| | Mikis Theodorakis: Chamber Music CD Theodorakis, Mikis CDS
Trio Athenien Mikis Theodorakis: Chamber Music Music | List Price | $16.99 (You save $3.40) | | Label | Intuition | | Orig Year | 3/5/2002 | | All Time Sales Rank |  41347  | | CD Universe Part number | 2990577 | | Discs | 1 | | Release Date | Mar 05, 2002 | | Recording Time | 49 minutes |
Mikis Theodorakis: Chamber Music Review
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Mikis Theodorakis: Chamber Music Songs Mikis Theodorakis: Chamber Music Music Composers on Mikis Theodorakis: Chamber Music CD : Mikis Theodorakis Purchase Mikis Theodorakis: Chamber Music To buy, Click on price to add to cart | Hayley Westenra Winter Magic CD (2009)
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A magical collection of Christmas songs from the 22 year old singing phenomenon that is Hayley Westenra. Winter Magic combines some of the best loved and most familiar seasonal carols such as 'Silent Night' and 'Coventry Carol' with popular Christmas songs 'Little Drummer Boy' and 'Sleigh Ride', as well as tracks Hayley has written herself ( Peace Shall Come, All With You and Christmas Morning). The variety of the song choices perfectly showcases the versatility of Hayley's angelic voice and her ability to not only perform in a beautiful, classical way (Corpus Christi Carol) ...
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Mikis Theodorakis: Chamber Music
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Part of PBS's ART OF series, DEVIL'S INSTRUMENT dramatically explores the heights to which the art of violin playing has been taken over the 20th century. Acclaimed director Bruno Monsaigeon--who also helmed a series about the legendary Canadian pianist Glenn Gould--brings his exciting visual sense to this program, which uses advanced video technology to restore rare film clips of some of the century's great violin players, including David Oistrakh ...
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A live performance available as either a BluRay or a DVD/CD set, Live in Barcelona captures Il Divo's April 3, 2009, performance at Palau Sant Jordi. ...
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Chamame is a bright, lyrical dance music with Spanish, Guarani, and African roots from the northeastern provinces of Argentina, and for brothers Rudi and Nini Flores -- who were born in Corrientes in the heart of chamame country -- the music has been both a calling and a mission statement, and their releases on Ocora Radio France (this is the duo's third) have served as charming introductions to the form. Chamame music is deceptively casual, and like the opener here, the shifting, soothing "Kilometro," it can seem to unwind at its own time and pace, but underneath that unassuming structure is a rhythmically solid dance music. The name of the music itself is drawn from a local Guarani word that denotes something that is amusingly disorganized, and that same refreshing lack of pretension gives the material here a kind of curious mix of both elegance and relaxed goofiness, particularly on cuts like "La Topada," which depicts a brawl with character parts taken by musical instruments, in this case Rudi's guitar and Nini's bandoneon ("La Topada" was actually written by Rudi and Nini's father, Avelino Flores). ...
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Though she unquestionably draws from the same Malian musical traditions as legendary griots like Ali Farka Touré and Baboucar Traoré, singer and guitarist Rokia Traoré has managed to distinguish herself from other Malian musicians thanks to her startlingly eclectic musical sensibility and her willingness to incorporate American, North African, and Middle Eastern flourishes into her nonetheless distinctively Malian sound. Her fourth album, TCHAMANTCHE, is her most stylistically diverse outing yet. On TCHAMANTCHE, Traoré is backed by an ensemble of veteran Malian players who subtly adapt traditional arrangements and instrumentation to match the jazzy cadences of Traoré's effortless guitar playing. Though Rokia debuts a number of striking original compositions on this album, her gently propulsive adaptation of Billie Holiday's "The Man I Love" is particularly exceptional.
Malian singer, songwriter, and guitarist Rokia Traoré is no stranger to European audiences. Her three previous offerings and her numerous tours and high-level showcases -- at WOMAD and Africa Live, and as part of Youssou N'Dour & Friends in Geneva, to name a few -- have garnered her a large and devoted fan base. Her music is not so well known in the United States, but with the release of Tchamantché on Tama/Nonesuch, this should change. Traoré has always been a tradition breaker. She is from a family of nobles of the Bamana ethic heritage, a group with a strong griot tradition, though its nobility are discouraged from being musicians. Also, Malian women who are musicians usually accompany themselves on acoustic rather than electric instruments. Traoré, who has appeared on stages and recordings with her great influence, the late Ali Farka Touré, plays an electric Gretsch.
On Tchamantché, Traoré goes a step further: most Malian vocalists of the feminine gender tend to sing stridently, in over the top voices about elements of pride and heritage. She does neither. Her voice is intimate and almost understated, and her songs are filled with the plight of Africans who struggle for the most basic of human amenities: clean water, food, clothing, and shelter. Her politics are not rooted in rage, but in compassion. But even this isn't enough for Traoré. She has fashioned a new sound from the tenets of Malian folk forms with her unique blend of guitars (electric and acoustic), n'gouni, classical harp, and kora, all layered in staggered rhythms with snares, a full drum kit, and percussion instruments. This is beautifully evident on the album's fifth cut, "Kounandi," the taut weave of instruments above the rhythms creating an intoxicating tapestry of root sounds that somehow transcend their basic tonalities and become something new. This is followed with the gorgeous "Koronoko," where these instruments, along with a popping bassline and staggered ...
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