Twelve Bar Blues Band – Key To Your Heart (2010)

FrontCover1From the moment the TBBB started in 2005, they have been considered the surprise of the Dutch blues scene. In fact, they won many “Blues CD of The Month” and “Blues CD of The Year” awards with their first two CDs.

This CD consists of eight originals and two covers, which starts by getting the heart of this blues fan pounding. There’s plenty of “edge” here with quieter moments too. The vocals of J.J. Scherpenzeel are very soulful and rich, while the guitar of Kees Dusink is tasteful beyond question, demonstrating a clear understanding of blues stylings and a rare ability to pull the listener into the song.

Add a cool harp and you’ve got a strong blues CD. (by dwmmusic.com)

I love this blues since the late Sixities … and it´s such a great feeling … that this kind of music is still live and well …

The Blues will never die …

Lisen and enjoy !

12BBBB

Personnel:
Marcel Bakker (drums)
Kees Dusink (leadguitar)
Patrick Obrist (bass)
Randy Pears (guitar)
Jan J. Scherpenzeel (vocals, harmonica)

Booklet1

Tracklist:
01. Can You Hear Me Howlin’ (Scherpenzeel/Dusink) 5.11
02. Love That Burns (Green) 7.01
03. Let’s Talk About It (Scherpenzeel/Dusink) 6.11
04 I’m Losing You (Scherpenzeel/Dusink) 6.26
05. Talk Of The Town (Scherpenzeel/Dusink) 5.15
06. Key To You Heart (Scherpenzeel) 6.55
07. Saturday Night (Scherpenzeel/Dusink) 4.32
08. Marian (Scherpenzeel/Dusink) 5.51
09. I Ain’t Born In Chicago (Scherpenzeel/Dusink) 8.44
10. Big Legged Woman (Tolbert) 4.44

CD1
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David Garrett – Rock Symphonies (2010)

FrontCover1After a self-titled release that flirted with pop crossover, violinist David Garrett dives deep into that world with his 2010 effort, an album that rocks like its 1766. Most arrangements are simple as Garrett takes the melodies from Nirvana’s “Smells Like Teen Spirit” and Led Zeppelin’s “Kashmir” and plays them furiously in front of an equally aggressive orchestra that’s augmented by electric guitars and a standard rock kit drummer. No great revelations to be had, but the tracks work well enough, recasting some of rock’s classics as Romantic-era works that are prime for television commercials designed to sell diamonds or wine to the post-Woodstock set. Rock symphonies exceeds its predecessor when it comes to the more clever cuts, such as the “Vivaldi vs. Vertigo,” a mash-up of Vivaldi’s Four Seasons and U2’s “Vertigo.” And it’s fun how “The 5th” messes with Beethoven’s — heck, classical music’s — most famous piece and how his take on “Walk This Way” references the Aerosmith and Run-D.M.C. version before turning into a fiddle-led hoedown. Keep in mind, the showy Garrett is a polarizing figure in the classical community, so don’t expect your snootier friends to agree, but if your kids spend way too much time behind the violin, this just might turn them on to rock & roll. (by David Jeffries)

DavidGarrett

Personnel:
Jeff Allen (bass)
David Garrett (violin)
John Haywood (piano)
Franck van der Heijden
Jeff Lipstein (drums)
+
Orianthi (guitar on 04.)
Marcus Wolf (guitar on 02., 08, 10. – 14.)
+
City Of Prague Philharmonic Orchestra

BookletBackCoverA

Tracklist:
01. Smells Like Teen Spirit (Grohl/Novoselic/Cobain) 4.06
02. November Rain (Rose/McKagan/Stradlin/Sorum) 3.59
03. The 5th (v.Beethoven) 3.33
04. Walk This Way (Perry/Tyler) 2.57
05. Live And Let Die (McCartney) 3.25
06. Vivaldi vs. Vertigo (Clayton/Vivaldi/Evans/Mullen/Hewson) 3.15
07. Masters Of Puppets (Burton/Hammett/Ulrich) 3.47
08. 80’s Anthem (Bongartz/Garrett/v.d.Heijden) 3.33
09. Toccata (Bach) 3.52
10. Asturias (Albéniz) 2.57
11. Kashmir (Page/Bonham/Plant) 3.36
12. Rock Symphony (Garrett/Haywood) 4.31
13. Peer Gynt (Grieg) 2.33
14. Mission Impossible (Schifrin) 3.16
15. Rocking All Over The World (Fogerty) 3.45

CD1

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Booklet01A

Daniel Merryweather – Love & War (2009)

FrontCover1Daniel Paul Merriweather (born 17 February 1982) is an Australian R&B recording artist. Merriweather’s debut solo album, Love & War, was released in June 2009. It entered the UK Albums Chart at number two. It was preceded by two singles, “Change” and “Red”, which both made the top 10 on the related singles chart. Merriweather has won two ARIA Music Awards, Best Urban Release in 2005 for “She’s Got Me” and Best Male Artist in 2009 for Love & War.

