. . . vocal subtleties achieve their own high definition, and we can better appreciate the period theorbo and recorders that conductor Harry Bicket adds for flavoring in the pit. Via this medium, characters give every sign of communicating with one another, while the producer's agile camera focuses tightly on individual expressions to register the characterizations that are so crucial to Baroque opera's theater of personality. It also helps that this matinée in December 2011 finds Renée Fleming, as Rodelinda, and countertenor Andreas Scholl, as the deposed king Bertarido, in stronger vocal form than when the revival opened a month earlier. The soprano invests her high-speed passagework with convincing venom in arias such as "Morrai, sì" and, when the occasion demands, spins a subtle line, easing effortlessly in and out of trills . . . David J. Baker, Opera News
Andreas Oberg's "Six String Evolution" CD features a host of fine players including Oberg on electric and acoustic guitars plus vocals on "Papa Gato" (penned by L.A.'s own Poncho Sanchez). He has Darmon Meader on saxophone and vocals on "Maniac;" Filo Machado, vocals and vocal percussion; Dave Kikoski, Rhodes piano; John Patitucci, acoustic and electric basses; Decebal Badila, electric bass; Lewis Nash, drums; Charlie Bisharat, violins; Enzo Todesco, percussion; Antal Steixner, cajon; Marius Preda, cymbalom; and John Beasley, synthesizer, percussion, vibes.
An Easy Guide To 10 Classic Rock Solos That Will Help You Play Guitar With Confidence And Create Inspiring Solos From Scratch… Do you know that you can play 10 classic rock solos from start to finish by using simple techniques that anyone can master in just a few short weeks? 10 Classic Rock Solos is an in-depth study of legendary rock solos, licks, and techniques that will help any guitarist play
Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2002 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached.