91 Results for : ably

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    The Fleet at Flood Tide
    NEW YORK TIMES BESTSELLER • The extraordinary story of the World War II air, land, and sea campaign that brought the U.S. Navy to the apex of its strength and marked the rise of the United States as a global superpower Winner, Commodore John Barry Book Award, Navy League of the United States • Winner, John Lehman Distinguished Naval Historian Award, Naval Order of the United States With its thunderous assault on the Mariana Islands in June 1944, the United States crossed the threshold of total war. In this tour de force of dramatic storytelling, distilled from extensive research in newly discovered primary sources, James D. Hornfischer brings to life the campaign that was the fulcrum of the drive to compel Tokyo to surrender-and that forever changed the art of modern war. With a close focus on high commanders, front-line combatants, and ordinary people, American and Japanese alike, Hornfischer tells the story of the climactic end of the Pacific War as has never been done before. Here are the epic seaborne invasions of Saipan, Tinian, and Guam, the stunning aerial battles of the Great Marianas Turkey Shoot, the first large-scale use of Navy underwater demolition teams, the largest banzai attack of the war, and the daring combat operations large and small that made possible the strategic bombing offensive culminating in the atomic strikes on Hiroshima and Nagasaki. From the seas of the Central Pacific to the shores of Japan itself, The Fleet at Flood Tide is a stirring, authoritative, and cinematic portrayal of World War II's world-changing finale. Illustrated with original maps and more than 120 dramatic photographs "Quite simply, popular and scholarly military history at its best."-Victor Davis Hanson, author of Carnage and Culture "The dean of World War II naval history . . . In his capable hands, the story races along like an intense thriller. . . . Narrative nonfiction at its finest-a book simply not to be missed."-James M. Scott, Charleston Post and Courier "An impressively lucid account . . . admirable, fascinating."-The Wall Street Journal "An extraordinary memorial to the courageous-and a cautionary note to a world that remains unstable and turbulent today."-Admiral James Stavridis, former Supreme Allied Commander, NATO, author of Sea Power "A masterful, fresh account . . . ably expands on the prior offerings of such classic naval historians as Samuel Eliot Morison."-The Dallas Morning News
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    Righteous Kill
    In director Jon Avent's 2008 crime drama RIGHTEOUS KILL, two New York City police detectives-Turk (Robert de Niro) and Rooster (Al Pacino)attempt to track down a serial killer who targets only vicious criminals. This enigmatic vigilante has earned the duo's respect, yet they are duty-bound to apprehend the criminal-hunting assailant, and in doing so they strain the bonds of their longtime partnership. Aiding Turk and Rooster are a fiery younger pair of detectives (Donnie Wahlberg and John Leguizamo) and investigator Karen Correlli (Carla Gugino), who are determined to see that justice is served. The second face-to-face film pairing of De Niro and Pacinothe first being Michael Mann's gritty 1995 epic, HEAT-RIGHTEOUS KILL finds the revered veteran actors working within the confines of a police procedural. Ably supported by Gugino, Wahlberg, and Leguizamo, the iconic performers contribute relatively subdued turns, never fully engaging in their signature dramatic fireworks. Director: Jon Avnet Star: Robert de Niro, Al Pacino, Brian Dennehy, John Leguizamo, 50 Cent, Carla Gugino, Anamorphic Widescreen - 2.35 Audio: Dolby Digital 5.1 Surround - English Subtitles - Spanish Additional Release Material: Audio Commentary - Jon Avnet - Producer, Director Featurette - 1. THE INVESTIGATION: An In-Depth Look At The Righteous Kill 2. THE THIN BLUE LINE: An Exploration of Copes & Criminals Trailer - Theatrical Trailer.
