In-grid was Named after the Famous Film Star, Ingrid Bergman. She Began Singing Locally in her Native Northern Italy and Soon Got a Reputation for her Great Stage Presence and the Energy and Colour of her Voice. Producers Larry Pignagnoli and Marco Soncini Invited her to Sing on a Couple of Ideas They were Working on in the Studio, and the Massive "You Promised Me" was Born - Hitting #1 in Greece, Sweden, Holland, Belgium, Italy, Russia and Top 10 in Australia…

Denkt man an die Musik des Barock, fallen einem als erstes Namen wie Monteverdi, Vivaldi und Bach ein. Eine Musik, pompös und lebenslustig. Schaut man hingegen auf die Englische Musik dieser Zeit, findet man einen sehr beschaulichen, fast miditativen Stiel vor. Dies verdichtet sich vor allem in der Harfenmusik am englischen Hof. Lawrence-King interpretiert diese Musik mit der nötigen Andacht und vergisst dabei weder die melancholischen Farben der keltischen Ursprünge, noch die Festliche Stimmung eines barocken Hofes.

This isn't French violinist Renaud Capuçon's first outing as a concert soloist; he has released a recording of concertos by Mendelssohn and Schumann, and a disc of concerted works by French composers. This is his first recording of concertos by Mozart, though, and it is as successful as his previous releases. Capuçon's lean tone, lyrical approach, subtle vibrato, and supple phrasing are ideal for Mozart's First and Third concertos, and his ardent but elegant interpretations are virtually perfect. As in his other recordings, Capuçon's playing is both completely in the style of the works and still wholly individualistic, particularly in the cadenzas, which have a sense of improvisatory freedom that entirely suits them.

Dutch Trio (keyboards, bass & drums) led by ex-Ekseption keyboards player Rick Van Der Linden, Trace was considered as the most famous super-group of its country. Its music includes virtuoso, researched, complicated, ever evolving themes, full of breaks and instrumental developments where the keyboards player could show his talent on Hammond organ, synthesizers, harpsichord, piano and Mellotron. By the profusion of its themes and the numerous melodies which compose it, Trace's music is close to ELP. and Yes. The second album "Birds" (1975) was Golden record at that time. Before founding Ekseption and creating classical rock, Rick Van Der Linden offers the expression from his art where his typically Seventies analog keyboards sounds are pure jewels in fantastic instrumental developments close to The Nice or ELP…

Pianist McCoy Tyner's first full-length trio album since 1964 was one of his most popular. Accompanied by bassist Ron Carter and Elvin Jones, Tyner (who uses harpsichord and/or celeste for flavoring on three of the six pieces) shows why he was considered the most influential acoustic pianist of the era (before Bill Evans began to surpass him in that category). Whether it be Jobim's "Once I Loved," "Impressions," "Ruby, My Dear" or Tyner's three powerful originals, this set finds Tyner in peak form.

Various versions of the album’s title track.
Inspired to enter the field of electronic music by Britain's acid house explosion of the late '80s, Toby Marks took quite a different spin on electronica with his recordings as Banco de Gaia, introducing elements of Eastern and Arabic music, sampling similarly exotic sources, and tying the whole to ambient-dub rhythms. Marks began releasing cassette-only albums in the early '90s, distributed through a network of clubs and artists known as Planet Dog. When Planet Dog became a record label as well (later the home of Eat Static and Timeshard), Banco de Gaia debuted on disc with the Desert Wind EP, released in November 1993.

Miles Davis - 1986-1991, The Warner Years (2011) {5CD Set Warner–Rhino 5249878472}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 2,45 Gb | MP3 @320 -> 895 Mb
Full Artwork @ 300 dpi (jpg) -> 52 Mb | 5% repair rar
© 1986-91, 2011 Warner Music France / Rhino | 5249878472
Jazz / Fusion / Jazz Rock / Trumpet

Five CD collection from the Jazz great. In 1985, Miles Davis shocked the music world by moving from Columbia to Warner Brothers. He immediately started working on an album called Perfect Way after a tune by Scritti Politti, later renamed Tutu. When Tutu was released in 1986, it re-ignited Miles Davis' career, crossing over into the Rock and Pop markets and winning Davis two Grammy Awards - the album was a key factor in raising Davis' status to an international superstar. This box set includes the Warner Bros studio albums Tutu, Amandla and Doo-Bop, the Dingo and Siesta soundtracks and live recordings with Quincy Jones and the likes of Kenny Garrett, Foley and Adam Holzman. The set also includes four previously unreleased tracks, from the Rubberband Sessions. The liner notes were provided by leading Jazz critic Ashley Kahn.

Mose Allison - The Mose Chronicles: Live In London, Vol. 1 (2001) {Blue Note 7243 5 29747 2 6}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 405 Mb | MP3 @320 -> 160 Mb | Artwork | 5% repair rar
© 2001 Blue Note | 7243 5 29747 2 6
Jazz / Hard Bop / Jazz Blues / Vocal Jazz / Piano

On this first volume of The Mose Chronicles, singer-songwriter and pianist Mose Allison brings his idiosyncratic brand of southern comfort to London for this well-cheered live session. Flanked by a crowd that wholeheartedly embraces both his sardonic drollery and the supple rhythm section of bassist Roy Babbington and drummer Mark Taylor, Allison is in top form in this enthralling program that's characteristically wry and full of sharp wisdom. Mose is always divinely swinging, too, leveraging the hundreds of gigs he's played with this trio. Plain-folk advice marks the jumping "No Trouble Livin'," just as poetic social commentary rivets the sly "Everybody's Cryin' Mercy" and the joyfully apocalyptic "Ever Since the World Ended." Straight-ahead balladry comes to the fore on "Meet Me at No Special Place," an early favorite of Nat King Cole's trio. Allison's punchy piano style is as effervescent throughout the Chronicles as his singing is backwoods, and it makes for great listening.

This 1954 studio date, a self-titled album recorded for Emarcy, was later reissued as Sarah Vaughan with Clifford Brown to denote the involvement of one of the top trumpeters of the day. Vaughan sings nine intimate standards with a band including Brown on trumpet, Herbie Mann on flute, and Paul Quinichette on tenor, each of which have plenty of space for solos (most of the songs are close to the five-minute mark). Vaughan is arguably in the best voice of her career here, pausing and lingering over notes on the standards "April in Paris," "Jim," and "Lullaby of Birdland." As touching as Vaughan is, however, Brown almost equals her with his solos on "Lullaby of Birdland," "Jim," and "September Song," displaying his incredible bop virtuosity in a restrained setting without sacrificing either the simple feeling of his notes or the extraordinary flair of his choices…