In addition to his solo career, he has worked as a featured vocalist for other well-known artists. His guest vocals are included on album tracks by Disco Montego, Mark Ronson and Phrase. His collaborations with Ronson led to working in the United Kingdom including lead vocals on Ronson’s cover version of The Smiths’ song “Stop Me” in 2007.

Daniel Paul Merriweather grew up in the Melbourne suburb of Sassafras in the Dandenong Ranges. Both his parents are teachers and he has two brothers.s Merriweather described his family, “My mum’s lot are working-class – my granddad was a boxer and fireman, a real man’s man – while my dad’s parents were missionaries, and he grew up with a tribe in Papua New Guinea.”. His maternal grandfather, Ted Ellis, was also an Australian rules footballer for North Melbourne and Footscray, while Daniel is an Essendon supporter.

Merryweather01Merriweather attended The Patch Primary School,  Billanook College,[citation needed] Blackburn High School and Swinburne Senior Secondary College (for year 11) and left school when he was aged 17. His musical education began with violin lessons at the age of four;[6] he started guitar at age 13; his music grades at Blackburn High were average.As a teen, he was in a social environment that cultivated violent tendencies and on one occasion was charged with assault. After dropping out of school, he focused his attention on music, taking vocal lessons and performing in clubs around Melbourne. In a September 2009 article in The Sun, he indicated that he liked reading about philosophy and “was thinking of studying it at a higher level” but would not forgo his musical career.

Merriweather spent much of his time between New York and London, and as from 2009 resided in East Harlem. Since the age of 18, Merriweather has had a tattoo on his inside-right forearm bearing the Latin phrase for “love or money”. Merriweather indicated in 2009 that he planned another tattoo for his back – a 100-word excerpt from the last verse of the poem “Jim Jones”, quoted in Robert Hughes’ book The Fatal Shore, which includes “For night and day … we toil and toil”.

Daniel Merriweather’s first commercially released recording was a guest appearance on the track “All I Want” for Australian dance act Disco Montego’s self-titled album in September 2002. The album peaked at No.17 on the ARIA Albums Chart.He signed with the local label, Marlin Records, which led to work with Mark Ronson, a United Kingdom DJ and guitarist, on the latter’s debut album, Here Comes the Fuzz, (“She’s Got Me” and “NYC Rules”) in September 2003. Merriweather signed with Ronson’s label, Allido Records, and worked on his debut solo single, “City Rules”, as a revised version of “NYC Rules”. It was produced by Ronson and featured raps from New York MC Saigon and was issued in early 2004. Other musicians on the single are ?uestlove, The Black Eyed Peas’ horn section and members of Beck’s backing band. He received an ARIA Award nomination for “City Rules” in the Best Urban Release category at the 2004 ceremony.

Merryweather02“She’s Got Me” was released as Merriweather’s second single. While neither charted on the ARIA Top 50 Singles Chart, both became favourites in clubs and urban music circles. “City Rules” won the Most Performed Dance Work category at the APRA Awards of 2005 and “She’s Got Me” won the Best Urban Release category at the ARIA Music Awards of 2005. “City Rules” obtained some airplay on the major Australian commercial radio stations FOX FM (Melbourne)/2Day FM and B105.

In 2005, he co-wrote and co-produced much of Phrase’s debut album Talk with Force, also lending vocals to three tracks including the single “Catch Phrase”. In March 2006, Undercover News reported that Merriweather was recording his debut album, The Fifth Season, with Ronson producing. However, in August 2011, Merriweather recalled: “It was 12 songs out of a whole bunch of songs that I’d written. I came up with the idea of calling it The Fifth Season and someone put it on Wikipedia. But it wasn’t really an album – it was just a collection of songs. There’s a difference”.

