5 Results for : explosive sings
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Thalberg: Transcendental Opera Fantasies II
This is the second Thalberg album from Hiroshi Takasu, who established a reputation with his first album of works by that composer which was reviewed in various music magazines and classical music radio programs last year. The magic of Takasu is about to mesmerize you again.? The introduction of the very first track, 'La fille du régiment', is already intense. Is this really played live without any rehearsal? You can enjoy the marching-style 'Chacun le sait', of course, but you will be even more enchanted by the 'three-hand' effects he demonstrates in Marie's famous aria, 'Convien partir'. Takasu plays out the aria with magnificence like tumbling glittering shards of glass while maintaining a steady accompaniment.? The second track, 'La Straniera', is among the early works of Thalberg as indicated by it's opus number. The melody by Bellini who influenced even Chopin is sweet, and is given prominence by the beautiful clear timbres created by Takasu. His marvelous left hand playing is also worthy of attention, sounding like a harp while accompanying the melody played with his right hand, and sometimes resonant like a string's pizzicato.? The third track is 'Casta Diva', an excellent performance without a doubt. His playing is not only meticulous but in this famous aria from Bellini's grandiose Opera, 'Norma', in which a high priestess Norma appealed emotionally for love and peace, it sings out clearly and sonorously just like a first-rank opera singer. There was a moment of silence after the performance, which was followed by applause filling the hall. It is said there were even those who started sobbing.? The fourth track is 'Il barbiere di Siviglia'. He splendidly improvises this difficult tune from Thalberg's ripe years. Amazingly done live. As the tempos quicken from lento, maestoso, allegro and to presto, minor keys of sadness and anxiety are transformed to major keys of delight. Takasu never plays through an easy opening section casually. His playing is extraordinary.? The fifth track is Verdi's masterpiece, 'La Traviata', the only studio recording on this album. The introduction is ominous and pathetic, yet eccentric. Takasu's explosive octave playing is presented better than ever in 'Di Provenza, il mar, il suol'. Who on earth is playing the tremolo if he is playing this beautiful aria 'Addio del pasato'? If he plays the tremolo with just his right hand, then is he playing the aria with just his left? And the overwhelming 'Ah, fors'è lui che l'anima' reminds one of the impressive 'Mazeppa' of Liszt. In fact, this part accompanied with triads or four-note chords is far more difficult than 'Mazeppa' accompanied with merely two-note chords. His invincible technique is totally striking.? You cannot afford to miss the future perfomances of Takasu, the never waning wizard of the piano.- Shop: odax
- Price: 27.82 EUR excl. shipping
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Testify!
Rocky Jackson - Testify! (High Life Records) Though a proud son of the Lone Star state that has produced an extraordinary number of blazing guitar slingers, Rocky Jackson goes to the heart of the blues where the seductive groove and emotional expression meet like "the Southern crossing the dog." On his new CD he digs into the deep mojo of the southwest as well as Chicago and the Delta, and the result is a rare treat for the body and soul. Of course, "T" for Texas also stands for "tone" and Jackson has it pouring out of his guitar like boiling molasses. Ernest W. "Rocky" Jackson III was born May 29, 1947 in Austin, Texas. Completely self-taught, he started playing bottleneck and lap steel in the sixties after seeing Hound Dog Taylor perform. Surprisingly, a move to L.A. in the seventies allowed him the chance to play more straight ahead blues on the active Southern California scene. From 1980-88 he was a member of the Magic Blues Band that backed many blues luminaries, including George "Harmonica" Smith, Paul Butterfield and Coco Montoya. He cut Blue Streak as a trio and following the recording of Squeeze Here in 2006, Jackson recruited the backing band for live performances. He opens his 13-song set of covers and originals with a dark version of Muddy Waters' "I Just Want to Make Love to You," making it a hypnotic incantation of raw carnality inflamed by his stinging lead licks. His original "Big Legs Don't Mean Fat" follows with a jaunty shuffle and wry lyric content that declaims, "Those fine long legs, man, is where it's at." "Voodoo Spell" gets all funky with a spooky guitar/bass unison lick contributed by guest bassist Hank Van Sickle that is driven forward by the fatback drumming of Eliot Witherspoon. Visiting primary roots, Jackson offers his creative take on the Robert Johnson classic "Stop Breakin' Down." With harmonicist Michael Fell filling and soloing on his "Mississippi saxophone," Jackson sings with controlled passion that perfectly complements his razor sharp slide accompaniment. A pilgrimage to the West Side of Chicago produces the minor key "Like Magic" that pays homage to Magic Sam. A musical spell is cast on the saucy, slow blues instrumental with Fell's warbling harp and Jackson's rhythm guitar before the leader opens up with a solo of uncompromising lyricism. "I Wanna Testify (About My Baby)" shuffles in with a swinging, finger-snapping bounce given buoyancy by bassist Joel T. Johnson as Jackson extols the virtues of his woman. As opposed to many of his contemporaries, he sings the blues with unforced authenticity that is totally convincing. John Lee "Sonny Boy" Williamson's "Early in the Morning" finds Jackson and Fell dueting like a modern day Buddy Guy and Junior Wells. Powered by a churning bass string riff, the tune subtly rocks as it sets a flexible foundation from which Jackson soars and Fell explores the upper range of his harmonica. Without breaking stride the band transitions smoothly into the epic, heavyweight slow blues of "Shoulda Never Left Texas" featuring an extended, smoldering intro and two devastating solos from Jackson. The centerpiece of the disk and a vocal and instrumental showcase, it is a jaw-dropper that will have aspiring blues guitarists scurrying to the woodshed. Jackson's voice drips with world-weary resignation as he defiantly responds to his "blues" by screaming and crying through his axe. "Chicken-Legged Woman" is a dynamic change of pace as Jackson overdubs two acoustic guitar parts, strutting his Dobro slide chops with unquestioned authority. Jimmy Reed's obscure tribute to Sonny Boy Williamson, "Don't Say Nothin'," has the band locking into the chugging boogie shuffle rhythm with conviction and power. Jackson then strikes a potent electric country blues stance on his "In the Doghouse Now" with appropriate imagery intensified by his guitar doubling the vocal hook. Keeping his set percolating "down in the alley," he next proffers a dead on, greasy version of Waters' classic "Long Distance Call" with nasty, snaky slide and a raw, shimmering harp solo from Fell. Apropos of a record that tells it like it is, the closing track, "L.A. to Austin" spins an autobiographical story that is both literal and symbolic of Jackson's return to his home state. Musically it is also his tribute to Hound Dog Taylor as he rips and runs on the electric slide with lusty abandon. B.B. King once said, "The blues are simple, anyone can play them, but would you want to hear anyone play them?" It should be added that it is not simple to come up with a recognizable signature sound and delivery, but Rocky Jackson is well on his way. Anyone who has caught his explosive live show or hears this record will certainly "testify" to that fact. Dave Rubin Staff Writer Guitar Edge Magazine.- Shop: odax
- Price: 22.88 EUR excl. shipping
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Midsummer
Recorded in 2010 at Townend Studios (Berlin), Klangwolke (Berlin), OrBeat-Studios (Berlin), Eastgate-Studios (Vienna) Track 1 and 5 produced by Quaeschning/Heidemann Track 2 by Beator Track 3 by Quaeschning/Djirre Track 4, 6 and 8 by Beator/Quaeschning Track 7 by Quaeschning Thorsten Quaeschning - Synthesizer, Piano, Memotron, Guitar, Vocoder, Vocals, Boomwhakers, Percussion, Stones Sascha Beator - Synthesizer Kai Hanuschka - Drums, Vocals, Percussion Djirre - Guitar, Vocals, Vocoder Juergen Heidemann - Singing Stones, Stones, Vocals, Boomwhakers David See - Stones Nadine Gomez - Violin, Vocals Picture Palace Music is an electronic music band from Berlin, Germany, the city where serious electronic music was born. Thorsten 'Q' Quaeschning, keyboardplayer in Tangerine Dream, is head of the project. The main idea of the group that was founded in 2003 is to reproduce the musical dynamic and experiments of old live accompaniment for silent movies and to give them a modern soundtrack with nowadays-technical options. This shows that the old silent movies are not mouldy: they are timeless and fascinating! The music is inspired by more than eighty years old silent movies. Take a deep trip into a mystical world of sounds! Picture Palace Music already has quite a number of releases out, some only available as download but also some on the Manikin electronic music label from Berlin. 