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    The Daredevil Drivers
    Racecar driver Bill Foster (Dick Purcell) has the talent to collect racing trophies, but his reckless stunts on the track get him banned from the racing association altogether. Hitting the road with his loyal sidekick, mechanic Stub Wilson (vaudeville veteran Charley Foy), Bill crashes into a bus owned by Neeley Transport. Bill is determined to sock Neeley's president in the nose because of the damage to his race car, only to discover that the president is the attractive Jerry Neeley (Beverly Roberts) a woman immune to Bill's charms. Bill goes to work for Tommy Burnell (Donald Briggs), the owner of a rival bus company that is sabotaging Neeley Transport. Once Bill learns he's working for the wrong side, he goes out of his way to help Jerry save her company. This B-movie classic serves up an entire movie serial's worth of thrills and chills in one streamlined entertainment machine, ably delivered by a cast and crew of true show-business veterans (including radio star Gloria Blondell, sister of Joan).
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    Once Upon a Time
    This CD is a collection of love songs. And, there's something for everyone - rock to jazz, country rock to rockabilly, even the sounds of 30s / 40s music. It turns out that I am very lucky in love, so I dedicate this to my Monica, who inspired the whole thing. I've also experienced the love of many people who helped me complete this project. They include music-artists from Starving Artist (my coffeehouse on City Island, NY) - Jon Burr (track 5), Jonathan Russell (tracks 5, 10, 11) and Theresa Sareo (tracks 3, 5, 12) - as well as new friend Vickie Russell (tracks 8, 10). Thanks to Anna Foster for her beautiful Orchard Beach (New York) photographs - and for spending a Friday morning with us on the beach. Last, but not least, I thank the 'maestro' John Guth for his wizardry (as CD producer, plus he recorded / mixed / mastered the CD) - and 'Uncle' Bill Yehle and Hannah for 'all those Tuesdays' that I recorded this over a year's period. And, although the songs are my love story, people have told me that they call to mind their own love stories, and celebrate the love in their lives - and I invite you to listen and do the same! REVIEWS - From the Music World... 'Elliott Glick's new release 'Once Upon a Time' is a sumptuous, rich, diverse tour-de-force crafted by a master singer-songwriter operating at the very top of his game. Ably assisted by the ace arranger-producer-engineer John Guth, the songs consist of a rich assortment of styles fully realized with authentic production values and the secret ingredient that drives the whole project - love. If you don't already own the CD, you need to get it. NOW.' -Jon Burr (bassist who has toured and recorded with many great jazz masters, including Stan Getz, Chet Baker, Stephane Grappelli (from 1986-1997), and Buddy Rich, from 1980 to 1985, he toured with Tony Bennett) From Those Who Have Brought the CD... 'Track 11 - 'Like I Do Tonight.' We've put it on full blast on repeat 3 times now. It's stunning. Songwriting perfection. I LOVE it. Thank you!!!!!' 'This album is amazing! Every song is another chapter of joy! I am listening and just having a great time!' '#5 - Elliott, you're a genius.'
