RAYMOND SAINT-PAUL : POT POURRI : QU'EST DEVENUE LA MADELON ? - RIEN NE PEUT CHANGER MA JOIE - DIS-MOI, QUEL EST TON NOM ? - BONSOIR JOLIE MADAME - LE PIANO DE LA PLAGE - LA FOLLE COMPLAINTE - DANS LES PHARMACIES - BOUM - RIEN NE PEUT CHANGER MA JOIE - ORPHeE - LA JAVA DU DIABLE - LES VOIX DU CIEL - LE JARDIN EXTRAORDINAIRE - QU'EST DEVENUE LA MADELON ? - LA MER - y A D'LA JOIE ! - CLAUDE CHEVALIER ET SON MUSETTE - FLEURS DE MUSETTE : LES TROIS ROSES - CHARLES TRENET - ORCH. DIR. MICHEL LEGRAND : NUIT D'HIVER - CHARLES TRENET - ORCH. DIR. PIERRE SPIERS : LES PETITS REGRETS - LES SOLDATS - DANIELLE DARRIEUX - PRINTEMPS DE PARIS - ORCH. DIR. JO MOUTET : LES VOIX DU CIEL - CHARLES TRENET - ORCH. DIR. ANDRe POPP : KANGOUROU - LA P'TIT' DIDI - AU FIL DU TEMPS PERDU - LE PAUVRE ANTOINE - PIANISTE NON IDENTIFIe : TU REVERRAS L'ÎLE MAURICE (THIS IS YOU) - TOI QUI PASSAIS - RENe GLANEAU - WSPOMNIENIA Z PARYZ?A - ORCH. DIR. RYSZARDA DAMROSZA : LA MER. CD 2 : CHARLES TRENET : LA CHANSON EST UN ART MINEUR - CHARLES TRENET - ACC. PIANO FREDDY LIENHART : MA PHILOSOPHIE - KANGOUROU - CHARLES TRENET - ACC. PIANO FREDDY LIENHART : AU CLAIR DE LA LUNE - DEAN MARTIN - CHA CHA DE AMOR - ORCH. DIR. NELSON RIDDLE : I WISH YOU LOVE - LUCIENNE DELYLE - C'eTAIT LE BON TEMPS - ORCH. DIR. AIMe BARELLI : LA VALSE À TOUT LE MONDE - CHARLES TRENET - ORCH. DIR. CHRISTIAN CHEVALLIER : L'HORRIBLE TANGO (VERSION GOMINA) - JARDIN DU MOIS DE MAI - SI LOIN DE TON AMOUR - LUNDI AU LIT (LES BRUITS DE PARIS) - DUKE ELLINGTON - MIDNIGHT IN PARIS - ORCH. DIR. DUKE ELLINGTON : I WISH YOU LOVE - JANINE WOLF - LES TANGOS TERRIBLES ! - ORCH. DIR. DIDIER BOLAND : L'HORRIBLE TANGO - CHARLES TRENET - ACC. PIANO PAUL DE MARGERIE, PReS. GEORGES ULMER : AU FIL DU TEMPS PERDU - RETOUR À PARIS / HELLO PARIS - QUE RESTE-T-IL DE NOS AMOURS ? / HOW MUCH REMAINS OF ALL OUR LOVES ? - LE PIANO DE LA PLAGE - EN CE TEMPS-LÀ - CHARLES TRENET - ORCH. DIR. PIERRE SPIERS : DIS-MOI, QUEL EST TON NOM ? - CHARLES TRENET - ORCH. DIR. INCONNU : EN SEINE-ET-OISE - CATERINA VALENTE - ORCH. DIR. eTIENNE VERSCHUEREN : VOUS OUBLIEZ VOTRE CHEVAL - CATERINA VALENTE - GREAT CONTINENTAL HITS - ORCH. DIR. STANLEY BLACK : WHY DO YOU PASS ME BY ? - CHARLES TRENET - CHANSONS À LA UNE - ORCH. DIR. CHRISTIAN CHEVALLIER ET LES ANGELS : LE GRAND PARTAGE - JEUNESSE PLUMeE - ADIEU MES BEAUX RIVAGES - ANNIE-ANNA - COLETTE RENARD - ORCH. DIR. RAYMOND LEGRAND : LE GRAND PARTAGE - CHARLES TRENET - ORCH. DIR. INCONNU : SIMPLE ET LeGeRE - MARIE MARIE - L'INQUIET - CHARLES TRENET - ORCH. DIR. PIERRE SPIERS : JEUNESSE PLUMeE - LE GRAND PARTAGE - JE TWISTE. DIRECTION ARTISTIQUE : PASCAL HALBEHER ET VINCENT LISITA
J.S. BACH
WARNER CLASSICS
CD
$17.28
Dec 27, 2024
Following his critically acclaimed Beethoven album, Nemanja Radulovic returns this fall with a terrific J.S. Bach album. Featuring the well-known Baderie as you have never heard it before, a brilliant transcription of la Sicilienne, Erbarme Dich, from Matthaus Passion, with Philippe Jaroussky, the Double concerto for oboe & violin BWV 1060, Concerto for violin in E Major BWV 1042,. Infused by a very personal and chamber music style approach, Nemanja's Bach sparkles. Gramophone about Beethoven: "For me, though, it's the Violin Concerto that's the prize on this disc. It's a dazzling, profoundly personal interpretation, and I'm already completely obsessed with it."
STILL CALLED THE BLUES
DELMARK
CD
$15.70
Apr 17, 2012
Quintus McCormick's acclaimed Delmark debut from 2009 Hey Jodie! (DMK 801) was one of the best soul-blues albums of the new millennium's first decade. Quintus' second CD Put It on Me! (DMK 815) proved he is one of contemporary Chicago's brightest stars. And now the prolific songwriter is back again with new joints, ready to pop. Plus there's Quintus own personal spin on covers of the Beatles' Oh! Darling, George Jackson's Still Called the Blues and Old Time Rock And Roll and more. Great blend of straight ahead blues, soul blues, r&b, funk and soul music. Anyway you look at it, it's Still Called the Blues.
SONGS OF THE BEATLES
ATLANTIC
CD
$16.49
Oct 25, 1990
Out of print in the U.S.! Originally released in 1981, Songs of the Beatles finds the esteemed Jazz diva dipping into the Fab Four's back catalog and adding her own unique stamp to these already classic songs. Most Rock artists who have attempted to cover Beatles tunes have failed miserably at capturing the magic of the originals, yet there are some Jazz artists, like Vaughan, are able to practically reinvent the song and add a new musical spin to the proceedings. Of the 13 tracks, Sarah reinterprets 12 Lennon & McCartney-penned gems plus her amazing version of George Harrison's 'Something'. Other tracks include 'Eleanor Rigby', 'Blackbird', 'You Never Give Me Your Money', 'Get Back' and 'Fool on the Hill'.