Merryweather04In early 2007, Ronson featured Merriweather’s lead vocals on a cover version of The Smiths’ song “Stop Me If You Think You’ve Heard This One Before” released as “Stop Me”. It was re-composed with additional lyrics from the song “You Keep Me Hangin’ On” by The Supremes. Merriweather admitted in an interview with The Guardian that he was not familiar with the Smiths song prior to recording the revised version: “Mark said, ‘I want you to sing on this – it’s my favourite Smiths song’, so I listened to it. I’d heard it once before, but I was never a Smiths fan. But I thought it was beautiful”. It was issued as a single in April on Columbia Records and appeared on Ronson’s compilation album Version that same month. It was a commercial success in the United Kingdom where it reached number two on the Singles Chart. It peaked in the top 40 on the Swiss and Italian Singles Charts.

Merriweather’s debut solo album, Love & War, also produced by Ronson, was released in June 2009, which reached number two on the UK Albums Chart and peaked in the top 10 on the Swiss Albums Chart. It was preceded by the singles “Change” (February) and “Red” (May), which both made the top 10 on the UK Singles Chart. “Change” appeared in the top 10 on the Swiss Singles Top 75. While “Red” was a top 10 hit on the Danish and Irish Singles Charts. On the ARIA Albums Chart, Love & War reached the top 40 and “Change” peaked in the top 50 on the related singles chart. At the ARIA Music Awards of 2009, he won the Best Male Artist category for Love & War

Merryweather03

Merriweather was featured on Australian hip-hop artist Urthboy’s single, “Naive Bravado”, in 2012. In that same year, Merriweather featured on hip-hop outfit Diafrix’s single, “Simple Man”. In 2013, Australian-American rap group Bliss N Eso worked with Merriweather on the track “Can’t Get Rid of This Feeling”.

Merriweather cites Stevie Wonder, Prince, Jeff Buckley and Herbie Hancock as his major influences.

In January 2004, Merriweather headlined the City Rules Tour of Australia with Mark Ronson, Scribe and P-Money. In March 2006, Merriweather supported Kanye West on his Australian tour. He opened for Biz Markie in Brooklyn and Justin Timberlake in London;He has performed live on various radio and television programs, including Late Night with Conan O’Brien, Triple J’s Hip Hop Show, Radio 1’s Live Lounge show, and Australian TV show, Sunrise.

He has performed at various festivals and events including the Montreux Jazz Festival (alongside Erick Sermon), the 2004 St Kilda Festival and 2004 Melbourne World AIDS Day Concert.

Merryweather05During 2007, he toured the UK with Mark Ronson (as well as performing several solo shows). He also performed with Ronson and the BBC Concert Orchestra at the 2007 BBC Electric Proms. He also performed at the MTV Video Music Awards on 9 September 2007 alongside Ronson who acted as the official DJ for the proceedings. On 22 February 2008, he appeared on BBC Radio One with Ronson to perform a special version of his track “Stop Me”, as part of the Chris Moyles breakfast show.

He also played at the 2008 Brit Awards alongside Ronson. Also, he sang “Stop Me” on stage during Ronson’s Glastonbury 2008 set. Merriweather performed in Australia for the first time since 2006 at the Global Gathering shows in November 2008 with Mark Ronson’s Version Players.

At the 2009 O2 Wireless Festival in Hyde Park London, Merriweather headlined the second stage where Ronson supported him for half a set on guitar. Merriweather is set to play at this year’s Oxegen festival in Punchestown Racecourse, Co. Kildare, Ireland. He has appeared on television programmes such as The Justin Lee Collins Show and Britain’s Got More Talent. He performed his single “Red” on T4 On The Beach 2009 in Weston-super-Mare.

Merriweather appeared as the musical guest on Late Night with Jimmy Fallon on 14 July 2009, performing “Change”, and Letterman on 18 February 2010 when he performed “Red”.

In spring 2010, Merriweather toured as the opening act for British light jazz and R&B singer Corinne Bailey Rae. (by wikipedia)

Merryweather06If you wanted to insult Daniel Merriweather’s debut album, you could call it Back to Black without all the personality. Like Winehouse’s game-changing album, Merriweather’s is also drenched in Mark Ronson’s nostalgic production with all its Sam Cooke spirit and ’60s R&B sophistication. The big difference here is that the Australian, twenty-something Merriweather comes with no punkish attitude, and once you take away the appearance from rapper Wale, plus the slacker heartbreak number “Getting Out” (“And now I can’t get my ass off the couch because of you”) you’re left with a retro-soul effort that won’t disrupt mom and dad’s date night. This more traditional throwback is more rewarding than it may seem, as Ronson’s borrowing from the past is respectfully crafted here with warm strings and easy, swaying beats perfectly complementing this singer’s full-bodied voice. The key track, “Impossible,” is somewhere between a Bond theme and a deep cut from Terence Trent D’Arby, while the infectious “Change” gives the album just enough flash and punch with its easy hip-hop flavor. Big ballad “Red” sounds like the best number found on any given Hugh Grant rom-com soundtrack while “Not Giving Up” is a well-executed, uptempo fingersnapper that should make Jamiroquai jealous. If you’re looking for a non-confessional alternative to Back to Black that won’t take over the room, Love & War will serve that soulful purpose. (by David Jeffries)

One question left: where´s Daniel Merryweather today ? His website is offline ! ? ! ?