'Midsummer' is the first one that was released on Groove Unlimited. The theme behind the album is 'music for sound divers and baptism-ceremonies'. The band is celebrating a wonderful summer sun-worshipping the solstice and the associated famous white nights and blue hours. Vuvuzelas (remember those from the Word Championship soccer?) as an essential part of this particular summer will be heard as well as the beautiful noise of sound-stones. So join the band having a trip through the whole gamut of emotions regarding/reflecting this eventful year - 2010. And a band it is. Apart from Thorsten 'Q' the band consists of Sacha Beator (keyboards, who also does a lot of composing), Djirre and Stephen Mortimer on guitars, Vincent Novak on drums and Juergen Heidemann on various instruments and sounds. Of course, with a man like 'Q' in the band, a comparison can be made with the music of Tangerine Dream. But Picture Palace Music is more than that: melodically, lively, rocky and even at some cases progressive ('Q' is a fan of progrock and alternative rockmusic which can be heard throughout the album). With 'Chill Crystal Zone' the album already starts in a progressive way with fierce guitars and drums. But on many occasions the band takes a rest, like in the atmospheric 'Midsummer's Morning' in which we hear 'Q''s Memotronflutes and 'Drowning Someone's Sorrow Into The Ocean, part I' (a great title!). He also plays a fine steelguitar: that can be heard in 'Seduction Crossing' and even sings, like in 'Midsummer's Night'. The texts are by William Shakespeare and Ralph Waldo Emerson. Picture Palace Music creates music that is a perfect mix between electronic music, rock and prog and therefore may attract a diversity of music lovers. And also live, like on the 'E-Live festival' in 2010 they proved they are a rising force in EM. Press Information It's quite difficult to describe the music of Picture Palace Music so much that she's so disparate. Since the release of Somnambulistic Tunes in 2007, Thorsten Quaeschning's group doesn't stop amazing by an impressive variety of styles and tones. Midsummer, their 1st album on Groove Unlimited was revealed during the E-Live2010 festival during a hectic concert that totally amazed the audience. And with good cause! Beyond a hymn to summer, it's solstice, the sun and it's worshippers, Midsummer embraces big synth rock and keeps an attentive ear to rustles o bluish nights, there where festivities of a world of excitement cross the parallelism of dualistic universes of Picture Palace Music. Chill Crystal Zone reminds us above all that the leader of PPM is also behind the keyboards of Tangerine Dream. Midsummer's introductory track starts with a slightly fluty synth dandling on a fine sequential line which waves such a prismatic rivulet on a cozy bed of twinkling arpeggios and guitar notes scrolling in loops. The rhythm is nervous, crossing the wriggling guitar of The Edge (U2) as well as naive and tremulous sequences of Dream from the Rockoon years. A feverish guitar of which riffs are fading behind floating vocalizes shapes a strange melody gnawed by a latent madness. The pace is increasing with more sustained percussions and crystalline chords which waddle innocently before the guitar becomes more mordant and that an avalanche of percussions tumbles with crash, dividing Chill Crystal Zone between a soft melody and an astounding musical fury that PPM had already flooded us with Damsel Dive and Help Murder Help which we find on Fairy Marsh Districts. Moreover, Midsummer will constantly be torn between melodies and anguishes as well as between brightness and blackness. Midsummer's Eve follows with an introduction rather similar to Chill Crystal Zone weakened rhythm, except that the rhythm explodes heavily with furious percussions, a line of hemmed bass and nervous guitar riffs which plunges us into the somber universe of King Crimson (Red and Starless and Bible Black). An explosive track where the guitar drags it's solos on a hybrid structure with a rhythm broken by short aired interludes, leaning over heavy riffs and dark lines of synth which roar in a cacophony of sounds reminding us that Midsummer is also an album for sound divers as well as for baptism ceremonies, but surely baptisms of another religious order. Sounds, sounds and sounds. Midsummer's Morning is full of those and this up to the last hidden recesses of it's mystery. It's a wonderful ode to schizophrenia with a delicious piano which spreads a magnificent meditative melody where voices drag in a furrow disturbing of emotionalism and eclecticism. A soft piano which reminds me the Añoranza on Curicculum Vitae 1 whose atmosphere is similar to it with all this array of sounds as heterogeneous as troubling which crosses this delicate duel piano / flute. Midsummer's Day cross a little bit the light rhythmics of the Dream in the Miramar years with it's lively tempo where guitar riffs flow on nervous percussions and limpid sequences fidgeting beneath delicate strata of synth. A track which flirts a little more towards the big synth rock, quite as the powerful and colliding Right of Ascension Day, and which