| | Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas CD New World / Thomas, Michael Tilson / Villa-Lobos CDS
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Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas Music | List Price | $9.96 (You save $0.91) | | Label | RCA Victor Red Seal | | Orig Year | 1/14/1997 | | All Time Sales Rank |  6739  | | CD Universe Part number | 1132411 | | Catalog number | 68538 | | Discs | 1 | | Release Date | Jan 14, 1997 |
Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas Classical Review Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas Songs | 1. Bachianas Brasileiras No. 4, for piano & orchestra, A. 424 (18:01) | | Composer | Heitor Villa-Lobos (1887 - 1959) | | Conductor | Michael Tilson Thomas | | Genre | Concerto | | Date Written | 1941 | | Venue | Broward Center For The Performing Arts, | | Notes | Broward Center For The Performing Arts, Fort Lauderdale, FL (01/16/1996-01/17/1996) | | 2. Bachianas Brasileiras No. 5, for voice & 8 cellos, A. 389 (11:11) | | Common Name | Bachianas Brasileiras 5 For Voice & 8 Cellos | | Composer | Heitor Villa-Lobos (1887 - 1959) | | Conductor | Michael Tilson Thomas | | Performer | Sofia Zappi (Cello)
Robert Vos (Cello)
Brad Ritchie (Cello)
Alexander East (Cello)
Eran Meir (Cello)
Damon Coleman (Cello)
Pamela Smits (Cello)
Kenneth Freudigman (Cello)
Renee Fleming | | Date Written | 1938-1945 | | Country | Brazil | | Venue | Broward Center For The Performing Arts, | | Notes | Broward Center For The Performing Arts, Fort Lauderdale, FL (01/16/1996-01/17/1996) | | 3. Bachianas Brasileiras No. 7, for orchestra, A. 432 (26:22) | | Composer | Heitor Villa-Lobos (1887 - 1959) | | Conductor | Michael Tilson Thomas | | Date Written | 1942 | | Venue | Broward Center For The Performing Arts, | | Notes | Broward Center For The Performing Arts, Fort Lauderdale, FL (01/16/1996-01/17/1996) | | 4. Bachianas Brasileiras No. 9, for chorus (or string orchestra), A. 449 (9:01) | | Composer | Heitor Villa-Lobos (1887 - 1959) | | Conductor | Michael Tilson Thomas | | Date Written | 1945 | | Venue | Broward Center For The Performing Arts, | | Notes | Broward Center For The Performing Arts, Fort Lauderdale, FL (01/16/1996-01/17/1996) | | 5. Choros No. 10, for chorus & orchestra, "Rasga o Coracao" (also ballet, "Jurapary"), A. 209 (11:30) | | Composer | Heitor Villa-Lobos (1887 - 1959) | | Conductor | Michael Tilson Thomas | | Performer | BBC Singers (Voice) | | Genre | Rhapsody | | Date Written | 1925 | | Country | Brazil | | Venue | Broward Center For The Performing Arts, | | Notes | Broward Center For The Performing Arts, Fort Lauderdale, FL (01/16/1996-01/17/1996) |
Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas Music Composers on Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas CD : Heitor Villa-Lobos Conductors on Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas CD : Michael Tilson Thomas Genres on Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas CD : Concerto, Rhapsody Performers on Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas CD : Alexander East, BBC Singers, Brad Ritchie, Damon Coleman, Eran Meir, Renee Fleming, Kenneth Freudigman, Pamela Smits, Robert Vos, Sofia Zappi Purchase Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas To buy, Click on price to add to cart | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
Alma Brasileira - Music Of Villa-Lobos / Tilson Thomas
 $6.25    
With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.
Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the childish blues "Freddie Freeloader." Often credited to Davis, "Blue In Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Miles fascination with the earthy melodies and brooding metaphors of the Iberian peninsula...a harbinger of his next masterpiece, SKETCHES OF SPAIN. KIND OF BLUE remains M
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Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California.
The fullness of this duet album's sound suffers only slightly from the lack of a drummer, compensating with deeply satisfying intuitive interplay between pianist Evans and longtime collaborator Gomez. Evans experiments on INTUITION with the electric Fender-Rhodes piano for his original tunes, "Show-Type Tune" and "Are You All the Things," but he is at his most assertive and polished when playing acoustic piano. Particular standouts are the two songs by Bronislau Kaper, the romantic ballad "Invitation," and, with particular care and expression, the theme "Hi Lili, Hi Lo," from the musical "Lili." Gomez is a full participant, using the bass the way he did as a member of the Bill Evans Trio, making himself an indispensable part of the equation. INTUITION is a strongly empathetic album which memorializes a deep musical connection between two jazz greats.
Recorded at Fantasy Studios, Berkeley, California from November 7-10, 1974. Originally released on Fantasy (9475). Includes liner notes by George Cleve.
Composer: Claus Ogerman.
Personnel: Bill Evans (piano).
Liner Note Author: George Cleve.
Recording information: Fantasy Studios, Berkeley, CA (11/07/1974-11/10/1974).
Unknown Contributor Role: Bill Evans .
Personnel: Bill Evans (piano); Eddie Gomez (bass).
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Live Recording
Recorded at Estudios Infinity, Madrid, Spain in March-May 1999.
Personnel: Martirio (vocals); Raul Rodriguez (guitar, tres, percussion); Paco De Amparo (guitar); Jorge Pozas (cello) Chano Dominguez (piano); Javier Colina (bass); Guillermo McGuill (drums, cajon); Rogerio De Souza (percussion); Pepe Torres (feet, compas); Luis Torres (compas).
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In addition to his own intense genre-hopping tendencies as a saxophonist, which have led to recordings that dabble in everything from Klezmer to film music to splattercore metal, John Zorn has also distinguished himself as a composer working in the tradition of contemporary chamber music. FROM SILENCE TO SORCERY (2007), released on Zorn's own Tzadik label, features 10 pieces performed by a small string ensemble. The compositions are generally spare, fractured, and outside-leaning, but are never less than elegant, balanced, and totally compelling.
Editor: Silas Brown.
Photographer: Dick Sclove.
Personnel: Jennifer Choi (violin); Lois Martin (viola); Fred Sherry (cello); William Winant (percussion).
Audio Mixer: Silas Brown.
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