Tibetan
Buddhism
Recorded in South India
BILLBOARD:
MUSIC AWARD WINNER
9015
For
more information, or to order,
click here
|
Kecak from Bali
Complete Ramayana Monkey Chant
CD REVIEW: HIGHEST RATING
BILLBOARD:
MUSIC AWARD WINNER
9019
For more
information, or to order,
click here
|
Buddy
Collete Big Band
Live in Concert
The Music of William 'Buddy' Collette
2001 GRAMMY NOMINEE:
BEST LARGE JAZZ ENSEMBLE ALBUM
9096
For more
information, or to order,
click here
|
Freedom:
The Golden Gate Quartet and Josh White in Concert (1940)
2003 AFIM Indie Award Winner
9114
For more
information, or to order,
click here
|
Vaudeville Accordion Classics
The Complete Music of Guido Deiro
Henry Doktorski, accordion
Guido Deiro, the Italian-American accordion virtuoso-- frequently called
"The Great Deiro"-- was of paramount importance in the popularization
of the accordion in the early 20th century. The first accordionist to
perform on the Vaudeville stage (1910), he was also the first accordionist to
make sound recordings (Edison Wax Cylinders, 1911). For many years Deiro
was a headline attraction at the great vaudeville houses throughout America and
abroad, and made more than 100 recordings for the Columbia record company.
On Bridge's 2-CD set, Henry Doktorski's sparkling performances of Deiro's music
quickly confirm the reason for Deiro's immense popularity.
BRIDGE 9138 A/B
(2 discs)
For more
information, or to order,
click here
|
Cecil Taylor: Algonquin
Mat Maneri, violin
The
visionary piano virtuoso Cecil Taylor was commissioned by the
Library of Congress to write a work for violin and piano in 1999.
The result was Taylor's "Algonquin"–an intensely joyful
dialogue between violinist Mat Maneri and Taylor. Taylor's
score bridges the gap between jazz and classical music–between
improvisation and notated music. As annotator Bill Shoemaker
writes: "A Taylor score opens a moment of intense creativity,
but only for that moment; afterwards, the score is merely part of
the record, fodder for the files. What endures in Taylor's
music defies notation, conventional or otherwise. It begs the
question: Is a score that is little more than an outline, and
designed only for a single use, as legitimate as one where all
aspects of performance are specified, and has been repeatedly
performed over for years, decades and even centuries? Given
the exhilarating energy conveyed through this recording, the answer
is surely yes."
BRIDGE 9146
For more information, or to
order,
click here
|