knows it's increases of creativity with a beautiful guitar and vocals of festivities which plunge Midsummer's Day in an unreal African rave-up, especially with vuvuzelas which buzz around vocoders. Seduction Crossing is also tinted of this Tangerine Dream universe, but a darker Dream brought out of Legend paths. A fine sequence swirls after an atonal intro with anguishing breezes. A sequence of which chords are trickling away under good striking of muffed percussions and others which are deeply colliding quite as on Legend. A line of bass fed this spiral sequence where keyboard keys water this strange melody of glass tones. A great track which depicts a nightmarish paranoia, especially when are adding superb spectral guitars strata which sway with stridence, tearing this suave to schizophrenic seduction which lives in Seduction Crossing, one excellent track within Midsummer. Our eardrums, still knocked out by strikes of the heavy and captivating Right of Ascension, are wrapped by the eclectic and hollow intro of Drowning Someone's Sorrow into the Ocean Part I. Drops stream in the echo of dark caves of which curves go on towards a heterogeneous sound universe where caustic reverberations cross an array of fluty breezes and metallic hoops. A sequence is emerging from it and discreetly astride this plain fossilized of metallic humming. The movement is delicate and is increasing with the appearance of the P- Shop: odax
- Price: 29.91 EUR excl. shipping
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Fallen Rainbow
A delicate musical and poetic fusion of aching-tenderness, reflection, passion, hope and defiance. "Fallen Rainbow" is a collection of songs, music and poetry ranging from defiant rhythm-vocals, cheeky blues, lazy jazz and intimate, often mysterious ballads. This second CD and Collaboration-Performance-Project from Danny Scott, continues to include his hallmark, heart-felt and highly-textured visual imagery, offering a mellow yet invigorating sensory experience, at times atmospheric and subdued, fallen rainbow is also rumbles with rich celebration! 'Theatre for the ears and the imagination!' Within fallen rainbow, Danny Scott has again chosen to collaborate with a number of different artists, singers and musicians, further establishing his passionate commitment to the fusion of multi-arts disciplines. Whilst all the lyrics were written by Danny himself, they were then, offered to a select group of hand-picked musicians, singers and artists, who, in turn, were given the freedom to express these lyrics through their own composition and song, resulting in a deeply vulnerable, exciting, and highly explosive cocktail of creativity! ...................................... On "Just Another Day" (lyrics by Danny Scott), Ingrid Diem's smouldering, delicately haunting voice, takes us on a journey, contrasting different moments and scenarios, evocatively unfolded in a single day. On "Slow Burn", (lyrics by Danny Scott), Miriam Fuchsberger, lends her velvet vocals, through a combination of soulful and lazy-jazz, reflecting on the closing of old, and opening of new 'chapters of life', with a quiet confidence to 'trust the slow burn of the heart'. On "Bridges" (lyrics by Danny Scott), Carola Caye, sings with a rainbow of vocal expression, from clear, pure, fragile questioning, rumbling tones of wounding,- resonating with edge and mockery, to the passionate thundering of authority, as we are drawn into a World and realm of burning our bridges behind us, and receiving an invitation to 'walk on the water'. Johannes Diem features on numerous tracks, such as "Borrowed Time", "Until Then (Here I Am)" - skilfully reflecting the essence of narrative spoken text (recited by Danny Scott), through piano and keyboard composition, as well as accompaniment on other songs/pieces. ....................... Other artists/musicians included in, and integral to fallen rainbow include: the 'outrageously-skilled Martin Moro, who brings guitars, whistles, vocals, backing vocals most notably on the beautiful visually evocative, celtic-esque 'Gravel Road' and David Boyd,adds his gently explosive, humour and pasion through the blues track 'Where d'you get those shoes?' The whole 'Fallen Rainbow' experience is held together and marinades in the mystery, intrigue and soothing juta-position of Christof Unterberger's cello. - A dynamic, eclectic deeply touching and highly inspiring new CD! ___________________________________.- Shop: odax
- Price: 29.54 EUR excl. shipping
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The Explosive!...+Sings Happ
Diese wesentliche CD stellt Cannons erste zwei und vermutlich feinsten Longplays: das Meisterwerk The Explosive! Freddy Cannon, plus sein lange nicht verfügbares Debütalbum, Sings Happy Shades Of Blue.- Shop: odax
- Price: 14.15 EUR excl. shipping
