Sultan Khan – Maestro’s Choice (2006)

FrontCover1.jpgSultan Khan is one of the greatest musicians of the rare instrument called sarangi. It is believed that the word sarangi was derived form the word Sau Rangi, which means a hundred colors and sultan Khan is a great exponent to express those colors on the instrument.

Sultan Khan was born on April 15, 1940 at Sikar in Rajasthan. His great grandfather Hussain Baksh and grandfathers, Azim Khan were court musicians in the princely state of Jodhpur. Gulab Khan his father was also an accomplished vocalist and sarangi artiste. Sultan Khan was trained in the Indore gharana style of khayal singing which was popularized by the legendary Amir Khan. He went through a strict regimen at home.

Sultan Khan is being acknowledged by music connoisseurs for unique depth and his magnificent technical and melodic control over the string instrument. He adopted in his style a special nuance of Amir Khan’s gayaki, which reflects always in his renditions. He is torchbearer of a famous lineage of sarangi players. His systematic badhat, exquisite Khan02.jpggamakas and intricate taan-s make his performances unique and soulful.

He is a master in light and light classical genres of Indian music. Besides his solo performances Sultan Khan is widely known for his talent of accompanying other famous artistes like Zakir Hussain, Ravi Shankar, Lata Mageshkar and Many others.

He is a proud recipient of the Sangeet Natak Academy Award the gold Medalist Award of Maharshtra and the American Academy of Artistes Award in 1998. In 1997 he had the honor and privilege of playing for Prince Charles 50th birthday celebration. Sultan Khan has come to be recognized on an international scale performing along with Ravi Shankar on Former Beatle, George Harrison’s 1974 Dark Horse world tour.

In this album Sultan Khan brings out the structured gravity of the raga Ahir Bhairav the winsome appeal of the thumri played here in four different angs or styles and exquisite lyricism of the evening raga Patdeep. (exoticindiaart.com)

Enter this land full of magic music !

BackCover1.jpg

Personnel:
Madan Bongale (tanpura)
Chintamani Gore (tanpura)
Sultan Khan (sarangi)
Fazal Qureshi (tabla)

Khan03.jpg

Tracklist:
01. Raga Ahir Bhairav 31.08
02. Raga Patdeep 20.28
03. Thumri 10.28

Khan01.jpg

*
**

Instruments.jpg

Apollo FourForty – Electro Glide In Blue (1997)

FrontCover1.jpgApollo 440 (also known as Apollo Four Forty or @440) are an English electronic music group formed in Liverpool in 1990. The group has written, recorded, and produced five studio albums, collaborated with and produced other artists, remixed as Apollo 440 and as ambient cinematic alter-ego Stealth Sonic Orchestra, and created music for film, television, advertisements and multimedia. Over eleven years, they notched up eleven top-forty UK singles with three top-tens, and had a chart presence worldwide.

Its name comes from the Greek god Apollo and the frequency of concert pitch — the A note at 440 Hz, often denoted as “A440”, and the Sequential Circuits sampler/sequencer, the Studio 440. They changed the writing of their name from Apollo 440 to Apollo Four Forty in 1996, though they switched back for their latest album. To date, Apollo’s remixes number around sixty – from U2 in the early 1990s to Puff Daddy/Jimmy Page and Ennio Morricone a decade later. Among their Stealth Sonic Orchestra remixes are a series of Manic Street Preachers singles.

Apollo 440 were formed by the brothers Trevor and Howard Gray with fellow Liverpudlians Noko and James Gardner, although Gardner left after the recording of the first album. All members sing and add a profusion of samples, electronics, and computer-based sounds.

After relocating to the Camden area of London, Apollo 440 recorded in 1994 with their debut album, Millennium Fever, and released it on 30 January 1995 on their own Stealth Sonic Recordings label (distributed by Epic Records). They have successfully invaded both the record charts and the dance floor with their combination of rock, breakbeat, and ambient.

Apollo440_02

The band had been most known for its remixes until the release of Liquid Cool in the UK. However, it was not until the success of the singles “Krupa” and “Ain’t Talkin’ ’bout Dub” that their own musical efforts were brought to international attention — particularly the latter single contributed greatly to pushing Apollo 440 into the spotlight.

In 2007, the band played a tribute gig to the late Billy Mackenzie.