BEINGNESS
META
CD
$16.49
Jul 25, 2025
Beingness brings together three masters of creative music: award-winning percussionist Adam Rudolph, soprano sax player and NEA Jazz Master Dave Liebman, and drummer and NEA Jazz Master Billy Hart.Available May 23, 2025 via Rudolph's Meta Records, the live album, recorded in the spring of 2023 at New York City's iconic creative music venue The Stone, marks the fourth in a series of trio recordings released by Liebman and Rudolph. The trio's genesis evolved naturally. Hart and Liebman, who met performing on Miles Davis' historic 1972 recording On the Corner, have played together for over 30 years in configurations including their Quest quartet. Liebman and Rudolph began playing as a duo in 2016, developing a trio with rotating drum chairs. "When we found out Tyshawn (Sorey) was unavailable for The Stone concert, Dave suggested we ask Billy Hart, " remembers Rudolph. "I enthusiastically agreed. I've admired Billy's playing since I first heard him with Herbie Hancock's Mwandishi Sextet at the Smiling Dog in Cleveland. I loved his playing then and I love it now." Working with Liebman and Hart was a dream come true for Rudolph. "Both Billy and Dave inspired me so much when I was a teenager first getting into playing music, " he said. "It was a real honor to create the spontaneous compositions on Beingness with these two masters." Together, Hart, Liebman and Rudolph bring decades of performance experience in the full range of contemporary jazz and creative improvised music. Their embodied experience of playing these forms allows them to spontaneously generate new forms though melodic and rhythmic dialogues. These factors, along with the unique combination of instruments Liebman's wood flutes and Rudolph's array of percussion bring to the trio, make Beingness a completely original and soulful addition to the evolution of creative music. Liebman, Hart and Rudolph channel their unique and evolved rhythm and sonic languages through inspired, spirited musical dialogue. The result is music that exists on it's own terms, reflecting the wonderful alchemy of the artists as they spontaneously create dialogues, orchestrations, and sonic moods. "The three of us were committed to open our ears and hearts, " says Liebman. "The results were magical." Hart concurs: "You have to come to a creative situation like this with open ears, an open heart, and freeflowing imagination. The preparation is also years of practice, composing and performance so that we can be free to play anything we can imagine to play." For the live performance, Rudolph employed his "organic" orchestrations and electronic processing. He recalls, "Dave was so inspired by the electronic processing I did during the concert that he asked me to do more of it post production." Rudolph spent hours diving deep into the music to subtly expand the orchestral palate and create a shadow world of harmonic colors. While maintaining awareness of the precedent of post-production processes in classic recordings like BitchesBrew and Weather Report, Rudolph incorporated additional ideas from his world music experience: "My primary inspiration for the electronic orchestrations is the ancient African practice of complexifying the sound of instruments, for example by attaching rattles or putting gut strings on skins, so that when they're played, a parallel 'shadow line" of sound is heard. These rhythm overtones are sometimes called 'the voice of the ancestors' and add a transcendent quality to the music." As Rudolph reflects in the liner notes "Beingness is the source of inspiration which moves silence towards it's manifestation as form in sound. Each gesture animates in the infinite space between thought and non-thought awareness. The fluidity of spontaneous sonic projections reflect the essential being of nature, which is change."
LITTLE BROTHER MONTGOMERY
GHB JAZZ FOUNDATION
CD
$13.86
Jun 17, 2008
A solo studio session recorded during a 1972 European tour by Blues/Jazz pianist Little Brother. In between songs he talks about his life, music and the tunes he plays on this release. Brother was a notable influence to the likes of Sunnyland Slim and Otis Spann. Tracks are: Elementary Blues, Crescent City Blues, No Special Rider, Muleface, Someday You'll Be Sorry, Someday You'll Be Sorry (reprise), Medley: (Mood Indigo, Solitude, Satin Doll, Squeeze Me), London Shout, Your Love Is So Incredible, Memories of You, Little Brother's Little Boogie.
In Harmony
RESONANCE RECORDS
CD
$22.99
Jul 23, 2021
Miller passed away on May 29, 2013 at age 57. With In Harmony, we are back in the musical company of these two greats for a short but precious time. And though the settings heard here were ticketed concerts, the vibe unfolds exactly as it might have back in the day at Bradley’s, when Hargrove was first coming up in the late ’80s and Miller loomed large from his associations with Art Blakey, Tony Williams and others. Acclaimed jazz journalist Ted Panken, in his extensive booklet essay for In Harmony, evokes that scene, and its central importance to Hargrove’s development, in vivid detail.
Hargrove told Panken, “Bradley’s was like going to school. It was like your masters. You go in there, and you’re playing, and there’s Freddie Hubbard at the bar! What do you do? Everything I’m playing right now I owe to that whole scene.”
Hargrove hailed from Texas, Miller from Mississippi. Each of them drank deep from the Black music traditions of their respective regions, absorbing lessons from family, the church, and blues and soul artists long before they became immersed in the language of their jazz forebears. In Harmony finds the two alluding to those great jazz legacies in many ways, from song choices to improvisational flourishes to off-the-cuff yet impeccably placed arranging details.
We hear Hargrove calling out to Clifford Brown, Dizzy Gillespie, Blue Mitchell, and more. Yet he plays from the perspective of a prescient bandleader who burst through genre boundaries collaborating with leading lights of hip-hop, neo-soul and Afro-Cuban music, laying the groundwork for such next-generation trumpeters as Keyon Harrold and Theo Croker (both of whom are quoted in the booklet as well).
Miller, as Panken observes, had his own “fluid personal argot,” even as he drew on influences from Bill Evans, McCoy Tyner, Herbie Hancock, Chick Corea and Keith Jarrett to Woody Shaw. “His concept drew on piano-as-orchestra signposts like Art Tatum, Oscar Peterson, Ahmad Jamal and Erroll Garner, the ‘blowing piano’ of Bud Powell, the disjunctive syncopations and voicings of Thelonious Monk, and the melodic ingenuity of gurus like Hank Jones, Tommy Flanagan and Cedar Walton,” Panken adds.
It’s all there, in the bright tempos of “What Is This Thing Called Love” and “Invitation,” the majestic balladry of “I Remember Clifford” and “Never Let Me Go,” or the funk of “Fungii Mama,” where one can practically hear Al Foster’s signature drum groove from the Blue Mitchell original. Which brings us to another key Panken observation: In Harmony is the only recording in Hargrove’s entire discography not to feature a drummer. Miller, for his part, has one solo album and a scant few duos in his catalog, making In Harmony an even more significant addition to the historical record.
“From the very first time I heard these recordings, I was immediately taken by the sheer virtuosity of these two masters’ ability to mesh with each other,” says Resonance Records Co-President and Co-Producer of In Harmony Zev Feldman. “They’re playing their hearts out. I personally find these to be some of the most daring and beautiful interpretations of classic jazz repertoire I’ve heard. It’s an honor for Resonance to be able to collaborate with the families of Roy Hargrove and Mulgrew Miller to bring this music to their many fans, and we thank them for the opportunity.” In Harmony provides a rare glimpse of these two now departed and dearly missed greats, united in song and improvisational mastery in front of audiences at Merkin Hall in New York City (January 15, 2006) and Lafayette College in Easton, Pennsylvania (November 9, 2007).
Co-produced by Zev Feldman and Larry Clothier with executive producer, George Klabin, In Harmony is the first posthumous Hargrove release since the trumpeter’s untimely passing on November 2, 2018 at age 49. Aida Brandes-Hargrove, President of Roy Hargrove Legacy, said: “Roy’s daughter Kamala and I are excited to collaborate with Resonance and to get this great new album out to Roy’s many fans.”