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    Saturn Sky
    In our 13 year history, the Winnipeg Wind Ensemble has been involved in two prior recording projects. The first, a compilation of graded literature for use by school bands, was conducted by Glenn D. Price and underwritten by St. John's Music Ltd. The second was a demo recording of band arrangements and transcriptions by Texas music publisher Harold Gore. When the idea came up for the band to make a third recording, we decided that the repertoire should be chosen from our recent concert programs and represent a variety of styles and moods. Each member of the band was asked to fill out a survey naming their ten favourite selections performed over the past four years. Through this democratic process came a rather eclectic mix of works, some lighter some heavier, some older, and some newly written, such as the evocative title work, Saturn Sky: Sunrise, composed by one of the ensemble's own members and premièred by the Winnipeg Wind Ensemble. Some are transcriptions and some are original works for band. Many of the selections are familiar standards in the repertoire, while others are less known. Our wish is that the music be entertaining, exciting, and representative of what can be accomplished when talented players with a love of music unite for a common purpose. Enjoy! Leonard Bernstein Leonard Bernstein (1918-1990), one of this century's most remarkable musicians, was a charismatic figure from the time he became the first American born conductor of a major American symphony orchestra, the New York Philharmonic, until his death in 1990. Bernstein seemed to express such unparalleled vitality in so many capacities - composer, conductor, pianist, and above all, teacher - someone with the gift of communicating and making music more accessible. The sparkling Overture to Candide (1957), transcribed by Clare Grundman (1913 - 1996), is frequently performed and ably reflects the brash optimism and tunefulness of it's composer. Jan Bach Jan Bach, born in Illinois in 1937, attended the University of Urbana where he received the Doctor of Musical Arts degree in composition. He has written for a number of musical genres, including orchestral, chamber, theatrical, as well as music for wind ensemble. The source for the four arrangements included in his Praetorius Suite (1984) is Terpsichore (1612), the only secular work of Michael Praetorius (1571 - 1621) that has survived to the present day. This Renaissance composer is perhaps best known for the Christmas Madrigal Lo, How a Rose Ere Blooming. During his lifetime, however, he composed over one thousand sacred works based on Protestant Hymns, and was a frequent collaborator with Martin Luther in contributions to the Latin liturgy. Revered as a gifted organist, Praetorius was also an early musicologist, his Syntagma Musicum remains our chief resource for knowledge of Renaissance musical instruments. Terpsichore is a collection of dances popular around the turn of the seventeenth century. From his own account, we know that Praetorius often rearranged the dances from this collection for the instruments of his day, and so it is fitting that Jan Bach has 'freely arranged' these once again for the modern wind ensemble. Jean Baptiste Arban Variations sur Le Carnival de Venise evokes an era before radio, movies, television, the internet and other mass media, where the outdoor band concert was one of the main forms of entertainment available. At these weekly concerts in the park, community and professional bands would feature marches, orchestral transcriptions, and band members as soloists, often playing variations on traditional melodies. Jean Baptiste Arban (1825 - 1889) wrote many such arrangements for cornet, The Carnival of Venice being among the most famous. This particular version was first recorded in 1994 by Wynton Marsalis and the Eastman Wind Ensemble, arranged and conducted by Donald Hunsberger. David Taubner It is a special treat for our ensemble to have a composer within it's ranks. String bass player David Taubner (born 1951) began his musical career at the age of twelve, when a piano appeared in his home, and by age thirteen was composing on the keyboard. He studied composition with Robert Turner, first privately and then at the University of Manitoba School of Music. His writing career came to a halt for about twelve years during which he taught piano and classical guitar and played piano, guitar and electric bass is various blues and jazz bands. For the next several years he took time to establish a career in computers while raising a family. He has spent recent years re-learning the art of music composition and writing mainly for small ensembles such as flute