A solitaire in French is a single mounted jewel, a concept that seems less than apt for the rather hefty works recorded here by British pianist Kathryn Stott. But this fine recital holds together in another way: Ravel, who so often provides the temporal endpoint for traditional piano recitals, is here, to a greater or lesser extent, the launching point for the other three composers featured. Stott's reading of the neoclassical Le Tombeau de Couperin is beautifully precise and balanced, catching the economy of this Baroque-style suite to the hilt. That economy carries over into the later works, even the rarely performed Piano Sonata of Henri Dutilleux, a work that deftly fuses Ravel's sense of classical forms with a largely dissonant language. The opening Prelude and Fugue of Jehan Alain, actually two separate works that are reasonably enough combined here, is another seldom-played piece that makes an arresting curtain-raiser, and the final "Le baiser de l'Enfant Jésus" of Messiaen, part of the giant Vingt regards sur l'Enfant Jésus, is the splendid climax of the whole, its spiritual, dreamlike ascent at the end superbly controlled.
SHADOW DANCING is the second album by English singer-songwriter and teen idol Andy Gibb, released in April 1978 in the United States and September 1978 in the United Kingdom. It was Gibb's highest charting album in some countries including America and in Canada. This LP was his only album to chart in the UK. The album had released four singles including the three US Top 10 and one single that was not charted elsewhere.
FLOWING RIVERS Flowing Rivers is the debut studio album by English singer-songwriter Andy Gibb. The album was produced by Albhy Galuten and Karl Richardson, with Barry Gibb on two tracks. It was released in September 1977 on RSO.
This album connects with me from any number of angles. There’s the project theme: Trombonist Andy Clausen put together the multi-media project Shutter as a way to present the imagery of his travels from 2012 through 2013. How he captures those images is four-fold. First, he views them personally. This is something we, as listeners, can only experience indirectly through later stages of the process. Second, he takes a photo of the scene with an old-school a 1970s Nikkormat FT 35mm camera.