Pizzetti: Liriche - Complete Songs for Voice & Piano
Brilliant Classics
CD
$14.99
$18.99
Save 20%
Apr 25, 2025
Featuring several world-premiere recordings, the most comprehensive set ever released of Pizzetti's song output. Art song occupies a substantial space in Pizzetti's oeuvre, with over 40 pieces, and yet the composer is still remembered mostly for his opera Murder in the Cathedral, and more tangentially for chamber and choral pieces such as the Cello Sonata and Requiem. Pizzetti composed songs for almost his entire life as a composer, starting with Nuvole (1899), a romanza still unpublished, up to the Tre canti d'amore, which belong to the group of his last works, from the second half of the 1950s. Pizzetti wished to distance himself from the Italian tradition of song writing for the salon of salon writing: in 1914 he wrote that 'a new period for vocal chamber music in our country is about to begin.' His choice of authors is singular, and serious: Petrarch, Michelangelo, Victor Hugo, as well as contemporary Italian versions of Greek lyrics by Sappho and the classical-era tragedians. Another running thread is nature, and a love for his native region of Parma. Pizzetti often set poets from the region such as Mario Silvani's Sera d'inverno (1907), an evocative winter landscape, and a set of three 'tragic sonnets' by Alfredo Zerbini. Alas, like other songs here, they were never published, despite the poet's entreaty to the composer: 'I ask you to do it for our beloved dialect, if you do not want to do it for me. Through the music of a great musician, who knows, even our poor dialect may aim high!' Alfredo Blessano's booklet essay gives invaluable context to this absorbing and richly varied collection of 20th-century song. Performing together as the 'Vansisiem Lied Duo', Paola Camponovo and Alfredo Blessano have previously recorded the complete songs of Gian Francesco Malipiero (96153). 'The songs are lovely, and the performances excellent. They are strongly closely attuned to each other, and their committed performances here are much more than readings.' (Fanfare) - The Complete Songs (Liriche) by Ildebrando Pizzetti (1880-1968) form a significant portion of his vocal output, bearing witness to his deep connection with Italian literary traditions and his ability to translate poetry into expressive music. As one of the leading Italian composers of the early 20th century, Pizzetti was known for his lyrical style, drawing inspiration from both the past and the modern era. His songs often set texts by prominent Italian poets such as Gabriele D'Annunzio, who shared Pizzetti's interest in themes of nature, mysticism, and the Italian cultural heritage. - Pizzetti's liriche demonstrate his skillful blend of text and music, characterized by a refined melodic line that closely follows the natural inflection of the language. His approach to vocal writing is often declamatory, allowing the poetry's meaning to guide the musical expression. Harmonically, the songs exhibit a rich, modal language influenced by Renaissance and early Baroque music. The thematic variety in his Complete Songs ranges from intimate, introspective reflections to more dramatic, impassioned expressions, always maintaining a close relationship between word and sound. - Sung by the Vansisiem Lied Duo: Paola Camponovo and Alfredo Blessano. This duo already showed their affinity with the idiom in their much praised recording of the complete songs by Malipiero on Brilliant Classics (BC 96153).
HOUSE PARTY
TURTLE BAY RECORDS
CD
$18.99
Apr 10, 2026
2025 was a year of milestones for me: I had a big birthday and I was about to record my 20th album as a leader. The 20th album felt really important; I wanted to celebrate my time in New York City and musical achievements. I imagined a party and jam session where all of my loved ones were present, a time where we would play music and laugh and eat good food and have a real party. "House Party" is that dream come true. On this record you will hear my long-time rhythm section (more than 20 years of music!!) Hide Tanaka on bass and Fukushi Tainaka on drums. Sitting in with us is Cory Weeds, my long time touring partner, musical collaborator, and founder of Cellar Live Records on tenor sax. Also sitting in with us is Klas Lindquist, my newest collaborator, on alto sax. In the audience we have my friends and business associates spanning many years. We played, we talked, we laughed, we partied. This album represents all that is good and beloved in my life, I hope you feel the same spirit when you listen!
Domenico Scarlatti: Complete Piano Sonatas, Vol. 12
TACET Musikproduktion
CD
$21.99
Mar 20, 2026
Who would have thought at the beginning of the great Scarlatti adventure 15 years ago that there would be no CD at the end? The four of us, who sail the two-voiced oceans of the world in the Scarlatti boat, certainly not: Captain Christoph Ullrich at the steering wheel (keyboard), Gerd Finkenstein in the engine room (grand piano), me as radio operator (recording), and Thomas Seedorf (scientific support and texts) in the crow's nest. All old white men with weathered faces. Well, the CD is still alive. But the project needs another two years... We're going to see it through! Who knows, maybe it will be the last serious big complete edition ever produced for this medium? Then, among many other things, it will also be a tribute to the days when you could still hold what you loved in your hands. Our current position: Domenico Scarlatti wrote 555 piano sonatas. This is volume 12 of 17. Volumes 14 and 15 are already available, a total of 12 double and 2 triple CDs so far. Volumes 13 (already recorded, not yet released), 16 (30 sonatas), and 17 (12 sonatas) are still missing. This means that 513 of the 555 sonatas have been recorded and 477 released. There are still 42 left to go to the home port. We are getting closer to our goal! There are so many interesting, admirable, and thought-provoking aspects to this opus! It would fill books. But we'll save that for the end. Turn these 30 new sonatas into an Advent calendar! Or a January calendar. Every day is unique; every day deserves a different sonata by Domenico Scarlatti!
Earthworks
Sono Luminus
CD
$16.99
Apr 25, 2025
Look around at the place you are right now - yes, now. Apartment, house, subway car, tool shed, office, wherever. Now imagine this place, with all it's material elements and constituent parts, intertwined as they are, as living, with a circulatory system and a pulse. With an inner life, a memory, experiences and a story of itself to tell. Now listen. Nathan Davis's Earthworks is a unique acousmatic piece, a 40-minute conceptual and musical love child of land art, environmental activism and music concrete in which the composer orchestrates the sonic outcome of the extraction, processing and use of common commercial materials of our contemporary built environment. It is an audio tapestry of drilling, fracking, stirring, slurring, scraping, cracking, popping and hammering, with the bright thread of one very intimate human voice woven through it. This particular iteration of Earthworks, originally produced as a sound installation for the exhibit "Planetary Home Improvement: From Just-in-time to Geological Time", is immersive in nature - both a recording and a full-body experience, primordial and post-industrial. Davis collected field recordings of the raw materials and created a multi-channel sound environment using the materials themselves as speakers, soundboards, and resonators. It is musique concrete as composed through a big box store, and the effect it had on me was mysterious - compelling and even dreamy. A few times I pictured Morton Feldman walking through the enormous back aisles of a Home Depot - the "modern quarry" from which this work is drawn - with an Earthworks-like soundtrack running through his celestial head. In experiencing Davis's work I often find that in addition to composing in the traditional sense, he is also coaxing and conjuring, often in nature, and often with the most basic elements - minerals, metals, stones, water, air. Much of the power of Earthworks derives from what the exhibition artists describe as "collapsing the ancient and the instant." Of it's audience Earthworks demands close attention and attunement to the elements from which it arises. I fully understand that there is a conceptual sophistication and technological mastery at work in pieces like this - it is experimental music for grown ups - but I think I'd do Earthworks a disservice by overintellectualizing the pleasures inherent in it. By this I mean that there is something childlike about the work. At least, this is least one of the responses it summoned in me. I experience these "lifeless" materials both talking amongst themselves and speaking to me. When Sylvia Milo begins the piece by intoning the names of these orchestral instruments - Galvanized steel sheet. Foam insulation. Polycarbonate panel... - each one followed by the sounding of it's characteristic voice, I'm transported back to my early listening to Peter and the Wolf, when I first heard Boris Karloff introducing the cast of the tale by way of their instrumental voices. As a percussionist Davis possesses a deep attunement to materials and their sonic characteristics. But there are non-material aspects embedded here as well. In this case the political context of the work: it is a response to the industrial plunder of the planet. The experience of listening to these materials speak, hearing their breath and pulses, move us closer to an understanding of this, and to a relationship of awareness and reciprocity with the Earth, whose body we tear apart in order to achieve shelter or convenience, and whose riches we violently transmute into material for use. Ever since the story of Adam and Eve's ejection from the Garden, and certainly before, our human alienation from Nature has been the source of existential grief. Part of the task of poets, artists, philosophers, filmmakers, musicians is to restore us to this Edenic state, in which we are again in peaceful harmony with the Earth and it's elements.