Apollo 440’s fifth album, The Future’s What It Used To Be, became available for download on the iTunes Store from 23 March 2012.

Collaborators over the years have included Jeff Beck, Jean Michel Jarre, Billy Mackenzie, Ian McCulloch and Hotei.

Currently, the band resides in Islington, London, having once again moved its headquarters (affectionately labelled ‘Apollo Control’).

Electro Glide in Blue is the second studio album by English electronic music group Apollo 440. It was first released on 3 March 1997 in the United Kingdom by Stealth Sonic Recordings and Epic Records and on 9 September 1997 in the United States by 550 Music. The album features Charles Bukowski, Billy Mackenzie, and a tribute to Gene Krupa; all three of whom had died by the time of the album’s release. Its title is a reference to the 1973 film Electra Glide in Blue.

Apollo440_01

Stealth Mass in F#m” was played several times on BBC Radio 1 on 31 August 1997, when their regular schedule was suspended due to the death of Diana, Princess of Wales.

The title track was featured on the soundtrack to the 1998 film Homegrown (by wikipedia)

A more satisfying album than their previous Sony effort, Electro Glide in Blue sees Apollo 440 moving closer to straight-ahead techno and away from commercial pop, a good move considering the electronic atmosphere of the times. Whether it’s the Sony Playstation video-game track “Rapid Racer” or an incredibly well-done duet with former Associates vocalist Billy Mackenzie on “Pain in Any Language,” Apollo 440 proves they’re no strangers to the dancefloor. (by John Bush)

BookletBackCover

Personnel:
Mary Byker (Ian Hoxley) (vocals)
Trevor Gray (keyboards, programming)
Cliff Hewitt (drums, programming)
Harry K (turntables, samples, keyboards)
Paul Kodish (drums, programming)
Noko (guitar)
Rej (bass)
+
Billy Mackenzie (vocals on Pain)

Booklet02A.jpg

Tracklist:
01. Stealth Overture) (T.Gray/E.Gray/Noko) 1.00
02. Ain’t Talkin’ ’bout Dub (E.Van Halen, A.Van Halen/Anthony/Roth, Noko) 4.31
03. Altamont Super-Highway Revisited (Noko) 6.33
04. Electro Glide In Blue (T.Gray/H.Gray/MacFarlane) 8.36
05. Vanishing Point (Noko) 7.28
06. Tears Of The Gods (H.Gray/T.Gray/Noko) 6.18
07. Carrera Rapida” (Theme from “Rapid Racer”) (Noko/T.Gray/H.Gray/Hoxley) 6.47
08. Krupa (Noko, T.Gray/H. Gray) 6.15
09. White Man’s Throat (album version) (Noko/H.Gray/Hoxley) 4.55
10. Pain In Any Language (Mackenzie /Noko) 8.40
11. Stealth Mass In F#m  (TGray/E.Gray) 6.36

CD1.jpg

*
**

Illustration.jpg

Meredith Brooks – Blurring The Edges (1997)

FrontCover1.jpgMeredith Ann Brooks (born June 12, 1958) is an American singer-songwriter and guitarist best known for her 1997 hit song “Bitch”, for which she was nominated for a Grammy Award.

Brooks started her music career in 1976 as a member of an all-female band called Sapphire, based in Eugene, Oregon, touring and recording with CMS Records in the Pacific Northwest. Her bandmates were Janis Gaines, Cynthia Larsen, Patricia French and Pam Johnson. Seeking greater success, Brooks pushed the band to move to Seattle without Gaines on keyboards, reducing Sapphire to a foursome. In Seattle, Sapphire recorded at Kaye-Smith Studios at the same time as Heart. When this version of the band split in 1982, Brooks moved to Los Angeles to develop a solo career, releasing an album titled Meredith Brooks in 1986, which saw limited success in Mexico. In 1987, she joined Charlotte Caffey and Gia Ciambotti to form the trio the Graces, releasing the single “Lay Down Your Arms” which rose to number 56 on Billboard’s charts. The Graces subsequently released an album, Perfect View, and three more singles, but these did not chart, and the Graces were dropped from the A&M label in 1991.

