| | Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection CD Berlioz / Wallace CDS
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Our Price: $12.85  CDFor Sale Usually ships in 1-2 days
Our Price: $10.89
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| Category | Classical, Classical Composers, Romantic Period, Orchestral/Symphonic, Classical Period, Symphony, Overture, March, Hymn, Anthem, National Anthem |
Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection Music | List Price | $15.97 (You save $3.12) | | Label | Nimbus | | Orig Year | 12/2/1992 | | All Time Sales Rank |  7860  | | CD Universe Part number | 1123084 | | Catalog number | 5175 | | Discs | 1 | | Release Date | Dec 02, 1992 | | Recording Time | 57 minutes |
Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection Review
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Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection Music Composers on Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection CD : Claude-Joseph Rouget de L, Francois-Joseph Gossec, Hector Berlioz, Hyacinthe Jadin, Luigi Cherubini, Xavier Lefevre Conductors on Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection CD : John Wallace Ensembles on Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection CD : Wallace Collection Performers on Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection CD : Dudley Bright Purchase Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection To buy, Click on price to add to cart | Bill Evans Intuition CD (1974)
Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection
 $8.69 
Personnel: Bill Evans (piano); Eddie Gomez (bass).
Recorded at Fantasy Studios, Berkeley, California from November 7-10, 1974. Originally released on Fantasy (9475). Includes liner notes by George Cleve.
Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California.
Composer: Claus Ogerman.
Personnel: Bill Evans (piano).
Liner Note Author: ...
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By Dan Willging in Crossroads and Zyde-ZineLake Charles LA: It's not your typical Cajun music, but as their debut La Musique Unique des Acadiens shows, Lake Charles' Les Amies Louisianaises is not your typical group. Not only are they a rarity by being a women's quartet singing Cajun music, they also do four-part harmonies that's atypical of the genre. Historically, vocal harmonies in Cajun music have been few. The Balfa Brothers sang two-part harmonies; Steve Riley and the Mamou Playboys are known for their three-part singing.The group of the three Aguillards and one Thibodeaux formed in 1987 from their involvement in a church choir. Shortly thereafter, they began performing at civic and church functions throughout the parish. In 1989, they were singing popular tunes at a community banquet when fortune would alter their direction. For the finale, the group performed the Cajun waltz, "J'ai Passe Devant Ta Porte." The first time they had ever sung publicly in French turned out to be the surprise hit of the evening. "The people were really excited," said Jeanette Aguillard. "That's when we realized we had something." The Aguillard-Thibodeaux group continued to integrate French material into their repertoire. By 1994, they had become acquainted with Jennings attorney David Marcantel and were his radio choir for a French mass aired on station KJEF. Duly impressed, Marcantel and engineer John Smith offered their assistance should the group decide to record. Recognizing an opportunity when they saw one, Les Amies felt the time was right. The resulting project, La Musique Unique des Acadiens, was recorded at Max-Trax studios in Crowley, Louisiana, and was produced by Marcantel and Smith. Besides co-producing, Smith handled the arranging and played keyboards, drums and bass. At times, it retains a Cajun feel, Ã la four-part harmonies, with guest accordionists Steve Riley and Lee Benoit. Some lyrics, like "Jolie Blonde," ...
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"Sunny and upbeat, lushly orchestrated and produced but not sugary... Harmonic nuances abound, along with richly layered choruses and tight ensemble playing. ...[Exceto Nos is] Goosebump worthy." Jazz Times, December 2004"Guitarist Ed Johnson just made the year's best Brazilian pop-jazz album recorded in the United States by non-Brazilians. ...There's wonderful chemistry at work here, resulting in smooth jazz that isn't dull, mellow pop filled with creative playing, and very authentic Brazilian music that's technically not. Just an accident of geography."DJ Johnson, Cosmik Debris, November 2004Movimento is Ed Johnson's third solo recording of vibrant, original contemporary jazz with a Latin feel and a refreshing emphasis on harmony vocals and horn arrangements. Movimento includes seven original compositions and three covers, including the classic Jobim/De Moraes samba A, Felicidade and a rocking take on O Bom Alvinho by Gerry Mulligan and Jane Duboc. Five of the tracks are vocal pieces sung in Portuguese, Spanish and English. The five instrumentals include up-tempo Brazilian Baiaos, several straight ahead numbers and a classic medium swing. The CD features Johnson's seven-piece band, Novo Tempo, a tight ensemble that evolved from Johnson's previous release, the critically acclaimed Over That Wave.Novo Tempo features brass man JOHN WORLEY, woodwind player KRISTEN STROM, and guitar/mandolin wizard SCOTT SORKIN. The rhythm section features bassist RENE WORST, drummer MARK IVESTER, and percussionist JEFF BUSCH. Canadian pianist and songstress JENNIFER SCOTT teams up with Ed for distinctive, vocalese duets reminiscent of Tania Maria. GUIDE to MOVIMENTO "Movement within change/movement wonders and miracles/ it all happens without our noticing/leaving us only the mystery ..." 1) Scotch Baiao (5:05) - Exciting, up-tempo treatment of a classic Brazilian rhythm ...
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Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection
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Personnel: Judy Dunaway (balloons); Ryuko Mizutani (koto); Tom Chiu (violin); Damian Catera (sampler).
Audio Mixers: Damian Catera; Brenda Hutchinson; Judy Dunaway.
Liner Note Author: Judy Dunaway.
Recording information: Harsh House, Jersey City, NJ; Spin, Brooklyn NY; The Tone House, Rochester, NY.
Director: Philip Blackburn.
Editor: Judy Dunaway.
For those with a sensitivity to sounds such as the scraping of a blackboard with chalk, or of pulling at the outside skin of a balloon with the palm of one's hand, Judy Dunaway's Mother of Balloon Music on Innova will be like a prescription for a migraine headache -- not for the medicine, but for the headache. Initially inspired by a whimsical 1972 effort by Anthony Braxton entitled "Composition 25," which calls for 250 balloons, composer Dunaway has taken the lowly party favor and created an entire musical aesthetic around it. Dunaway applies a much wider range of performance applications to the balloon than most would even conceive, such as using balloons in place of the bridges of a koto, or in chamber music combinations. Through tape recording, digital sampling, and the use of enormously large balloons, Dunaway seems to have conquered the short decay time of a balloon, although she does not try to overcome its unpredictability in terms of pitch and randomness of output. Unlike Gershon Kingsley, who once demonstrated to concert entrepreneur Sol Hurok the musical viability of an early synthesizer by playing "Mein Yiddische Mama" on it, Dunaway will never be able to perform a familiar melody by request; her instrument will not permit it.
For those who can withstand the sounds as described above, it is clear that Dunaway takes what she is doing very seriously, and some of the sounds are unique -- even a little scary, such as the slowly rising quartet of balloon sounds heard in her "For Balloon and String Quartet: Third Movement." In the "Etude No. 1" and "Etude No. 2 for Balloon and Violin," the timbre and rapid figuration of the balloon leaking out air through its nozzle does resemble the sound of a player like Anthony Braxton jamming on the sopranino saxophone or some other very high, reedy instrument. Reading Dunaway's notes, ...
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One of the great composers of the 18th century W.A.Mozart wrote in ...
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Berlioz: Grande Symphonie Funèbre, Etc / Wallace Collection
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