Evgeni Kissin In Tokyo
Sony Masterworks
CD
$17.99
Feb 25, 2011
An astonishing live performance by the 15-year-old Kissin, with a sense of danger courted and triumphantly surmounted.
Kissin's generous lyricism and lovely rubato in Rachmaninov's Lilacs make a distinguished prelude to this recital; but they are only a hint of the revelations to come. The big E flat minor Etude tableau drenches the listener in an extraordinary welter of sound, at once free and controlled, sensitive to harmonic nuance and yet to broader undercurrents as well. And it is followed by a phenomenally articulate C minor, swirling and crackling like a force of nature (with just a couple of accidents on the last page as a brief reminder of human frailty).
The apex of the recital is a colossal account of the Prokofiev Sixth Sonata. Pianistically it has everything—tremendous force, tremendous resonance, wonderful sensitivity to texture and colour, inspired pedalling, fantastic rhythmic grasp, supreme control whatever the extremes of tempo or dynamic. And all these are at the service of a vision which penetrates to the essence of Prokofiev's art—the subdued half-lights and obsessive drive of the first movement, the deadly serious clowning of the second, the stoical suffering of the third, and above all the appalling despair at the heart of the finale. Please don't think I've taken leave of my critical senses—I noted in passing that the rhythm in the last three bars of the first movement is wrong and that Kissin nearly burns himself out before the tumultous last page of the finale. But if this doesn't qualify as a great performance I don't know what does.
So far I've managed to avoid mentioning that Kissin was aged just 15 and seven months at the time of this recital. In his Rachmaninov and Prokofiev it never occurred to me to think about that, either as a plus or a minus. The remaining pieces do perhaps fall into a less exalted category—they are merely astonishing considering his youth. The Liszt studies are seductive, poetic and rhetorical but not yet entirely settled; the Chopin Nocturne could breathe more freely and has a nasty mannerism of right hand before left, a reversal of bad habits of olden days; the Polonaise sacrifices pride and grace for allpurpose grandeur, unimaginatively driving home every first beat in the bar. For all their finesse, I can imagine the Scriabin pieces reaching further out into the unreal and the ecstatic; and the Japanese encores are wholly trivial and forgettable.
Perhaps the biggest drawback of all is the ultraclose microphone placement. But Kissin is one of the select few whose playing can withstand such clinical scrutiny; and such is the electricity he generates, so strong his empathy with Rachrnaninov and Prokofiev, that you feel inside the music both spiritually and acoustically. I suppose it is conceivable Kissin will one day make an even finer studio recording of the Prokofiev; but I would not bank on it re-creating the magic, the sense of danger courted and triumphantly surmounted, of this astonishing live performance.
-- Gramophone [11/1990]
Note: According to the CD packaging, Kissin plays Liszt's Un Sospiro, S 144 no 3 when in fact the piece he performs is Liszt's Waldesrauschen, S 145 no 1.
Kissin's generous lyricism and lovely rubato in Rachmaninov's Lilacs make a distinguished prelude to this recital; but they are only a hint of the revelations to come. The big E flat minor Etude tableau drenches the listener in an extraordinary welter of sound, at once free and controlled, sensitive to harmonic nuance and yet to broader undercurrents as well. And it is followed by a phenomenally articulate C minor, swirling and crackling like a force of nature (with just a couple of accidents on the last page as a brief reminder of human frailty).
The apex of the recital is a colossal account of the Prokofiev Sixth Sonata. Pianistically it has everything—tremendous force, tremendous resonance, wonderful sensitivity to texture and colour, inspired pedalling, fantastic rhythmic grasp, supreme control whatever the extremes of tempo or dynamic. And all these are at the service of a vision which penetrates to the essence of Prokofiev's art—the subdued half-lights and obsessive drive of the first movement, the deadly serious clowning of the second, the stoical suffering of the third, and above all the appalling despair at the heart of the finale. Please don't think I've taken leave of my critical senses—I noted in passing that the rhythm in the last three bars of the first movement is wrong and that Kissin nearly burns himself out before the tumultous last page of the finale. But if this doesn't qualify as a great performance I don't know what does.
So far I've managed to avoid mentioning that Kissin was aged just 15 and seven months at the time of this recital. In his Rachmaninov and Prokofiev it never occurred to me to think about that, either as a plus or a minus. The remaining pieces do perhaps fall into a less exalted category—they are merely astonishing considering his youth. The Liszt studies are seductive, poetic and rhetorical but not yet entirely settled; the Chopin Nocturne could breathe more freely and has a nasty mannerism of right hand before left, a reversal of bad habits of olden days; the Polonaise sacrifices pride and grace for allpurpose grandeur, unimaginatively driving home every first beat in the bar. For all their finesse, I can imagine the Scriabin pieces reaching further out into the unreal and the ecstatic; and the Japanese encores are wholly trivial and forgettable.
Perhaps the biggest drawback of all is the ultraclose microphone placement. But Kissin is one of the select few whose playing can withstand such clinical scrutiny; and such is the electricity he generates, so strong his empathy with Rachrnaninov and Prokofiev, that you feel inside the music both spiritually and acoustically. I suppose it is conceivable Kissin will one day make an even finer studio recording of the Prokofiev; but I would not bank on it re-creating the magic, the sense of danger courted and triumphantly surmounted, of this astonishing live performance.
-- Gramophone [11/1990]
Note: According to the CD packaging, Kissin plays Liszt's Un Sospiro, S 144 no 3 when in fact the piece he performs is Liszt's Waldesrauschen, S 145 no 1.
Reznicek: Symphony No 1 "tragic", Etc / Beerman, Prudenskaja, Brandenburg State Orchestra Frankfurt
CPO
CD
$18.99
Jan 27, 2009
REZNICEK Symphony No. 1, “Tragic.” 4 Songs of Prayer and Repentance 1 • Frank Beermann, cond; Marina Prudenskaja (mez); 1 Brandenburg St O Frankfurt • cpo 777 223 (68:50)
In some ways, Reznicek might be described as the poor man’s Richard Strauss. Cpo, which is engaged in a project to record Reznicek’s orchestral output, has already released the composer’s Second and Fifth Symphonies and two tone-poems, Schlemihl and Raskolnikoff , reviewed by Henry Fogel in 28:2. Schlemihl has been dismissed in some quarters as the effort of a jealous and bitter Reznicek to parody and deflate the puffed up ego of Strauss’s Ein Heldenleben, schlemihl being Yiddish for an unlucky, incompetent boob upon whose head every manner of misfortune falls—in effect, the anti-hero to Strauss’s Übermensch . But the non-Jewish Reznicek, as Fogel pointed out, may have misconstrued the caustic connotation of the word, which imparts the flavor of not just a pitiable sad sack, but of a fool who invites bad luck and ridicule; for Reznicek’s trials and tribulations—the deaths of two children and his first wife—were real and indeed heartbreaking.
Like Brahms, who didn’t complete his First Symphony until he was 43, Reznicek was 41 in 1901 when he wrote his Symphony No. 1 in D Major. The original booklet essay written in German by Eckhardt van den Hoogen is, in translation at least, incomprehensible gibberish. I was unable to make heads or tails of its mishmash of arcane literary references and absurdist metaphors—“the Criminal Tango of the first movement and the Jesus Christ Superstar of the last movement”—not to mention the mental imagery of “pulling on the pigtails of Mendelssohn’s Violin Concerto,” and the depiction of Reznicek’s beard as a “foot muff” that put me off my dinner. From what I was able to glean, it seems that the only “tragedy” that led the composer to subtitle the work “Tragic” was a ride on a crowded city train in which a pretty young girl who caught Reznicek’s eye got up and offered the “old man” her seat.
