Launched ten years ago by the saxo player Pierre Bertrand and the trumpeteer Nicolas Folmer, the Paris Jazz Big Band is extremely famous on the French Jazz scene with many awards like the Victoires du Jazz and Django d’Or. It has been mostly recognized for its creative repertoire and the orchestra has performed with prestigious singers like Diana Krall; Johnny Griffin, Richard Galliano or Michel Legrand. The aim of this new repertoire « Source(s) » was to follow the tracks of culture an d music from Africa, South Mediterranea and Latin America.
MLO (or Music of Life Orchestra) is a project of Jon Tye & Peter Smith who met in London, UK. It had a fairly short lifespan, from 1993 to 1997 or thereabouts. After the release of their third album Plastic Apple, things stalled as Tye spent more time working on his solo project Twisted Science.
One of the overly neglected but generally solid full-lengths from the ambient-house generation, Plastic Apple reveals influences from a range of sources. From the hip-hop lilt of the opener "DJ Food's Sonic Soup" to the tongue in cheek naturalism of the closer "Birds 'N' Flutes 'N' Shit," Tye and Smith reveal their sense of humor over a set of slightly chilled, completely inventive electronics.
Guitarist/leader Bill Nelson has always had his head in a space that's defined by the 1950s World's Fair idea of the future - a world of monorails and strange machines. This is particularly evident here, with Nelson's affection for Japan competing for space with paeans to electrical communication. At times charming and even romantic, at other times outré, Drastic Plastic marked the end of the band and hinted at Nelson's musical experiments to come.
"Every soul and spirit were in his harpsichord," dramatist Alexis Piron wrote about his friend Rameau. Listeners of today are often more inclined to prefer his operas. However, there is a wealth of wit, wisdom and joy in Rameau's harpsichord works. This collection of the complete 'Pièces pour clavecin', performed by Bertrand Cuiller with his customary finesse and passion, illuminates all of the beauty and virtuosity of these works. Bertrand Cuiller devotes his recital career to the solo harpsichord repertory, with a particular penchant for the English composers William Byrd and John Bull, whose music he has recorded for Mirare and Alpha.
In the dense forest planted on the stage of the Haus für Mozart by director Claus Guth is the home of the rugged macho Don Giovanni. Assisted by his unsavory accomplice Leporello, he lures the ladies with the heady scent of danger. Christopher Maltman embodies Don Giovanni as an almost reluctant seducer - a man fated to bring misery to women and, ultimately, to himself. He heads an outstanding cast for a production that, by its very originality, demonstrates the strength of Mozart's original conception.
Avec son titre crypto-humoristique, le coeur du cet album de Bertrand Betsch balance, entre léger bonheur (Temps beau) et permanent fardeau (Le Lundi, c'est maladie, J'ai tout vu), le coupable et l'innocent, bonne foi et mauvaise volonté, beau temps et temps mort. Pas de bras, pas de chocolat se distingue du précédent album du chanteur parisien (le hanté B.B. sides) par une visible envie de joies, un désir de mélodies qui restent en tête, d'arrangements qui égaient (grâce également à son complice le guitariste Hervé Le Dorlot, ainsi que le soutien de Marcus Bell et de Jean-Daniel Glorioso).