Meredith Brooks01In 1995, Brooks landed a solo contract with Capitol Records. After two years, her first single, “Bitch”, was released, and she was nominated twice for the 1998 Grammy Awards, for Best Female Rock Vocal Performance and Best Rock Song. The single went Platinum in Australia.

Her album Blurring the Edges achieved Platinum sales, peaking at 22 on the Billboard 200 and 5 on the UK Albums Chart. The album was produced by David Ricketts, formerly of David and David, and he also played keyboards (among other instruments) on the album. Brooks toured in the US and Europe in 1997 and 1998 to support the album, and also participated in the Lilith Fair music festival tour in both of those years.

On March 30, 1998, in Argentina, she opened for the Rolling Stones. During her set the crowd demanded the Stones and became violent, throwing objects including rocks and tampons at the stage and bruising her eye. She appeared again the next day wearing an Argentine soccer shirt, but the crowd again threw things at her, so after singing “Bitch” she threw the shirt on the ground and walked off.

In 1999, Brooks recorded her second album, Deconstruction. The track “Sin City” was recorded for the movie Snake Eyes.

In 2002, Brooks signed with independent label Gold Circle Records.[6] She worked on her third album, Bad Bad One. The label folded immediately after releasing the album.

Meredith Brooks02In 2002, she produced Jennifer Love Hewitt’s album BareNaked and appeared on VH1 Divas Las Vegas as a guest guitar soloist with Celine Dion and Anastacia.

Brooks signed a record deal with SLG Records and re-issued Bad Bad One as Shine in 2004. The track “Shine” was used as the theme music for Dr. Phil from 2004-08. The instrumental remix appears as the last track on the album.

In 2007 Brooks completed a new children’s album titled If I Could Be… and is developing Portland area Sony Music Entertainment artist Becca.

Brooks is a member of the Canadian charity Artists Against Racism.

In 2018 the song “I’m a Mess” was a worldwide chart hit for Bebe Rexha. While an original song, it does borrow some of its melody from Brooks’ earlier hit “Bitch.” As a result, Meredith Brooks is listed as a co-writer of the song.

Blurring the Edges is the debut studio album by the American singer-songwriter Meredith Brooks. It was produced by Geza X and David Ricketts. It was released through Capitol Records on May 6, 1997. It became a huge commercial success, going double platinum in Canada and platinum in the United States. (by wikipedia)

Meredith Brooks03

Meredith Brooks’ debut album, Blurring the Edges is one of the most blatant examples of post-Alanis Morissette marketing by the record industry. At her musical core, Brooks is more like Sheryl Crow — namely, a classic rocker with slightly edgy lyrics. She even works with producer David Ricketts, the former partner of Crow’s Tuesday Night Music Club collaborator, David Baerwald. Ricketts gives Blurring the Edges a radio-friendly polish, one that glosses over any of the grit in Brooks’ songs. And on the album’s first single, “Bitch,” Brooks and Ricketts devise an Alanis clone, from the semi-profane lyrics to the caterwauling chorus.

Meredith Brooks

“Bitch” isn’t indicative of the rest of the album, which is considerably calmer and aimed at adult alternative stations, and while she fits neatly into the confines of that format, she doesn’t really do anything to distinguish herself from the legions of similar post-alternative singer/songwriters. Blurring the Edges isn’t necessarily a bad album — Brooks is a competent melodicist and her lyrics are occasionally promising — yet it isn’t a distinctive one. (by Stephen Thomas Erlewine)

In other words: This lady knows how to rock, how to roll and how to make you crazy … believe me !

Singles.jpg

Personnel:
Meredith Brooks (vocals. guitar)
Paul Bushnell (bass)
Nick Drapela (guitar)
Jim Ebert (synthesizer, bass)
Josh Freese (drums)
Victoria Levy (background vocals)
David Ricketts (bass, keyboards)
Jimmy Woods (harmonica)
Booklet02A.jpg

Tracklist:
01. I Need (Brooks/Peiken) 4.11
02. Bitch (Brooks/Peiken) 4.13
03. Somedays (Brooks/Dvoskin) 3.45
04. Watched You Fall (Brooks/Ward) 4.52
05. Pollyanne (Brooks/Peiken) 3.15
06. Shatter (Brooks/Peiken) 3.59
07. My Little Town (Brooks/Corey/Lynch) 4.01
08. What Would Happen (Brooks) 5.17
09. It Don’t Get Better (Brooks/Dukes) 4.14
10. Birthday (Brooks/Peiken) 3.16
11. Stop (Brooks/Dvoskin) 5.01
12. Wash My Hands (Brooks/Dvoskin/Peiken) 5.04