So what does this “tragic” concoction sound like? Well, a bit like Strauss being badgered by Pauline to go to his room and compose something. Then, beginning at 12:08 in the first movement, a sequence that seems to mimic the development section in the first movement of Tchaikovsky’s “Pathétique” makes a discomfiting appearance. Here comes a snippet of Schumann, there a scrap of Brahms, and everywhere the oddments and leftovers of Liszt. This symphony would be a piece of utter trash were it not for the twofold fact that it was obviously written by a master orchestral craftsman of the first order, and that it buys one entrance to a musical circus of clowns dressed up as Tchaikovsky, Strauss, Wagner, and Liszt somersaulting around the ring. I defy anyone to listen to Reznicek’s Symphony No. 1 and not laugh out loud as the parade of jesters passes by. If the piece had been written after Schlemihl instead of before it, a more appropriate subtitle might have been Schlamazel.
Having had my say on the Symphony, let me turn now to the Four Songs of Prayer and Repentance after words of the Holy Scriptures. Reznicek really ought not to be judged by his First Symphony, which has got to be either an aberration or some sort of off-color, politically incorrect joke. He was a serious composer with a quite significant catalog of works to his credit: five symphonies, a dozen operas, numerous orchestral and concerted compositions, at least five string quartets, two piano trios, and a considerable volume of solo piano and organ pieces. Very little of it has been recorded; and, except for the Donna Diana Overture, I’ve no recollection of hearing any of it performed live—which is a shame, because the Four Songs are gorgeous.
Written in 1913, long before Strauss said sayonara with his Four Last Songs , Reznicek’s songs take their cue from Brahms’s Four Serious Songs , though they are not nearly as reverential and austere. Where Brahms chose Biblical texts that reflect the fatalism of his last years—“for that which befalls man befalls beasts”—Reznicek selected verses from Ecclesiastes and The Book of Sirach that focus on comforting, acceptance, and the beauty that is to be found in wisdom—“The pipe and the psaltery make sweet melody, but a pleasant tongue is above them both.” Reznicek’s songs are supple and sensuous, but not sensual in that steamy, erotic way that many of Strauss’s songs are. The orchestral accompaniments caress the words with an angelic tenderness.
Marina Prudenskaja, who is identified as a mezzo-soprano, actually has more of a dark-hued contralto quality to her voice that reminded me a bit of Rita Gorr. She has the right timbre and range, I think, to be an ideal candidate for Brahms’s Alto Rhapsody.
Despite what you may have concluded from my opinion of the Symphony, this disc comes with a hearty endorsement, and not just for the Four Songs , which are lovely beyond description, but yes, for the Symphony, too, which is a laugh-a-minute Hooterville riot. Performances and recording are first-class.
FANFARE: Jerry Dubins
Quartet Integra
Yarlung Records
CD
$21.99
Nov 21, 2025
... four of the brightest young stars in classical music today. We are enjoying another golden era thanks to Quartet Integra. -Martin Beaver, First Violin, Tokyo String Quartet Producer's notes: Yarlung Records returned to Zipper Hall at Colburn School in April, 2025 to record the debut album for Quartet Integra toward the end of the quartet's 3-year residency in Los Angeles. They had just returned from acclaimed performances in Wigmore Hall in London. The quartet left again after our recording for summer concerts (and a little bit of family time) in Asia before moving to Paris and Hannover in the autumn. Quartet Integra begins a two year residency in Paris at the Centre Europeen de Musique de Chambre and will continue study with Oliver Wille at the Hochschule fur Musik, Theater, und Medien in Hannover. We will miss the Quartet badly in Los Angeles and hope they return soon. This extraordinary young ensemble, Kyoka Misawa and Rintaro Kikuno on violins, Itsuki Yamamoto on viola, and cellist Ye Un Park play Classical, Romantic, Contemporary and Renaissance music equally well. In fact, we explore all four eras in this recording. We begin with Beethoven's last published work, String Quartet No. 16 in F Major, Opus 135, written in 1826. Beethoven wrote this piece at the height of his Romantic powers, but the quartet looks back with irony and nostalgia to his classical period. Next, Quartet Integra tackles Ligeti's 1968 ground-breaking Sonata No. 2, which they played for me at their audition and which won me over immediately. Kyoka, Rintaro, Itsuki and Ye Un find beauty and repose in this seat-belts-required 25-minute work full of extended techniques and mid-20th-Century sound world while communicating humor and transcendent energy. Kyoka said "When people hear the name Ligeti, many tend to associate it with contemporary music and assume it will be difficult to listen to. But in reality, that's not the case. Especially the String Quartet No. 2, which we're performing this time - it's wild and destructive, yet it holds a kind of breathtaking beauty. It feels almost like watching a movie." Mike Wechsberg, an audience member at our special live concert recording session commented heartily how "Ligeti is not the sort of music I normally like, but THIS was magnificent! Bravo Quartet Integra!" We ended the concert with Green Mountains, Now Black, a new piece by David S. Lefkowitz which he completed in the spring of 2025. Donna Morton commissioned David's piece for Yarlung Artists and Quartet Integra through Yarlung's sister organization Coretet. Donna and her group have steadfastly supported new chamber music including from composers Caroline Shaw, Diego Schissi (who won a Latin GRAMMY® nomination for Nene, which he wrote for Yarlung's Sibelius Piano Trio), Jamie Thierman, Eric Nathan and Benjamin Taylor among others. Donna serves on the boards of both Yarlung Artists and Coretet, and we relished the opportunity to collaborate again as Coretet celebrates it's 10th Anniversary and Yarlung celebrates it's 20th. Beethoven wrote his last major composition, String Quartet Op. 135, in 1826. This was his final statement in his groundbreaking series. Opus 135 premiered in 1828, performed by Ignaz Schuppanzigh and his famous ensemble, a year after Beethoven died. When the members of Quartet Integra suggested we record this work on their debut album instead of Schubert's "Rosamunda" Quartet written only two years earlier, I initially demurred. Who needs yet another superb performance of Beethoven's final masterpiece?" I complained. "Who needs yet another Rosamunda?" Quartet Integra 'cellist Ye Un Park responded within milliseconds. She had a point, and I'm glad we recorded the Beethoven instead, at least on Quartet Integra's first Yarlung album! The ensemble had just performed Beethoven's first string quartet in London's Wigmore Hall in London, as well as "Rosamunda, " and they were game to expand their horizons and capitalize on their "Beethoven High." They also wanted to utilize the superb acoustics at Colburn School while the quartet was still living in Los Angeles, and we knew Zipper Hall would do the Beethoven special justice. Our recording concludes with David