Booklet06APersonnel:
Raymond Angry (organ)
Victor Axelrod (piano)
Jacqueline Brand (violin)
Thomas Brenneck (guitar)
Larry Corbett (cello)
Andrew Duckles (iola)
Matthew Funes     Viola)
Jordan Galland     Composer
Armen Garabedian (violin)
Binky Griptite (guitar, sitar)
Alan Grunfeld (violin)
Dave Guy (trumpet)
Ian Hendrixson-Smith (saxophone)
Gerardo Hilera (violin)
Sam Koppelman (ercussion)
Sean Lennon (clavinet, guitar)
Bosco Mann (bass)
Daniel Merryweather (vocals)
Leon Michaels (organ)
Nick Movshon (ass)
Alyssa Park (violin)
Sara Parkins (violin)
Toby Pazner (vibraphone)
James Poyser (piano)
Steve Richards (cello)
Gabriel Roth (bass)
Adam Scone (piano)
Harper Simon (guitar)
Homer Steinweiss (rums)
Neal Sugarman (saxophone)
Fernando Velez (percussion)
Josefina Vergara (violin)
Eg White (bass, drums, guitar percussion, keyboards)
John Wittenberg (violin)
Steve Wolf (drums)
Andrew Wyatt (piano synthesizer)
+
Adele (vocals on 10.)
Wale (vocals on 03.)

Booklet01ATracklist:
01. For Your Money (Merryweather) 4.53
02. Impossible (Merryweather)  4.07
03. Change (feat. Wale) (Merryweather) 3.21
04. Chainsaw (Merryweather) 4.05
05. Cigarettes (Merryweather/Galland) 3.23
06. Red (Merryweather) 3.53
07. Could You (Merryweather) 3.36
08. Not Giving Up (Merryweather) 3.14
09. Getting Out (Merryweather) 3.17
10. Water And A Flame (feat. Adele) (Merryweather) 3.40
11. Live By Night (Merryweather/Galland) 2.53
12. Giving Everything Away For Free (Merryweather) 3.30

CD1*
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Loreena McKennitt – The Wind That Shakes The Barley (2010)

FrontCover1The Wind That Shakes The Barley is the 9th studio album by the Canadian singer, songwriter, accordionist, harpist, and pianist Loreena McKennitt, which was released on November 12, 2010

Canadian singer/harpist Loreena McKennitt returns to her roots on The Wind That Shakes the Barley, making an album more in the traditional style of her 25-year-old debut, Elemental, than the more adult alternative hybrid efforts that have been more typical of her work since. Thus, the Celtic side of her music is emphasized in the inclusion of Scottish and Irish traditional songs like the title track, “The Star of the County Down,” and “On a Bright May Morning.” The last song prominently features her harp, as does the instrumental “Brian Boru’s March,” and she is accompanied by her usual backup musicians, including Ben Grossman (hurdy-gurdy), Brian Hughes (guitar), Caroline LaVelle (cello), and Hugh Marsh (violin). The chief attraction continues to be her haunting voice, which she employs to ethereal effect much of the time, although “The Star of the County Down” finds her taking a livelier, more direct approach, while in “The Wind That Shakes the Barley” her vocal is not so much ethereal as eerie. For many of McKennitt’s fans, this will be an album they have been waiting to hear for a long time. For others, it may be a change of pace in which an artist reveals the sources of her individual style. (by William Ruhlmann)

Booklet02APersonnel:
Ben Grossman (hurdy-gurdy drone, bodhrán, frame drum, taber, triangle, bells, shaker)
Ian Harper (pipes, whistle)
Brian Hughes (irish bouzouki, drone, guitar)
Caroline Lavelle (cello)
Hugh Marsh (violin)
Loreena McKennitt (vocals, keyboards, accordion, harp)
Pat Simmonds (guitar, button accordion)
+
Jeff Bird (mandola on 01. + 05., mandolin on 03., 06. + 08., bass on 01. + 08.)
Andrew Collins (mandolin 0n 02. + 07., mandocello on 07.)
Andrew Downing (bass on 05.)
Jason Fowler (guitar on 05.)
Chris Gartner (bass on 04.)
Tony McManus (guitar on 02., 04., 07. + 09.)
Brian Taheny (mandolin on 04.)