CD1.jpg

*
**

I hate the world today
You’re so good to me, I know, but I can’t change
Tried to tell you but you look at me like maybe
I’m an angel underneath
Innocent and sweet

Yesterday I cried
You must have been relieved to see the softer side
I can understand how you’d be so confused
I don’t envy you
I’m a little bit of everything all rolled into one

I’m a bitch, I’m a lover
I’m a child, I’m a mother
I’m a sinner, I’m a saint
I do not feel ashamed
I’m your hell, I’m your dream
I’m nothing in between
You know you wouldn’t want it any other way

So take me as I am
This may mean you’ll have to be a stronger man
Rest assured that when I start to make you nervous
And I’m going to extremes
Tomorrow I will change and today won’t mean a thing

I’m a bitch, I’m a lover
I’m a child, I’m a mother
I’m a sinner, I’m a saint
I do not feel ashamed
I’m your Hell, I’m your dream
I’m nothing in between
You know you wouldn’t want it any other way

Just when you think you got me figured out
The season’s already changing
I think it’s cool, you do what you do
And don’t try to save me

I’m a bitch, I’m a lover
I’m a child, I’m a mother
I’m a sinner, I’m a saint
I do not feel ashamed
I’m your Hell, I’m your dream
I’m nothing in between
You know you wouldn’t want it any other way

I’m a bitch, I’m a tease
I’m a goddess on my knees
When you hurt, when you suffer
I’m your angel undercover
I’ve been numb, I’m revived
Can’t say I’m not alive
You know I wouldn’t want it any other way

Kathy Mattea – Love Travels (1997)

FrontCover1.jpgKathleen Alice Mattea (born June 21, 1959) is an American country music and bluegrass singer. Active since 1984 as a recording artist, she has charted more than thirty singles on the Billboard Hot Country Songs charts, including four that reached No. 1: “Goin’ Gone”, “Eighteen Wheels and a Dozen Roses”, “Come from the Heart”, and “Burnin’ Old Memories”, plus twelve more that charted within the top ten. She has released fourteen studio albums, two Christmas albums, and one greatest hits album. Most of her material was recorded for Universal Music Group Nashville’s Mercury Records Nashville division between 1984 and 2000, with later albums being issued on Narada Productions, her own Captain Potato label, and Sugar Hill Records. Among her albums, she has received five gold certifications and one platinum certification from the Recording Industry Association of America (RIAA). She has collaborated with Dolly Parton, Michael McDonald, Tim O’Brien, and her husband, Jon Vezner. Mattea is also a two-time Grammy Award winner: in 1990 for “Where’ve You Been”, and in 1993 for her Christmas album Good News. Her style is defined by traditional country, bluegrass, folk, and Celtic music influences.

Booklet05A

Love Travels is the ninth studio album released by American country music singer Kathy Mattea. It was released in 1997 (see 1997 in country music) on Mercury Records, the label to which she had been signed since 1984. Three singles were released from it: “455 Rocket”, “I’m on Your Side”, and “Love Travels”. “455 Rocket” was the highest charting, reaching a peak of #21 on the Billboard country charts, while “Love Travels” was her final Top 40 country entry at #39. Suzy Bogguss sang background vocals on “Further and Further Away.” (by wikipedia)

Booklet02A.jpg

Mattea is a tasteful, thoughtful singer who uses country music as a means to an end. Her music is not so much rooted in the country tradition as it is a by-product of it. Mattea’s roots are more James Taylor than George Jones, and while steel guitars and 2/4 rhythms abound, LOVE TRAVELS is more an album of stylized Nashville folk-pop than neo-country.

To flesh out her introspective vision, Mattea reaches beyond the usual stable of Nashville songwriters to include songs by some honest-to-god singer-songwriter types. Gillian Welch contributes “Patiently Waiting” and “455 Rocket,” and they show Welch to be capable of writing outside her own trad-country performance style. Jim Lauderdale’s “I’m On Your Side,” an unsentimental oath of loyalty, is one of the album’s highlights. Janis Ian’s moody, minor-key “All Roads To The River” lends a dark side to LOVE TRAVELS. The clean but homey production of Mattea and Ben Wisch creates an atmosphere through which the subtle beauty of the songs can clearly be seen.