S. Lefkowitz' Green Mountains, Now Black. David's piece offers quotations from Monteverdi's earliest extant opera Orfeo (one of my favorites in the operatic literature) and additional quotations from Monteverdi's final opera The Coronation of Poppea, including it's magical and ever-so recognizable love duet between Poppea and the emperor Nero at the end of the opera. Instead of merely transposing my favorite arias, choral passages and this famous duet for string quartet, David wrote a work that explores the very nature of what it means to be a string quartet. And he experiments with the genre, pushes boundaries, and incorporates his own despair witnessing the burning of much of Los Angeles in the spring of 2025. David and his wife Laurie could see flames and smoke not too far away from their home as he composed this work. Nero himself famously allowed a good chunk of downtown Rome to burn, exercising (and bragging about) his dubious leadership in the process. David layers Octavia's farewell to her beloved city with the giddy love duet between Octavia's husband, the emperor, and his mistress Poppea, to tell the story of David's own distress while writing the piece. Green Mountains, Now Black not only refer to Monteverdi himself (Green Mountain) but the fire which turned so many of our spring green mountains to char in Los Angeles. Despite David's gloom and worry during our fires, his iridescent string writing shows itself proudly and his many glorious and lyrical passages outnumber the darker ones. As musicians, the members of Quartet Integra communicate superbly with audiences and with each other as they explore the depths and details of these musical scores. With generous support from Sel, Nick and Martin at Colburn School, we worked with Quartet Integra on April 13-15, 2025 and ended our recording session with a live concert for invited guests from the Los Angeles and Orange County Audio Society on April 15th. You can enjoy videos of this concert on YouTube's YarlungChannel. Fellow recording engineer and equipment designer Arian Jansen and I used SonoruS Holographic Imaging technology in the analog domain to refine the stereo image, Yarlung's SonoruS ATR12 to record Agfa-formula 468 analog tape, the Merging Technologies HAPI to record 256fs DSD in stereo and surround sound and the SonoruS ADC to record PCM. We used our friend Ted Ancona's AKG C24 microphone previously owned by Frank Sinatra, and Yarlung Audio vacuum tube microphone amplification designed and built by Elliot Midwood. In closing, it was Donna Morton and Martin Beaver who suggested Yarlung support Quartet Integra and Martin coordinated their audition. The Quartet has been lauded as the most exciting ensemble to emerge from Japan (and Ye Un from Korea) since the famous Tokyo String Quartet formed in 1969 at Juilliard. I love a certain symmetry here: two of the non-Japanese born musicians playing as members of the Tokyo String Quartet were Yarlung Special Advisor Martin Beaver, who became principal violin in 2002, and Clive Greensmith, who joined Tokyo as cellist in 1999. Both Martin and Clive performed with the Tokyo Quartet until the ensemble gave their final concerts in 2013, and now Martin and Clive co-direct Chamber Music at Colburn School and have mentored the four members of Quartet Integra. Before their Colburn residency, Quartet Integra won a four-year fellowship with Suntory Hall's Chamber Music Academy where they were coached by Tokyo Quartet members Koichiro Harada, Kikuei Ikeda and Kazuhide Isomura. This is generational integrity and communication worthy of Kyoka, Rintaro, Itsuki and Ye Un. As we celebrate Yarlung's 20th Anniversary, we are enjoying thinking back to our original inspiration. We began working with young musicians starting international concert careers and sharing their transformative performances with the world. Yarlung Records takes it's name from the Yarlung Valley in Central Tibet, which legend holds as a meeting place between heaven and earth. It is in this valley, at the site of Yambulakhang Castle in our Yarlung Records logo, where Heaven and Earth touched in order to transform humanity. What could be a better metaphor for the transformative power of great music? I feel a deep connection between this mythical name for our record label and Quartet Integra. Hearing them play and working with these four good-natured and talented people reminded me why we created Yarlung Records in the first place. Despite my earlier comment, Quartet Integra is not a Japanese ensemble. Three of their members come from Japan and one from Korea, but they are inherently international. Quartet Integra lived in California these past years, and as indicated will spend the next several years in France and Germany. Their ties to the famous Tokyo String Quartet increase the Japanese-ness of Quartet Integra, but Tokyo String Quartet was actually founded in 1969 at Juilliard in New York City, not Japan. In planning their album cover, this image of the Toyosaki Kompira Shrine Torii Gate on the west coast of Hokkaido jumped out at us, and reflected Quartet Integra's refreshing vitality. As does the inspiration for the name of Yarlung Records, a Torii gate symbolizes a portal to the sacred in Shintoism connecting everyday reality with transcendence. -Bob Attiyeh, producer
I WISH YOU LOVE: MORE FROM THE BODYGUARD
ARISTA
CD
$14.57
Nov 17, 2017
2017 release. In honor of the 25th anniversary of the iconic film The Bodyguard, Legacy Recordings, is celebrating it's legacy with the release of a collection of Whitney Houston live and studio recordings entitled I Wish You Love: More From The Bodyguard. This is an essential new Whitney Houston collection bringing together a variety of live and studio recordings from The Bodyguard (many previously unreleased or unavailable), including an alternate mix of "I Will Always Love You," which features a spoken word intro of Whitney as Rachel Marron, an A Capella version of "Jesus Loves Me," which has never been released before and a live recording from The Bodyguard World Tour 1993-1995 of "Run To You," which Whitney rarely performed. Also included are film and live versions of "I Will Always Love" You," "I Have Nothing," "Queen of The Night" and more.
SINGS THE RODGERS AND HART SONG BOOK
VERVE
Vinyl
$58.99
Mar 27, 2026
Ella Fitzgerald -"Sings the Rodgers and Hart Song Book (Verve Acoustic Sounds Series)" The second of her celebrated song book albums and heralded as one of the best vocal jazz albums ever made, Ella and arranger/conductor Buddy Bregman began work on the Rodgers and Hart sessions three months after the release of her Cole Porter Song Book. Like it's predecessor, it features the cream of West Coast session musicians, many of whom graced the fabulous recordings that Frank Sinatra was making around the same time in the same studio. Maynard Ferguson (trumpet), Milt Bernhart (trombone), Herb Geller, Ted Nash & Bud Shank (reeds), Barney Kessel (guitar), and Alvin Stoller (drums). The album is full of standards that everyone knows and loves, but in Ella's hands these songs become even more special. Standouts include "There's a Small Hotel," "You Took Advantage of Me," and the perennial, "My Funny Valentine." Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180g vinyl in deluxe gatefold packaging.