and piano and string quartet, but more recently exploring larger forces as in Saturn Sky: Sunrise (1997, revised 1998). In David's own words, '[Saturn Sky] was originally conceived as a tone poem in three movements for full orchestra, of which Sunrise is the first. [It was] suggested to me that this movement might work well for wind ensemble, so I then transcribed it, and the band gave it a reading. I was unhappy with the result - it was after all my first effort for band, and there were still many things I was learning about how to write for an ensemble that had no string section - but it was all instructive. I felt that the original idea was too difficult for me to make work with my limited experience, so I took the primary melody and totally rewrote the piece with only band instruments in mind. The piece begins with the bass clarinet playing the theme upon which all subsequent musical ideas are based. " Percy Grainger The Australian Percy Grainger (1882 - 1961) is one of the most interesting characters in the history of twentieth century music. A prolific and inventive wind ensemble composer, he was a pioneer in folk melody collection and many of his most memorable works for band are folk song settings, such as Irish Tune From County Derry (1909), also known by the title Danny Boy, and Children's March - 'Over the Hills and Far Away' (1919). The latter work is an example of Grainger's habit of writing substantial parts for piano in his orchestral and band works. Being a concert pianist, Grainger meant those parts for himself when the music was premièred, and they add an interesting colour to the texture of the ensemble. Norman Dello Joio Norman Dello Joio (born 1913) received his earliest musical training from his father on the organ and also with Pietro Yon, the famed organist of St. Patrick's Cathedral in New York City. After composition studies at both Juliard and Yale where he came under the influence of Paul Hindemith, Dello Joio went on to establish himself as one of the foremost figures in American music. According to the composer, Fantasies on a Theme by Haydn (1968) 'is based on a theme from a composition for piano by Joseph Haydn. The subtly conceived theme, I concluded, offered an opportunity to fantasize in the musical language of today. The three movements are a constantly varied examination of Haydn's basic idea. The bubbling humour of the first and third fantasies flank a second, which is intensely lyrical. In the final sense, it is my homage to a composer who will always remain contemporary. ' George Gershwin George Gershwin (1898 - 1937) occupies a unique place in the history of American music. A gifted writer of popular songs, musical comedies, piano concertos and other art music, he was able to combine the styles of tin Pan Alley and Carnegie Hall in a way which seemed perfectly clear to him, but never quite right to many music critics of the time. In today's cultural climate of 'cross-over' artists and greater blending of artistic styles, history has been kind to Gershwin. He is now given full credit for a successful synthesis of popular and serious art forms, bringing listeners of both to a common ground. Gershwin's legacy, and his mastery of American song os masterpiece, Porgy and Bess (1935). Having aspired to write the Ameri
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    Day of the Evil Gun
    Gunslinger Lorn Warfield (Glenn Ford) returns home after a three year absence to discover his family has been kidnapped by hostile Apaches. Intent on rescue, Lorn joins forces with Owen Forbes, a rancher who despises him but desires his wife, Angie (Barbara Babcock). As the duo move deeper and deeper into the circles of a hellish West, the gunslinger turns ever more to the ways of peace, while a savage fury awakens in the heart of the rancher. Ford ably personifies the dark and dangerous stranger while character great Arthur Kennedy brings a deft everyman touch to the role of the increasingly brutal Forbes. Directed by noted TV producer Jerry Thorpe (Harry O, Kung Fu, Falcon Crest), Day of the Evil Gun has every bit of the nuanced and quirky characterizations that made Thorpe's acclaimed and award-winning TV series famous. Dean Jagger and cult favorite Harry Dean Stanton are among the picture's additional delights.
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    Where'er you Walk-Tenorarien
    Classical Opera explore a wealth of arias by Handel and his contemporaries William Boyce, John Christopher Smith and Thomas Arne, all of which were composed for the celebrated 18th-century tenor John Beard (1716-1791). For this recording Allan Clayton steps ably into this role, performing alongside the Orchestra of Classical Opera under Ian Page.