Recorded at Woodland Studios, Nashville, Tennessee

BackCover1.jpg

Personnel:
Chris Carmichael (violin)
Lionel Cartwright (piano, background vocals)
Bill Cooley (guitar)
Jerry Douglas (dobro)
Stuart Duncan (mandolin)
Paul Franklin (pedal steel-guitar)
Bob Halligan, Jr. (guitar, piano)
James “Hutch” Hutchinson (bass)
Jim Keltner (drums)
Abe Laboriel, Jr, (drums, percussion)
Jim Lauderdale (guitar)
Steve Lauer (accordion, harmonium)
Tim Lauer (synthesizer)
Hunter Lee (whistle, bagpipes)
Duke Levine (guitar)
Kathy Mattea (vocals)
Edgar Meyer (bass)
Don Potter (guitar)
Matt Rollings (keyboards)
Kirby Shelstad (percussion)
Steve Sturm (pedal steel-guitar)
Ben Wisch (synthesizer, background vocals)
+
background vocals:
Jonatha Brooke – Michael McDonald – Kim Richey

Booklet04A

Tracklist:
01. Love Travels (B.Halligan Jr./L.Halligan) 5.31
02. Sending Me Angels (Miller/Williams) 4.16
03. Patiently Waiting (Welch) 5.05
04. If That’s What You Call Love (Cartwright) 4.30
05. Further And Further Away (Wheeler) 4.32
06. 455 Rocket (Rawlings/Welch) 4.09
07. I’m On Your Side (Lauderdale) 3.10
08. The Bridge (Jim Pittman/Kimmel) 3.26
09. All Roads To The River (Ian/Vezner) 3.17
10. The End Of The Line (Fleming/Cawley/Kennedy) 4.29
11. Beautiful Fool (Henry) 4.52

CD1

*
**

BookletBackCover1.jpg

Still alive & well:

website.jpg

The Verve – Urban Hymns (1997)

FrontCover1.jpgUrban Hymns is the third studio album by English alternative rock band The Verve, released on 29 September 1997 on Hut Records. It earned nearly unanimous critical praise upon its release, and went on to become the band’s best-selling release and one of the biggest selling albums of the year. As of 2015, Urban Hymns is ranked the 19th best-selling album in UK chart history and has sold over ten million copies worldwide.

The album features the hit singles “Bitter Sweet Symphony”, “Lucky Man” and UK number one “The Drugs Don’t Work”. The critical and commercial success of the album saw the band win two Brit Awards in 1998, including Best British Group, and appear on the cover of Rolling Stone magazine in April 1998. “Bitter Sweet Symphony” was nominated for the Grammy Award for Best Rock Song.

The Verve had previously released two albums, A Storm in Heaven in 1993 and A Northern Soul in 1995. The band had only achieved moderate commercial success up to that point, and the band split shortly after their second album due to internal conflicts. Vocalist Richard Ashcroft quickly reformed the group, with Simon Tong, an old friend of the band on guitar, however Ashcroft realised Nick McCabe’s unique guitar style was required to complete the true Verve unit and later asked him to return. Tong also remained adding more guitar and keyboard/organ textures, making them a five-piece band and expanding their sound.

BookletBackCover1.jpg

The four-piece had already recorded several tracks for the album with Youth as producer, but once McCabe returned they re-recorded several tracks and changed producers to Chris Potter. McCabe said that in the next seven months of work, “… the key tracks were recorded from scratch, but some of them were already there.”

The cover photo was taken in Richmond Park, London.

The Verve were known for their music’s complex, immersive sonic textures. “Bitter Sweet Symphony” was a hit on both sides of the Atlantic, and remains the band’s most well-known song. “The Drugs Don’t Work”, the band’s only number one single in the UK, became a concert staple for jam bands and other groups.

Singles.jpg

The singles

The rest of the album alternated between wistful ballads like “Sonnet” and “Space and Time” (written by Richard Ashcroft), spacey grooves like “Catching the Butterfly” and “The Rolling People”, all-out rockers like the pounding “Come On” (which existed in demo from the “Northern Soul” era) and psychedelic driven songs like “Neon Wilderness”. The hidden track “Deep Freeze” features distorted guitars and a baby’s cry sound. It has strong ambient influences that set it apart from the rest of the tracks in terms of composition and overall mood.