Booklet01A

Tracklist:
01. As I Roved Out (Traditional) 4.59
02. On A Bright May Morning (Traditional) 5.08
03. Brian Boru’s March (Traditional) 3.51
04. Down By The Sally Gardens (Traditional/Yeats) 5.39
05. The Star Of The County Down (Traditional) 3.34
06. The Wind That Shakes The Barley (Traditional/Joyce) 6.01
07. The Death Of Queen Jane (Traditional) 6.04
08. The Emigration Tunes (McKennitt) 4.42
09. The Parting Glass (Traditional) 5.13

CD1*
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Booklet03A

Masumi Nagasawa + Kölner Akadamie – French Harp Concertos (2012)

FrontCover1Discs with music for harp don’t often land on my desk. The repertoire for the instrument is not that large and many pieces remain to be discovered. In European ‘classical’ music the harp’s appeal different by time and country. In the 16th and 17th centuries it played quite an important role in musical life in Spain and Italy. In Spain it was often used to accompany a singer in solo songs, whereas in Italy it was used as a basso continuo in dramatic works such as operas and oratorios. Composers also wrote solo pieces for the harp. However, in these different roles the harp was mostly interchangeable with keyboard and plucked instruments. Various collections of music were printed in which these options were presented as alternatives. It was with the further development of the harp around 1700 that a more independent repertoire came into existence.

Martin-Pierre D´Alvimare

In the period of the late baroque – roughly speaking the first third of the 18th century – the harp barely played any role across Europe. There is no hint of its use in Bach’s oeuvre, for instance. Even Telemann and Vivaldi, who composed for almost any instrument in vogue at the time, wrote nothing for it. The harp experienced great popularity in France in the second half of the 18th century. Marie-Antoinette was an avid player, and in her salons music for harp, sometimes in combination with other instruments, was often performed.

Two people played a key role in the development and popularisation of the harp. The first was Sébastien Érard (1752-1831) who replaced hooks with forks. Érard built more solid harps with more reliable actions. The second person was Jean-Baptiste Krumpholtz, born in Bohemia, and for a number of years harpist in the Esterházy orchestra under Haydn. In 1777 he arrived in Paris where he met Érard. He was considered the most brilliant harpist of his time. Another Bohemian-born composer stayed in Paris for while: Jan Ladislav Dussek. He was first and foremost a keyboard player but also played the harp. In Paris he moved in the highest circles and became acquainted with Marie Antoinette. Some of his music for harp was written during his time in France.

Francesco Petrini

Francesco Petrini

The music on the present disc is from this period – the classical era – to the early romantic period. Masumi Nagasawa is a specialist on historical harps and here plays a single-action harp by François-Joseph Naderman, built in 1815. The earliest concerto is the Premier concert op. 25 by Francesco Petrini. He was the son of the harpist with that name – Christian name unknown – who was a member of Frederick the Great’s chapel and for whom Carl Philipp Emanuel Bach composed his only work for the harp. He went to Paris and made his first appearance at the Concert Spirituel in 1770. He also started to publish his own compositions for harp. The Concerto op. 25 dates from 1786 and is in three movements. The first is as long as the two other movements put together. The harp here plays the role which the keyboard had in concertos of that time: it acts as a solo instrument, but also takes the bass role in the tutti episodes. The first movement includes a written-out cadenza which Ms Nagasawa plays here, and which gives some idea of the kind of cadenzas played at the time. Despite the harp’s growing ascendancy there was still some music written which could be played either on the harp or the keyboard, for instance by Dussek. In her liner-notes Masumi Nagasawa compares Petrini’s concerto with the famous concerto for flute and harp by Mozart and observes a clear difference. “The figures, patterns, chords and passagework in Petrini’s lie comfortably in the hands of a harpist as opposed to Mozart’s, which seem to be written by a keyboard player”.