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    Land of Plenty
    Delivering twelve tracks worth of deeply harmonic and engaging music that ably blends elements of twangy country, rootsy folk, and rousing rock into one hell of a rich, tasty, and arresting sonic stew, this album certainly hits the stirring and melodic spot somethin' sweet. The nasal and reedy, yet pleasant and affecting vocals convey emotion with exquisite clarity and galvanizing vitality. The arrangements keep things tuneful and hoppin' throughout. The smart and thoughtful songwriting likewise impresses with it's strong sense of economy and refreshing dearth of sappy sentiment. Best of all, there's a real sweet warmth and glowing humanity that rings through loud and clear in every last radiant note. A lovely and touching slice of pure heartfelt Americana. Joe Wawrzyniak - Jersey Beat "There are bands that have a timeless quality to their music, and there are bands that are clearly tethered to a certain generation. The Redemption Center is a band that strikes a balance between the two, being both timeless and timely. The music, a mix between the jangle pop of the Gin Blossoms and country twang of Ryan Adams, makes for interesting results on Land of Plenty." Eric Farwell, The Aquarian Weekly 'The new record 'Land Of Plenty' is an instantly engaging blend of gritty hooks, intelligent lyrics and heartfelt vocals. Smith's soulful song-craft is a great addition to the roots rock world and fans of Steve Earle and the Vigilantes Of Love are sure to be pleased.' Nick Young - Burning Daylight (Jun 17, 2010) 'The Redemption Center breathes new vitality into 'Heartland Rock', aided by effective and lively playing which sustains the intensity that the form requires. Add to this some compelling and sneakily uplifting lyrics delivered with a distinctive voice that oozes personality and you get music that you'll want to go back to again and again.' 'Nice work, and no surprise. I'm already a fan of 'The Boy Who Shed His Skin', a song that can easily stand comparison with the work of Mark Heard or T-Bone Burnett!The lyrics are thoughtful and manage to be complex without being unwieldy. ' Songwriter - Melbourne,Australia - DC Cardwell (Jan 5, 2010) 'An amalgam of rock,gospel,roots and folk. Rural but not Country. Lyrically intelligent, musically relevant.Looking ahead while tipping the hat to earlier influences.This music would fit comfortable in the Americana genre, if not for the pop and rock seasoning.' The Blind Armadillo (Sep 4, 2009)
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    Sonnett Für Wien
    Iain Burnside (Piano) - William Dazeley (Bariton) // Erich Korngold is perhaps best known as the pioneering émigré composer whose grand orchestral scores defined the sound of film during the golden age of Hollywood. As well as this though, his output for voice in the form of Lieder and Song highlighted the strong bond that Korngold forever held with his homeland and the city of Vienna, a place inextricably linked to the High-Romantic style that Korngold so ably perfected.
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    Harpsichord Concertos
    Here is another engaging release from Brilliant Classics' current series of C.P.E. Bach recordings - recordings that celebrate the genius of a composer who was, on account of his harmonic language, preoccupation with improvisation and cultivation of the empfindsamer Stil, undoubtedly the most strikingly individual talent among Johann Sebastian Bach's sons.Central to Carl Philipp Emanuel's output was the clavier, with the composer writing more than 50 concertos for this instrument - an astounding number considering how new a genre the keyboard concerto still was at the time, and a small number of which are detailed on this disc. While J.S. Bach is usually credited with elevating the harpsichord from its traditional role to a solo concerto instrument, his harpsichord concertos are almost certainly arrangements of earlier compositions for oboe, violin etc., and Carl Philipp Emanuel's collection therefore stands as the first important one of its kind. The works indeed number among the finest of their time, their quality reinforced by the fact that a good few were subject to regular revisions by the composer. Emanuel's own outstanding ability as a keyboard player is also reflected in the concertos, most of which were conceived with players of advanced technique in mind - the sparkling cascades of the soloist's arpeggios in the final movement of the E major Concerto Wq14 come especially to mind.Performing Wq3, Wq6 and Wq14 and bringing to the fore the infectious vitality of these works is Brilliant Classics regular Pieter-Jan Belder. He is ably supported by his period-performance ensemble Musica Amphion, who under the direction of their soloist draw full attention to the remarkable sophistication and certain amount of unpredictability that characterise C.P.E. Bach's keyboard concertos as a whole.Other information:- Recorded on 5-7 September 2012, Deutschlandfunk Kammermusiksaal, Köln.- An exciting new release to mark the Anniversary-year of Carl Philipp Emanuel Bach (born 300 years ago), the most famous son of Johann Sebastian.- Pieter-Jan Belder, one of the most distinguished keyboard players of this moment, plays three harpsichord concertos by CPE, in his infectious, stylish and virtuoso way (in short: brilliant...) , seconded by his band of early music instrumentalists of Musica Amphion.- Music of great originality, vitality and charm, a wealth to discover!- Excellent liner notes and artist biographies included in the booklet.
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