Urban Hymns spent 12 weeks at the top of the UK Albums Chart, with a total of 124 weeks on the chart. It also became The Verve’s first charting album in the United States, where it debuted at number 63 on the Billboard 200, giving the band their first commercial success in the country. Urban Hymns ultimately peaked at number 23 on the chart and was certified Platinum by the RIAA on 4 April 1998;[27] it remains the group’s best-selling album in the United States to date, with over 1.3 million copies sold as of 2009. (by wikipedia)

Booklet07A.jpg

Not long after the release of A Northern Soul, the Verve imploded due to friction between vocalist Richard Ashcroft and guitarist Nick McCabe. It looked like the band had ended before reaching its full potential, which is part of the reason why their third album, Urban Hymns — recorded after the pair patched things up in late 1996 — is so remarkable. Much of the record consists of songs Ashcroft had intended for a solo project or a new group, yet Urban Hymns unmistakably sounds like the work of a full band, with its sweeping, grandiose soundscapes and sense of purpose. The Verve have toned down their trancy, psychedelic excursions, yet haven’t abandoned them — if anything, they sound more muscular than before, whether it’s the trippy “Catching the Butterfly” or the pounding “Come On.”

Booklet03A.jpg

These powerful, guitar-drenched rockers provide the context for Ashcroft’s affecting, string-laden ballads, which give Urban Hymns its hurt. The majestic “Bitter Sweet Symphony” and the heartbreaking, country-tinged “The Drugs Don’t Work” are an astonishing pair, two anthemic ballads that make the personal universal, thereby sounding like instant classics. They just are the tip of the iceberg — “Sonnet” is a lovely, surprisingly understated ballad, “The Rolling People” has a measured, electric power, and many others match their quality. Although it may run a bit too long for some tastes, Urban Hymns is a rich album that revitalizes rock traditions without ever seeming less than contemporary. It is the album the Verve have been striving to make since their formation, and it turns out to be worth all the wait. (by Stephen Thomas Erlewine)

Booklet04A.jpg

Personnel:
Richard Ashcroft (vocals, guitar)
Simon Jones (bass)
Nick McCabe (guitar)
Peter Salisbury (drums)
Simon Tong (guitar, keyboards)
+
Liam Gallagher (background vocals on 13.) (“Come On”), hand claps (“Space and Time”[

Booklet05A.jpg

All songs written by Richard Ashcroft, except where noted.

Tracklist:
01. Bitter Sweet Symphony (Jager/Richards/Ashcroft) 5.58
02. Sonnet (Ashcroft) 4.21
03. The Rolling People (Ashcroft/McCabe/Salisbury/Tong) 7.02
04. The Drugs Don’t Work (Ashcroft) 5.05
05. Catching The Butterfly (Ashcroft/McCabe/Salisbury/Tong) 6.26
06. Neon Wilderness (Ashcroft/McCabe/Salisbury/Tong/McCabe) 2.38
07. Space And Time (Ashcroft) 5:36
08. Weeping Willow (Ashcroft) 4.50
09. Lucky Man (Ashcroft) 4.53
10. One Day (Ashcroft) 5.03
11. This Time (Ashcroft) 3.51
12. Velvet Morning (Ashcroft) 4.57
13. Come On (includes hidden song “Deep Freeze”) (Ashcroft/McCabe/Salisbury/ Tong) 15.15

CD1.jpg

*
**

Booklet08A.jpg

Various Artists – A Twist Of Jobim (1997)

FrontCover1.jpgTwist of Jobim contains a single disc with 11 songs. The CD has an unusual multi-artist tribute to the music of Antonio Carlos Jobim. Some of the Twist of Jobim songs are made funky (but in a melodic and tasteful way), while others become quiet (but still passionate) ballads. Twist of Jobim are all jazz-oriented songs.