NOW YEARBOOK 1997 / VARIOUS
UNIVERSAL UK
CD
$22.49
Jul 04, 2025
Step back into one of the most exciting years in pop history - a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits with 78 massive tracks across 4 CDs. CD1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, 'Older', before Natalie Imbruglia's huge debut single 'Torn'. Texas scored a UK top 5 with 'Say What You Want' and Hanson hit the US & UK #1 with 'MMMBop'. 'Barbie Girl' from Aqua and the Spice Girls' anthemic 'Spice Up Your Life' were both #1s and lead a run of pure pop including Boyzone ('Picture Of You'), Louise ('Arms Around The World'), 911 ('Bodyshakin') and Backstreet Boys ('Everybody (Backstreet's Back)') alongside Steps with their debut '5, 6, 7, 8', and Ricky Martin's global smash 'Maria'. Up next is Elton John's superb 'Something About The Way You Look Tonight' - one half of the biggest selling single of all time. Eternal feat. Bebe Winans hit #1 with 'I Wanna Be The Only One' and All Saints made their debut with 'I Know Where It's At'. en Vogue's powerful 'Don't Let Go (Love)' and Gabrielle's remake of 'Walk On By' lead into the discs closing trio: - the atmospheric 'Out Of My Mind' from Duran Duran, the genre-blending #1 'Your Woman' from White Town, and Pet Shop Boys' brilliant version of the musical classic 'Somewhere'. CD2 opens with another George Michael classic from his 'Older' album, the beautiful 'You Have Been Loved', ahead of a second contemporary masterpiece 'Secret Garden' from Bruce Springsteen. Next Up, Paul McCartney's 'Young Boy' and Sheryl Crow's top 10 hit 'A Change Would Do You Good'. Meredith Brooks makes her debut with 'Bitch' and Robbie Williams' 'Old Before I Die', became his second smash as a solo artist. Different styles of dance pop are celebrated in a run of floor fillers including Jamiroquai's groovy 'Alright', and from Tina Moore ('Never Gonna Let You Go (Kelly G. Bump-N-Go Vocal Mix)'), Whitney Houston ('Step By Step') and Lutricia McNeal ('Ain't That Just The Way'). Finley Quaye and Ginuwine feature before rap from LL COOL J enjoying his first UK #1 with 'Ain't Nobody', and Coolio with the ear-worm 'C U When U Get There'. Soulful vocals close this disc with Mary J. Blige's 'Everything', ahead of great covers from Shola Ama with You Might Need Somebody', and 'Wonderful Tonight' from Damage. CD3 kicks off with Radiohead's defining 'Paranoid Android', and Oasis's huge #1 'D'You Know What I Mean?' - the lead single from their third album 'Be Here Now'. Indie-pop anthems follow from The Seahorses ('Love Is The Law'), Supergrass ('Richard III'), The Charlatans ('North Country Boy') and Ocean Colour Scene ('Hundred Mile High City'). 90s alt-pop continues with Cast's 'Free Me', Kula Shaker's hit cover of 'Hush' and Embrace's 'All You Good Good People'. Echo & The Bunnymen returned in '97 with 'Nothing Lasts Forever', and James also scored a Top 10 hit with 'She's A Star'. The Cardigans had a #2 smash with 'Lovefool' and 'Ready To Go' gave Republica a Top 20 chart debut. Next up, some of the years' electronic dance music highlights: - The Chemical Brothers with the massive 'Block Rockin' Beats' ahead of Moby with his re-imagining of the classic film-series theme: 'James Bond Theme (Moby's Re-Version)'. Orbital provided the theme to the remake of 'The Saint' and Smoke City provide trip-hop brilliance with 'Underwater Love', ahead of the disc finishing with the atmospheric version of 'You Showed Me' by The Lightning Seeds' and Suede's plaintive 'Saturday Night'. The final disc opens with a stellar run of 1997's dancefloor gold. Opening with the club juggernaut and #1 'Professional Widow' from Tori Amos, remixed for single release by Armand Van Helden, ahead of the collaboration between Lisa Stansfield and The Dirty Rotten Scoundrels on the remix of 'People Hold On', Olive's UK #1 'You're Not Alone', the huge '97 'Now Voyager' remix of 'You Got The Love' from The Source feat. Candi Staton, and 'Remember Me' from Blue Boy. Ultra Nate and Dannii Minogue had euphoric dance-pop smashes with 'Free' and 'All I Wanna Do', which are featured before pan-European hits from Sash! ('Encore Une Fois') and Dario G ('Sunchyme'). Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with 'Love Shine A Light' are up next before gems from Celine Dion, Backstreet Boys and the second solo #1 for Gary Barlow with 'Love Won't Wait'. Gina G keeps things 'Fresh', No Mercy hit #2 with the infectious 'Where Do You Go', and N-Trance (featuring Rod Stewart) reimagined the classic: 'Da y Think I'm Sexy'. Five achieved a Top 10 debut with 'Slam Dunk (Da Funk)', East 17 enjoyed their 11th visit to the Top 10 with 'Hey Child', and Wet Wet Wet's 'If I Never See You Again' was another Top 5 hit for the enduringly popular band celebrating their 10th anniversary. The journey back to 1997 closes with the huge #1 ballad from the Spice Girls - 'Too Much' - the year's Christmas #1 and their 6th chart-topper in an unbroken run to date... which ends the collection on a perfect pop high. NOW - Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.
NOW YEARBOOK 1997 / VARIOUS
UNIVERSAL UK
CD
$25.99
Jul 04, 2025
Step back into one of the most exciting years in pop history - a time when boundary-pushing alternative anthems, flawless dancefloor fillers, global megastars and fresh faces all collided on the charts. NOW - Yearbook 1997 celebrates an unforgettable year of hits and this deluxe format features 78 massive tracks across 4 CDs - housed in 'hard-back-book' packaging, including a 28-page booklet featuring a summary of the year and a track-by-track guide. CD1 kicks off in style, with the stunning jazz-drenched ballad from legend George Michael, 'Older', before Natalie Imbruglia's huge debut single 'Torn'. Texas scored a UK top 5 with 'Say What You Want' and Hanson hit the US & UK #1 with 'MMMBop'. 'Barbie Girl' from Aqua and the Spice Girls' anthemic 'Spice Up Your Life' were both #1s and lead a run of pure pop including Boyzone ('Picture Of You'), Louise ('Arms Around The World'), 911 ('Bodyshakin') and Backstreet Boys ('Everybody (Backstreet's Back)') alongside Steps with their debut '5, 6, 7, 8', and Ricky Martin's global smash 'Maria'. Up next is Elton John's superb 'Something About The Way You Look Tonight' - one half of the biggest selling single of all time. Eternal feat. Bebe Winans hit #1 with 'I Wanna Be The Only One' and All Saints made their debut with 'I Know Where It's At'. en Vogue's powerful 'Don't Let Go (Love)' and Gabrielle's remake of 'Walk On By' lead into the discs closing trio: - the atmospheric 'Out Of My Mind' from Duran Duran, the genre-blending #1 'Your Woman' from White Town, and Pet Shop Boys' brilliant version of the musical classic 'Somewhere'. CD2 opens with another George Michael classic from his 'Older' album, the beautiful 'You Have Been Loved', ahead of a second contemporary masterpiece 'Secret Garden' from Bruce Springsteen. Next Up, Paul McCartney's 'Young Boy' and Sheryl Crow's top 10 hit 'A Change Would Do You Good'. Meredith Brooks makes her debut with 'Bitch' and Robbie Williams' 'Old Before I Die', became his second smash as a solo artist. Different styles of dance pop are celebrated in a run of floor fillers including Jamiroquai's groovy 'Alright', and from Tina Moore ('Never Gonna Let You Go (Kelly G. Bump-N-Go Vocal Mix)'), Whitney Houston ('Step By Step') and Lutricia McNeal ('Ain't That Just The Way'). Finley Quaye and Ginuwine feature before rap from LL COOL J enjoying his first UK #1 with 'Ain't Nobody', and Coolio with the ear-worm 'C U When U Get There'. Soulful vocals close this disc with Mary J. Blige's 'Everything', ahead of great covers from Shola Ama with You Might Need Somebody', and 'Wonderful Tonight' from Damage. CD3 kicks off with Radiohead's defining 'Paranoid Android', and Oasis's huge #1 'D'You Know What I Mean?' - the lead single from their third album 'Be Here Now'. Indie-pop anthems follow from The Seahorses ('Love Is The Law'), Supergrass ('Richard III'), The Charlatans ('North Country Boy') and Ocean Colour Scene ('Hundred Mile High City'). 90s alt-pop continues with Cast's 'Free Me', Kula Shaker's hit cover of 'Hush' and Embrace's 'All You Good Good People'. Echo & The Bunnymen returned in '97 with 'Nothing Lasts Forever', and James also scored a Top 10 hit with 'She's A Star'. The Cardigans had a #2 smash with 'Lovefool' and 'Ready To Go' gave Republica a Top 20 chart debut. Next up, some of the years' electronic dance music highlights: - The Chemical Brothers with the massive 'Block Rockin' Beats' ahead of Moby with his re-imagining of the classic film-series theme: 'James Bond Theme (Moby's Re-Version)'. Orbital provided the theme to the remake of 'The Saint' and Smoke City provide trip-hop brilliance with 'Underwater Love', ahead of the disc finishing with the atmospheric version of 'You Showed Me' by The Lightning Seeds' and Suede's plaintive 'Saturday Night'. The final disc opens with a stellar run of 1997's dancefloor gold. Opening with the club juggernaut and #1 'Professional Widow' from Tori Amos, remixed for single release by Armand Van Helden, ahead of the collaboration between Lisa Stansfield and The Dirty Rotten Scoundrels on the remix of 'People Hold On', Olive's UK #1 'You're Not Alone', the huge '97 'Now Voyager' remix of 'You Got The Love' from The Source feat. Candi Staton, and 'Remember Me' from Blue Boy. Ultra Nate and Dannii Minogue had euphoric dance-pop smashes with 'Free' and 'All I Wanna Do', which are featured before pan-European hits from Sash! ('Encore Une Fois') and Dario G ('Sunchyme'). Eurovision glory happened for the UK in 1997, and winners Katrina And The Waves with 'Love Shine A Light' are up next before gems from Celine Dion, Backstreet Boys and the second solo #1 for Gary Barlow with 'Love Won't Wait'. Gina G keeps things 'Fresh', No Mercy hit #2 with the infectious 'Where Do You Go', and N-Trance (featuring Rod Stewart) reimagined the classic: 'Da y Think I'm Sexy'. Five achieved a Top 10 debut with 'Slam Dunk (Da Funk)', East 17 enjoyed their 11th visit to the Top 10 with 'Hey Child', and Wet Wet Wet's 'If I Never See You Again' was another Top 5 hit for the enduringly popular band celebrating their 10th anniversary. The journey back to 1997 closes with the huge #1 ballad from the Spice Girls - 'Too Much' - the year's Christmas #1 and their 6th chart-topper in an unbroken run to date... which ends the collection on a perfect pop high. NOW - Yearbook 1997: A celebration of the diversity and creativity in the charts of a truly magical year in pop.
As I Love You - The Complete Shirley Bassey 1956-1962
Frémeaux
CD
$53.99
Jan 23, 2026
CD1 : STORMY WEATHER - THE WAYWARD WIND - AFTER THE LIGHTS GO DOWN LOW - IF YOU DON't LOVE ME - TRALA LA - IF I HAD A NEEDLE AND THREAD - TONIGHT MY HEART SHE IS CRYING - PUH-LEEZE! MISTER BROWN - TAKE MY LOVE, TAKE MY LOVE. BORN TO SING THE BLUES : BORN TO SING THE BLUES - BEALE STREET BLUES - WABASH BLUES - BASIN STREET BLUES - THE BIRTH OF THE BLUES - CARELESS LOVE BLUES - BLUES IN THE NIGHT (MY MAMA DONE TOLD ME) - THE ST. LOUIS BLUES. Shirley Bassey AT THE CAFe DE PARIS : BORN TO SING THE BLUES - SOMEBODY LOVES ME - MY BODY'S MORE IMPORTANT THAN MY MIND - SEX - I'VE GOT YOU UNDER MY SKIN - HANDS ACROSS THE SEA - THERE'S NEVER BEEN A NIGHT. CD2. THE BEWITCHING Shirley Bassey : BURN MY CANDLE - NIGHT AND DAY - CRAZY RHYTHM - THE WALL - THE BANANA BOAT SONG - THE GYPSY IN MY SOUL - LOVE FOR SALE - FROM THIS MOMENT ON - KISS ME, HONEY HONEY, KISS ME - YOU YOU ROMEO - MY FUNNY VALENTINE - HOW ABOUT YOU? - FIRE DOWN BELOW - AS I LOVE YOU. THE FABULOUS Shirley Bassey : A FOGGY DAY IN LONDON TOWN - I'VE GOT YOU UNDER MY SKIN - CRY ME A RIVER - APRIL IN PARIS - I'VE NEVER BEEN IN LOVE BEFORE - THE MAN THAT GOT AWAY - 'S WONDERFUL - I'LL REMEMBER APRIL - EASY TO LOVE - NO ONE EVER TELLS YOU - THEY CAN't TAKE THAT AWAY FROM ME - THE PARTY'S OVER. CD3. : IF YOU LOVE ME - COUNT ON ME. SHOWBOAT : CAN't HELP LOVIN' DAT MAN - BILL - WITH THESE HANDS - AS LONG AS HE NEEDS ME - ABOVE ALL OTHERS. SHIRLEY : IN STILL OF THE NIGHT - LET THERE BE LOVE - ALL AT ONCE (DeJÀ) - FOR EVERY MAN THERE'S A WOMAN - I'm IN THE MOOD FOR LOV - SO IN LOVE - IF I WERE A BELL - THERE WILL NEVER BE ANOTHER YOU - HOORAY FOR LOVE - TOO LATE NOW - I'm SHOOTING HIGH - EV'RY TIME WE SAY GOODBYE. CD4. : YOU'LL NEVER KNOW - HOLD ME TIGHT - REACH FOR THE STARS - I'LL GET BY (AS LONG AS I HAVE YOU). Shirley Bassey : LOVE IS A MANY SPLENDORED THING - THE NEARNESS OF YOU - FOOLS RUSH IN - WHO ARE WE? - ANGEL EYES - TILL - A LOVELY WAY TO SPEND AN EVENING - THIS LOVE OF MINE - YOU'RE NEARER - GOODBYE LOVER - HELLO FRIEND - WHERE OR WHEN - WHERE ARE YOU - CLIMB EV'RY MOUNTAIN - TONIGHT - LET'S START ALL OVER AGAIN. CD5. YOU'LL NEVER WALK ALONE - AVE MARIA - FAR AWAY - MY FAITH - ANGEL D'AMORE - WHERE SHALL I FIND HIM - IT MIGHT AS WELL BE SPRING. LET'S FACE THE MUSIC : LET'S FACE THE MUSIC AND DANCE - I SHOULD CARE - LET'S FALL IN LOVE - THE SECOND TIME AROUND - IMAGINATION - ALL THE THINGS YOU ARE - I GET A KICK OUT OF YOU - EVERYTHING I HAVE IS YOURS - SPRING IS HERE - ALL OF ME - I CAN't GET YOU OUT OF MY MIND - WHAT NOW MY LOVE - WHAT KIND OF FOOL AM I. DIRECTION ARTISTIQUE : OLIVIER JULIEN
I WAS BORN RUTH LEE JONES BUT I AM SINGING AS
GET BACK
CD
$23.99
Oct 21, 2008
An astonishing collection and piece of blues history, this album caresses your ears with some of the finest tunes by the Queen of Blues who, despite her short life, managed to impose her trademark vocal style on generations of blues makers. Featured here are classics like "Evil Gal Blues," "Since I Fell for You" and a remarkable version of "Please Send Me Someone to Love" written by Percy "Hit the Road Jack" Mayfield.
COZY YOU (AND OTHER NICE SONGS)
VERVE
Vinyl
$21.49
Jun 06, 2025
Vinyl LP pressing. 2025 release. Aron!'s debut EP 'cozy you (and other nice songs)' is a collection of timeless pop jazz songs touching on romance, heartbreak, and life's complexities- all with an inviting warmth and charm. His memorable voice and clever songwriting bring a decidedly modern perspective to jazz that is somehow simultaneously classic and fresh. 'It's singer-songwriter jazz. I've always resonated with the real romantics from the old school. I realized people are going through the same things now as they were back then. Heartbreak is heartbreak, and love is love. We're all humans. I'm doing what feels authentic to me'. - aron!
