Passion is in actuality Peter Gabriel's soundtrack to the Martin Scorsese film The Last Temptation of Christ, retitled as a result of legal barriers; regardless of its name, however, there's no mistaking the record's stirring power. Like much of Gabriel's solo work, the album is a product of his continuing fascination with world music, which he employs here to create an exceptionally beautiful and atmospheric tapestry of sound perfectly evocative of the film's resonant spiritual drama; inspired by field recordings collected in areas as diverse as Turkey, Senegal, and Egypt, Passion achieves a cumulative effect clearly Middle Eastern in origin, yet its brilliant fusion of ancient and modern musics ultimately transcends both geography and time. Remarkably dramatic, even visual, it is not only Gabriel's best film work but deserving of serious consideration as his finest music of any kind; equally worthwhile is Passion – Sources, which assembles the original native recordings which served as his creative launching pad.
Trouble Man is a soundtrack and twelfth studio album by American soul singer Marvin Gaye, released on December 8, 1972, on Motown-subsidiary label Tamla Records. As the soundtrack to the 1972 Blaxploitation film of the same name, the Trouble Man soundtrack was a more contemporary move for Gaye, following his landmark politically charged album What's Going On.
You're All I Need is the second studio album by soul musicians Marvin Gaye and Tammi Terrell, released in August 1968 on Motown-subsidiary label Tamla Records. Highlighted by three hit singles written by Nickolas Ashford and Valerie Simpson (who composed two of the four hit songs on the first Gaye/Terrell duets LP, United), You're All I Need was recorded throughout 1966 and 1967 and features two Top 10 Billboard Hot 100 hits, "Ain't Nothing Like the Real Thing" and "You're All I Need to Get By". It peaked at #60 on the U.S. Billboard 200 Album Chart. You're All I Need was the two singers' final collaboration effort, as Terrell would turn ill following recording, before succumbing to a brain tumor in 1970.
Its evident from hearing the jazz big band works of composer, arranger, conductor and trombonist Henry Wolking’s debut album on Big Round Records, IN SEA, that he effectively mixes complexity with simplicity in his jazz harmonies and colorful orchestrations that make for an exciting and memorable listening experience. The inspired solo work of band members and guest artists add to the sincere and fresh cosmopolitan character of the recording.
Jazz Loves Disney was recorded between Paris, London and Los Angeles by a dream cast. It is incredibly coherent, as if all participants had agreed to pay a rightful tribute to the most beautiful and symbolic tunes of Walt Disneys magic world, as if nothing was too good for the stars when they revisited the classics and the sweet childhood memories connected to them. This is the ultimate proof of the impact Disney has had on generations of jazz musicians, including the ones taking part in Jazz Loves Disney.
This is one of the most highly acclaimed soul albums of the 1970s. A longtime innovator at Motown, Robinson responded to the Funk revolution in black music (Marvin Gaye, James Brown, Sly Stone, Curtis Mayfield, Al Green) with an effective counterpoint: the stylish and mature album A Quiet Storm. This landmark album spawned and lent its name to the "Quiet Storm" musical programming format, a format still adopted by radio stations across America 40 years later.
Eleni Karaindrou’s collaborations with stage director Antonis Antypas have generated some of her most powerful music. Medea, like the earlier Trojan Women, comes out of this association. Recorded at the Ancient Theatre of Epidaurus, the music vibrates with emotional intensity. Karaindrou gives her themes to a small ensemble, its sound-colours creating an ambiance both archaic and contemporary, as textures of santouri, ney, lyra and clarinets are combined and contrasted.
Improvisation on the keyboard was very much expected of the leading classical musical minds in earlier years. And what came about was framed by the compositional practices of the time. So Johann Sebastian Bach might improvise elaborate fugues based on a particular theme; Mozart was known to create brilliant variations spontaneously on a theme given to him at the spur-of-the-moment. Fantasias were possible and were another, more free option, but of course what came out was something the composer might have more carefully worked over in a formal composition. There were definite resonances between the improvised and the composed.
Seit 2007 ist das Pulsar Trio aktiv. In der ungewöhnlichen Besetzung mit Klavier, Schlagzeug und Sitar spielen sie Instrumentalmusik, die um die indische Sitar kreist. 2012 spielten sie ihr Debütalbum “Erpelparka-Suite” ein. Nun haben sie bei t3 Records “Caethes Traum” veröffentlicht.
John Pizzarelli lays it all out in the title of his 2015 album: this tribute to Paul McCartney is designed for play in the smoky late-night hours, when everything turns sweet and mellow. Furthermore, this is a tribute to McCartney, not the Beatles. There isn't a Fab song to be found here, as Pizzarelli focuses entirely on Paul's solo work (for these intents and purposes, this includes Wings records), concentrating on the '70s but also sliding McCartney's Great American Songbook wannabe "My Valentine" into the mix.