The debut release from the I.E. label (which is connected with Polygram) is an unusual multi-artist tribute to the music of Antonio Carlos Jobim. Some of his tunes are made funky (but in a melodic and tasteful way), while others become quiet (but still passionate) ballads. The treatments are all jazz-oriented, and there is plenty of solo space for the likes of guitarist Lee Ritenour (in one of his finest jazz efforts), pianists Dave Grusin and Alan Pasqua, altoist Eric Marienthal, bassist Christian McBride, and tenor saxophonist Ernie Watts. Plus, there are guest spots for Herbie Hancock (an excellent acoustic piano solo on “Stone Flower”), the sopranos of Art Porter (on “Dindi”) and Steve Tavaglione, the Yellowjackets (who team up with Ritenour on “Mojave”), singer El DeBarge (“Dindi”) and the vocal duo of Al Jarreau and Oleta Adams (“Waters of March” and a lightweight rendition of “The Girl from Ipanema”). Nearly every song holds one’s interest, the melodies are celebrated, and the fresh interpretations contain more than their share of surprises. (by Scott Yanow)

Lee Ritenour

Personnel:
Oleta Adams (vocals on 04. + 11.)
El DeBarge (vocals on 03.
John Beasley (synthesizer on 02. + 04.)
Paulinho da Costa (percussion on 01., 06., 07, 10. + 11.)
Melvin Davis (bass on 02., 03. + 07.)
Cassio Duarte (percussion on 02.- 05 + 09.)
Russell Ferrante (synthesizer on 06., piano on 10. + 11.)
Dave Grusin (piano on 01., 02., 04. + 05.)
Herbie Hancock (piano on 06.)
Jimmy Haslip (bass on 10.)
Jerry Hey (flugelhorn on 07., 08.)
Dan Higgins (flute on 01., 07. – 09.)
Al Jarreau (vocals on 04. + 11.)
Will Kennedy (drums on 10.)
Eric Marienthal (saxophone on 02., 04 – 07.)
Harvey Mason (drums on 02., 04., 08. + 09.)
Christian McBride (bass on 08., 09.)
Bob Mintzer (saxophone on 10.)
Gary Novak (drums on 06.)
Alan Pasqua (piano on 08. + 09.)
John Patitucci (bass on 06.)
Lee Ritenour (guitar on 01., 02., 04., 06. – 10., keyboards, synthesizer on 01., 03. 07., 11., bass on 01. + 11.)
Steve Tavaglione (saxophone on 06., electronic wind instrument on 08. + 09.)
Ernie Watts (saxophone on 08. + 09.)

BackCover1.jpg

Tracklist:
01. Dave Grusin / Lee Ritenour: Water To Drink (Agua de Beber) (Jobim) 5.06
02. Dave Grusin / Eric Marienthal / Lee Ritenour: Captain Bacardi (Jobim) 5.05
03. El DeBarge / Art Porter: Dindi (Jobim) 4.57
04. Oleta Adams / Al Jarreau: Waters of March (Aguas de Março) (Jobim) 4.38
05. Dave Grusin: Bonita (Gilbert/Jobim/Santamaria) 4.04
06. Paulinho Da Costa / Herbie Hancock / Steve Tavaglione: Stone Flower (Jobim) 8.49
07. Eric Marienthal / Lee Ritenour: Favela (Gilbert/Jobim/de Moraes) 4.47
08. Alan Pasqua / Ernie Watts: Children’s Games (Jobim) 3.53
09. Christian McBride / Ernie Watts: Lamento (Jobim/de Moraes) 6.27
10. Lee Ritenour / Yellowjackets: Mojave (Jobim) 5.22
11. Oleta Adams / Al Jarreau: The Girl From Ipanema (Gimbel/Jobim/de Moraes) 429

CD1.jpg

*
**

Logo

Hilary Hahn – Plays Bach (1997)

FrontCover1.jpgHilary Hahn (born November 27, 1979) is an American violinist. In her career, she has performed throughout the world both as a soloist with leading orchestras and conductors and as a recitalist. She also built a reputation as a champion of contemporary music. Several composers have written works especially for her, including concerti by Edgar Meyer and Jennifer Higdon and partitas by Antón García Abril.