Daniel Steibelt

Daniel Steibelt

The next composer is Daniel Steibelt, born, like Petrini, in Berlin. His father was in the Prussian army and was a maker of harpsichords. He studied with Johann Philipp Kirnberger and then left home in order to avoid being forced to join the Prussian army by his father. He worked as a travelling keyboard virtuoso, and made his appearance in places like Munich and Hanover and then settled in Paris. He performed there but also in London, and composed his first opera. Around 1800 he travelled across Europe and gave many concerts. At the same time he was active as a composer. His output is considerable and includes music for the stage, orchestral and chamber music and a large quantity of pieces for the keyboard and the harp. The Concerto in E flat is his only harp concerto. Ms Nagasawa writes that it is in the style of his keyboard concertos. I am sure she is right, but I have to take her word for it as I have never heard any of these concertos. Steibelt is one of the many forgotten composers from the late-classical/early-romantic period. For the first movement Steibelt made use of his ballet Le retour de Zephyre which was well received. The orchestra is considerably larger than in Petrini’s concerto, with pairs of flutes, oboes, horns and bassoons in addition to the strings.

Masumi Nagasawa

Masumi Nagasawa

Martin-Pierre d’Alvimare was a harpist by profession. He was from a wealthy family and only survived the Revolution by hiding his true identity. He joined the Opéra as harpist in 1800 and became a member of Napoleon’s private orchestra in 1806. As a composer he concentrated on the writing of songs. His output is rather small and includes just two works with orchestra. The Concerto in c minor, op. 30 is called the “deuxième concert”. The first concerto was the Symphonie concertante for harp and horn which dates from 1798. The orchestra is again larger than in Steibelt’s concerto and includes a pair of clarinets and timpani. The opening of the first movement is quite dramatic with some chords for the full orchestra. These are repeated a couple of times after episodes taken by various solo instruments but supported by strings. Masumi Nagasawa plays a cadenza of her own which reflects the dramatic character of the opening statement. The role of the harp is confined to that of a solo instrument; it doesn’t participate in the tutti. As in all three concertos the last movement is a rondo; it opens with a solo for the harp.

InTheStudio01The three composers on this disc are all unknown quantities, and that makes this disc a most welcome addition to the discography. Ms Nagasawa states that one of the reasons that their music is forgotten has to do with the further development of the harp. The modern harp with its many technical possibilities may make the music written for older instruments rather superficial and uninteresting. This only underlines the importance of using of period instruments. I can imagine that if this music were to be played on a modern instrument one wouldn’t get a true impression of its qualities. The harp played here is perfectly suited to this repertoire, although maybe an older instrument would have been preferable for the Petrini. Ms Nagasawa delivers technically impressive and musically inspired interpretations. I am less enthusiastic about the orchestra whose playing I sometimes found rather dull, dynamically a bit flat and not very colourful.

Tray1Even so, this disc deserves a positive reception because of the quality of the music and the performances by Masumi Nagasawa on a beautiful historical harp. (by Johan van Veen)

Reorded 2-5 January 2010, Immanuelskirche, Wuppertal, Germany

InTheStudio02Personnel:
Masumi Nagasawa (harp)
+
Kölner Akademie under the direction of Michael Alexander Willens

Michael Alexander Willens

Michael Alexander Willens

Tracklist:

Martin-Pierre D´Alvimare: Deuxième Concert pour la harpe in c minor, op. 30 [23:58]
01. Allegro 13.46
02. Romance – Andantino 4.26
03. Rondo – Allegro 5.46

Francesco Petrini: Premier concert pour la harpe op. 25 [24:39]
04. Andante grazioso 12.10
05. Romance 5.48
06. Rondo – Allegro 6.41

Daniel Steibelt: Grand concert pour la harpe in E flat [26:35]
07. Ohne Tempobezeichnung 16.43
08. Adagio 3.07
09. Rondo – Allegretto 6.46

CD1*
**

Painting

Donald Runnicles – Grand Teton Music Festival (2010)

FrontCover1The Grand Teton Music Festival (GTMF) is known for orchestral performances equaling the grandeur of our Teton Mountain setting. Hailing from great orchestras, musicians return to the Tetons each summer to perform challenging repertoire.

Maestro Donald Runnicles has led the Grand Teton Music Festival as its Music Director since 2006. Runnicles is concurrently the Music Director of the Deutsche Oper Berlin, the BBC Scottish Symphony Orchestra and Principal Guest Conductor of the Atlanta Symphony.

The Grand Teton Music Festival began in 1962. Concerts in the early years took place in a canvas tent at the base of Rendezvous Mountain. Through the years the Festival has grown into one of the nation’s finest, and now takes place in acoustically-acclaimed Walk Festival Hall.

Donald Runnicles is concurrently the General Music Director of the Deutsche Oper Berlin; Chief Conductor of BBC Scottish Symphony Orchestra; Principal Guest Conductor of the Atlanta Symphony Orchestra; and Music Director of the Grand Teton Music Festival. Maestro Runnicles’ career can be characterized by high quality of performances strongly centered in grand romantic opera and symphonic repertoire of the late 19th and 20th centuries.

DonaldRunniclesAs General Music Director of the Deutsche Oper Berlin, Mr. Runnicles has primary responsibility for the musical forces of this historic company which produces, on average, twenty five productions per season. This season, Mr. Runnicles conducted Don Carlo, Otello, Tristan und Isolde, Billy Budd, and Werther among others.

Born and raised in Edinburgh, Mr. Runnicles literally returned home to take up the post as Chief Conductor of the BBC Scottish Symphony Orchestra (BBC SSO). He conducts five of the BBC SSO’s main series programs in the orchestra’s Glasgow home and leads this orchestra in two programs at the London Proms each summer.

Maestro Runnicles has been Music Director of the Grand Teton Music Festival (GTMF) since 2006 and recently renewed his commitment through 2019. At GTMF he designs the repertoire; conducts four weeks; and participates as a pianist in a number of chamber concerts.

Runnicles’ commercial recording of Wagner arias with Jonas Kaufmann and the Deutsche Oper Berlin won the 2013 Gramophone prize for best vocal recording.

In March of 2015 he will, once again, conduct at the Berlin Philharmonic. Then in June of 2015 he returns to the San Francisco Opera (where he conducted for seventeen years) for a new production of Berlioz Les Troyens.

TetonVillage02Christmas time in Teton Village

And this is a very special CD:
“This recording is not for sale or broadcast. For promotional use only.”

All pieces recorded live by the Grand Teton Music Festival Orchestra in Walk Festival Hall, Teton Village, Wyoming durch the 2010 Summer Season (it was the 49th Summer Season: June 30 – August 14, 2010 !)

All you have to do is to listen and enjoy these rare recordings with wonderful compositions by classic composers like Beethoven, Ravel, Brahms, Mozart …

TetonVillage03Personnel:
The Grand Teton Music Festival Orchestra conducted by Donald Runnicles

BookletTracklist:

Ludwig van Beethoven:
01. Symphony No. 5 in C minor, op. 67 – Allegro con brio 7.41

John Adams:
02. Slominsky´s Earbox 7.43

Wolfgang Amadeus Mozart:
03. Symphony No. 40 in G minor, K. 550 – Molto allegro 9.33

Johannes Brahms:
04. Piano Concerto No. 1 in D minor, op. 15 – Adagio 12.41

Edward Elgar:
05. Introduction & Allegro for Strings 13.55

Maurice Ravel:
La Valse 12.25

 

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TetonVillage01Founded in the early 1960’s, Teton Village was modeled after European-style villages and has continued to evolve and progress into a mature, year-round, family-friendly retreat. Teton Village is located just 12 miles from the town of Jackson (Jackson Hole) at the base of Rendezvous Peak. Jackson Hole is a high mountain valley located along the western border of the state of Wyoming. The name “hole” derives from language used by early trappers (or mountain men) to describe a valley surrounded by mountains. These valleys contain rivers and streams which are  good habitat for beaver and other fur-bearing animals the trappers were seeking.

Jackson Hole is surrounded by the Teton mountain range on the west and the Gros Ventre mountain range on the east. With foothills and jagged peaks, the Tetons are commonly associated with Jackson Hole and are a popular sightseeing attraction for many visitors. The Gros Ventre Range contrastingly is geologically older than the Tetons and has a much broader width, encompassing huge expanses of wilderness.

Electric Blues Duo – Live ! L´inoui Luxembourg (2010)

FrontCover1In 1986, two of Europe’s most renowned Rhythm & Blues artists, Colin Hodgkinson (B/Voc) and Frank Diez (Git), joined ranks to create a Premier League formation; The Electric Blues Duo. Always striving for excellency, these two friends and legendary figures combined decades of experience and devotion into promoting the music they love- The Blues.

How many bass players have backed Jeff Beck, John Lord and Jan Hammer, toured with the likes of Whitesnake, Joan Baez and Mercedes Sosa and recorded with Mick Jagger? Only one! Colin Hodgkinson. Knocking around London during the “Swinging Sixties”, Colin became a pioneer on the electric bass and made a lasting contribution to the then emerging Blues/Rock scene. His distinctive approach – incorporating flatpick and fingerpicking elements to move bass lines against melodie lines – forever changed the approach to the instrument. This, combined with his rugged and reliable vocals, render him a stand-alone bass artist. A feat none of his contemporarys accomplished.

