Described by the Gramophone Magazine as ‘virtuoso of power and poetry’, Eldar Nebolsin is considered one of the most versatile and interesting musicians of his generation.

Les Violons du Roy. Chamber orchestra based in Quebec City, composed of 15 permanent musicians, founded in 1984 by principal conductor Bernard Labadie. Its name comes from that of the court orchestra of the Bourbon kings of France in the 17th and 18th centuries.

Franz von Suppé (1819-1895) had to put in a lot of effort to finally be able to start a music study. Law and medicine were studies that fit better with the environment that Franz came from. The music eventually won. Franz Pokorny, theater director, saw the talent and offered him the opportunity to further qualify as a conductor. He more or less became the patron of Franz von Suppé. It is not without reason that Franz composed a "Requiem" for his benefactor when he died in 1855. The work does not have such a large orchestral line-up (including four horns, two trumpets, percussion and strings) and has subtle dramatic accents. The work thus deviates from other, often grandiose, romantic settings of a requiem.

Mozart is on inspired form in these wonderful works, and so is Alfred Brendel.

If I've ever owned a recording of an orchestral work by Vincent D'Indy I don't recall it. Nor do I remember ever hearing anything of his in the concert hall. I've heard a recording of his 'Symphony on a French Mountain Air', of course, and vaguely recall hearing something from his opera 'Fervaal', but that's about it. I knew of him primarily as co-founder of the Paris Schola Cantorum and as a guardian (and teacher) of conservative compositional techniques, stemming from his study with Franck and his admiration of Wagner. I was not, therefore, prepared to be particularly impressed by anything of his. But this recording of three of his works the Second Symphony, 'Tableaux de voyage' suite, and 'Karadec' – has shown me that he was indeed an interesting and engaging composer.

The notes to this recording suggest that Ture Rangstrom's 2nd symphony, subtitled "My Land", is his least-played symphony because it speaks in a nationalistic language that is an anathema to Swedes. If true, it's too bad because this is a wonderful piece, full of northern, though not distinctly Swedish, atmosphere. Unlike the 1st symphony, which is written in a tense style full of Wagnerian chromaticism, the 2nd symphony limits itself to more diatonic harmony which makes it easier listening. Like his previous effort, Rangstrom builds his movements out of short themes (& chordal sequences), but his melodic inspiration is on a higher level here. That combined with his distinct ability to create atmosphere results in a memorable piece that really ought to occasionally replace Sibelius' first two symphonies in concert.

Here’s a musical excursion in the best Blue Knights tradition - eclectic, evocative and firmly anchored in the urban American groove. Come along with Curtis McLaw, Jay Heye and friends as they cruise down a California highway, greet a steamy night in the tropics, stroll a city street and comb a remote Far Eastern beach.
The excursion begins with an uptempo “Wake Up Call,” featuring Heye’s bluesy piano over McLaw’s keyboard rhythms and harmonies. They’re joined by Bill Joseph Flynn on guitar and Mr. P.T. on sax. That’s George Bishop doing the plaintive soprano work on “Nightfall” and Flynn in a similar vein on acoustic guitar in “Missing You.” And all hands show major-league chops in the driving, staccato counterpoint of “Tropical Night”…

The repertoire of trouvere songs is one “we are only now beginning to explore” writes Margaret Switten. I’m not sure that John Stevens or Hendrik van der Werf would agree with this, but it is certainly a claim that whets the appetite. And here we have an enlightened and well-chosen selection, sensitively presented and delightfully sung by Paul Hillier with insight and feeling. The main object of the poets’ attention is fin’amor, but other themes, including the return of spring (Volez vous que je vous chant and En mai, quant li rossignolez), make their joyful appearance, and there is one piece in a completely different vein, a serious piece of religious polemics: Deus est ensi conme li pellicanz.

Son Seals is a very powerful performer. While his vocals are full of passion, it is Seals' explosive guitar solos (egged on by a driving rhythm section along with two fine horn players who have some solo spots) that are most notable. Recorded live at Buddy Guy's Legends in Chicago, Seals' interpretations of these spirited blues would certainly please the club owner. This enthusiastic set serves as a perfect introduction to the accessible and memorable blues of Son Seals.

Portraits (So Long Ago, So Clear) is a set of 15 pieces covering approximately 20 years of Vangelis' career. He is, undoubtedly, the most commercial electronic musician ever. He has recorded dozens of major motion picture soundtracks and dozens of delightful albums. This CD is an accurate cross section of those efforts. Contains two unreleased tracks.

Since 1951 finds Gold continuing his trend of writing catchy, jangly pop songs, many of which are reminiscent of Del Amitri, like opener “Can Anybody See You,” “First Time in Love,” and “The Secret”; there’s also a definite Jimmy Webb vibe to “The Best of Everything.” In fact, there are several stylistic tips of the hat to other pop musicians, like Steely Dan on “Back on Top” or the Beach Boys on “Teardrops.” Creatively, the only notable misstep is “Cyberspace,” which, it must be said, sounds like an old fogey trying to keep up with the kids; fortunately, as experiments go, the instrumental “Main Title” is decidedly more successful, accomplishing its goal of creating the feel of a motion picture score.

The comparison of Connor to Bonnie Raitt is unavoidable, considering the similarities of their vocal style and skill at slide guitar. But Connor offers a more savage guitar approach, akin to George Thorogood, and she comes on as a bit nastier. The album is filled with impressive guitar work, but the bad-girl pose wears thin after a while.