Hahn was born in Lexington, Virginia on November 27, 1979. She began playing the violin one month before her fourth birthday in the Suzuki Program of Baltimore’s Peabody Institute. She participated in a Suzuki class for a year. Between 1985 and early 1990 Hahn studied in Baltimore under Klara Berkovich. In 1990, at ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia where she became a student of Jascha Brodsky. Hahn studied with Brodsky for seven years and learned the études of Kreutzer, Ševčík, Gaviniès, Rode, and the Paganini Caprices. She learned twenty-eight violin concertos, as well as recital programs, chamber works, and assorted showpieces.

HilaryHahn1.jpg

In 1991, at the age of eleven, Hahn made her major orchestral debut with the Baltimore Symphony Orchestra.[4] Soon thereafter, Hahn debuted with the Philadelphia Orchestra,[5] Cleveland Orchestra, Pittsburgh Symphony Orchestra, and the New York Philharmonic. Hahn made her international debut in 1994 performing the Bernstein Serenade in Hungary with Ivan Fisher and the Budapest Festival Orchestra. Her German debut came in 1995 with a performance of the Beethoven Violin Concerto with Lorin Maazel and the Bavarian Radio Symphony Orchestra. The concert was broadcast in Europe. A year later, Hahn debuted at Carnegie Hall in New York City as a soloist with the Philadelphia Orchestra. In a 1999 interview with Strings Magazine, Hahn cited people influential to her development as a musician and a student, including David Zinman, the conductor of the Baltimore Symphony and Hahn’s mentor since she was ten, and Lorin Maazel, with whose Bavarian Radio Symphony Orchestra she performed in Europe.

HilaryHahn2.jpg

By sixteen, Hahn had completed the Curtis Institute’s university requirements, but elected to remain for several years to pursue elective courses, until her graduation in May 1999 with a Bachelor of Music degree.[3] During this time she coached violin with Jaime Laredo, and studied chamber music with Felix Galimir and Gary Graffman.[1] She appeared on Mister Rogers’ Neighborhood, in February 2000, discussing her early experiences with the violin and performing a solo and a duet.[9] In a December 2001 interview on PBS, Hahn stated that of all musical disciplines, she is most interested in performance. (by wikipedia)

HilaryHahn3.jpg

Hahn began recording in 1996 …

… and here´s her debut album:

I do not know what Bach expected or envisioned in a performance of these pieces. But it is awfully hard to imagine him not appreciating this recording. Yes, I do grant what several people have said about Milstein’s Chaconne (in particular) being deeper in emotion, etc., but the pure, plain beauty of the sound produced by Hahn and recorded so cleanly by more modern technology (and evidently in a remarkably resonant space) has it own inherent value. It makes me focus on the genius of Bach’s very notes themselves, especially in the opening E major Partita. And if you listen carefully, I don’t see how anyone could characterize this performance as lacking in creativity – the dynamic range is fantastic, and along with the pacing seems to me to represent a real thoughtfulness about each phrase. I also find that the relatively relaxed tempi add to this effect of simplicity, purity, and beauty, and allow the composer, rather than the virtuosity of the performer, to take center stage. A great recording, in a different, not inferior, sense, when compared to the Old Classics. (David F. Jackson)

AlternateFrontCover.jpgAlternate frontcover

This recording must be heard to be believed.
Having listened to unacommpanied Bach for 45 years, I had long despaired of hearing it in tune, with love and precision.
I despair no longer.
Hilary Hahn is a treasure, who can can become the Michael Jordan of the violin.
We are privileged to share time with her on this planet. (Robert S. Eisenberg)

In other words: brilliant … and she was just 17 years old !

HilaryHahn4.jpg

Personnel:
Hilary Hahn (violin)

BackCover1.jpg

Tracklist:

Partita No. 3 In E Major, BWV 1006:
01. I. Preludio 3:34
02. II. Loure 4:47
03. III. Gavotte En Rondeau 3:16
04. IV. Menuet I 1:53
05. V. Menuet II 3:04
06. VI. Bourrée 1:39
07. VII. Gigue 1:53

Partita No. 2 In D Minor, BWV 1004:
08. I. Allemande 5:13
09. II. Courante 2:09
10. III. Sarabande 4:44
11. IV. Gigue 3:23
12. V. Ciaccona 17:47

Sonata No. 3 In C Major, BWV 1005:
13. I. Adagio 4:55
14. II. Fuga 11:45
15. III. Largo 3:57
16. IV. Allegro Assai 4:38

Music composed by Johann Sebastian Bach

CD1.jpg

*
**