Always well ahead of his time, Frank Diez is probably the only German guitarist who shared stages with Jimi Hendrix, Chuck Berry and Little Richard. Considering his contribution to bands such as “Randy Pie”, “Atlantis” or Eric Burdons “Fire department” and his revolutionary work with the German heavy weights Peter Maffay and Udo Lindenberg, Diez can rightfully claim to have introduced the electric guitar to a wider German audience. An inspired player, Frank’s tone is utterly Blues approved and his sizzling over-the- top solos render him in a class all of his own.

The Electric Blues Duo. Two of Europe’s most influential artists, combining a long lasting friendship with decades of dedication and live experience, are the assurance of a great performance.

Two outstanding musicians, Frank Diez on guitar and Colin Hodgkinson on bass and with a striking voice, that´s all it takes to cook this tasty first class blues-stew.

FrankThe Electric Blues Duo has played more than fifteenhundret concerts worldwide so far and gained many brilliant reputations and awards. They toured Europe with John Mayall as gladly seen very special guests and filled 90.000 people with enthusiasm at a Peter Maffay concert in Leipzig. Tours with Konstantin Wecker, Joan Baez, Mercedes Sosa, Miller Anderson, Tony Ashton, Cozy Powell, Spencer Davis and John Pearson followed. Meanwhile they´ve released 5 CDs.

Colin Hodgkinson founded the jazz-rockband “Back Door” in 1970 together with Ron Aspery and Toni Hicks. His biografie sounds like the who is who in the history of rockmusic, for example for half of his life he was the duo-partner of the farther of the white Blues Alexis Corner. Hodgkinson has toured with Emerson, Lake & Palmer, J. Geils Band and Whitesnake, to name only a few, he played bass in the bands of Jeff Beck, Jon Lord and Jan Hammer and was engaged for Mick Jagger´s solo-album “She´s the boss”. In 1986 he met the German guitarplayer Frank Diez at a session with Konstanatin Wecker. When Colin asked Frank about Konstantin Wecker: “What kind of music does he play ?” Frank´s answer was: “Some kind of Bavarian Blues”! That was the beginning of a still lasting friendship and their sympathy for the Blues made them found the Electric Blues Duo.

Colin

Frank Diez is one of the world´s finest bluesguitarists of his generation. He was one of the foundation members of bands like “Emergency”, “Karthago”, “Eric Burdon Firedepartment”, “Ihre Kinder”, “Atlantis” and “Randy Pie” and is probably the only German, who´s ever played guitar on stage with Jimmy Hendrix, Chuck Berry and Little Richard. Moreover he has worked with the most popular German bands like Peter Maffay and Udo Lindenberg.

This is the latest CD from this fantastic duo, this time together with one the best German blues harmonica Albert Hofherr. And it´s an exciting blues-album, listen to this extraordinary blues – duo … the sound is unblieveable ! Recorded live at The L’Inoui. 67 grand rue, Redange, Luxembourg.

This aptly named establishment (inoui is French for “unheard of”) is definitely the best place to enjoy jazz in the whole of Luxembourg. The interior of this former train station hotel opened in 1895 by the grandparents of the current owners, has been renovated in a very distinct style, using some of the original features, such as the bar. Quality of sound and lighting is exellent, and the cuisine is delicious]

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Personnel:
Frank Diez (guitar, vocals)
Colin Hodgkinson (bass, vocals)
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Hubert Hofherr (harmonica)

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Tracklist:
01. Dirty T.B. Blues (Spivey) 3.13
02. Travellin Riverside Blues (Johnson) 3.54
03. Blues For Jimmy Yancey (Hodgkinson) 2.52
04. B. & O. (McTell) 4.37
05. Black Jack (Charles) 4.41
06. If You Live (Allison) 4.28
07. Lucky At Cards (Diez) 3.07
08. Come On In My Kitchen (Johnson) 5.29
09. Snab Rag (Hodgkinson) 2.58
10. How Can A Poor Man (Reed) 5.01
11. Goin Away Babe (Lane) 4.33
12. Parchman Farm (Allison) 5.16
13. Down South (Morganfield) 4.12
14. Out On The Highway (Hodgkinson/Diez) 4.14
15. Shirl The Girl (Hodgkinson) 4.14
16. Sixteen Nights (Porzel) 3.39

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