Tempest is the thirty-fifth studio album by American singer-songwriter Bob Dylan, released on September 10, 2012 by Columbia Records.The album was recorded at Jackson Browne’s Groove Masters Studios in Santa Monica, California. Dylan wrote all of the songs himself with the exception of the track “Duquesne Whistle”, which he co-wrote with Robert Hunter.
Tempest received universal acclaim from music critics, who praised its traditional music influences and Dylan’s dark lyrics.The album peaked at number three on the Billboard 200.
Fallen Angels is the thirty-seventh studio album by Bob Dylan, released by Columbia Records on May 20, 2016.
The album features covers of twelve classic American songs chosen by Dylan from a diverse array of writers such as Johnny Mercer, Harold Arlen, Sammy Cahn and Carolyn Leigh. Much like the album’s predecessor, Shadows in the Night, every song on the album, except for “Skylark”, was once recorded by Frank Sinatra.
The album has received generally favorable reviews from critics, with particular praise for Dylan’s vocal performance, production quality, and the arrangements of his band.
This recording is the conclusion of projects celebrating Britten’s centenary in 2013, at which Aldeburgh Strings performed the closing concert in Britten’s musical home of Snape Maltings.
The recording opens with Young Apollo, a radiant, expressive, characterful and dramatic work, featuring pianist Lorenzo Soulès. The Lachrymae subtitled ‘reflections on a song of Dowland’ explores the viola’s intensely mellow sonorities; Máté Szücs (Berlin Philharmonic Orchestra) is the soloist. The Prelude and Fugue finds Britten indulging in the exuberant technical wizardry of his youthful period whilst recalling Bach’s sophisticated contrapuntal textures.
To close, one of the great masterpieces of Britten’s cannon: the Serenade for Tenor, Horn and Strings. The award-winning tenor Allan Clayton and horn player Richard Watkins are the soloists, the latter reprising his role 30 years after first performing it with Peter Pears.
This double album includes 93 minutes of never before heard captivating studio recordings by pianist Bill Evans in solo, duo and trio settings and is only the second release —(and the only studio album) to feature the short-lived Bill Evans Trio with drummer Jack DeJohnette and bassist Eddie Gomez. Recently unearthed, these tracks were taken from a session in June 1968, only five days after the trio’s triumphant performance at the Montreux Jazz Festival. Recorded by Hans Georg Brunner-Schwer (HGBS) and Joachim-Ernst Brendt in Germany, these songs were originally intended for the legendary MPS label but for some reason were never released. It’s a remarkable document of an under-represented period in the career of one of the icons of jazz.
Right in time for Jazz Appreciation Month the Blue Note LP series continues on with five new titles. During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they’d like to see make the list. Five new reissues were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations including Big John Patton’s Let ‘Em Roll.
This soulful and groovy 1965 Blue Note effort from the famed Hammond B-3 organist finds him matching creative wits with fellow jazz greats like Grant Green (guitar), Bobby Hutcherson (vibraphone) and Otis Finch (drums), and running down an upbeat six-track stunner of a set comprised of four of his own originals and well-suited takes on the standard “The Shadow of Your Smile” and Hank Mobley’s “The Turnaround.”
Crowned with one of the most fanciful covers in the entire MPS catalogue, this October 1971 Baden Powell recording heralded in the second trilogy of the six LPs he recorded for the label between 1966 and 1975. Fueled by his artistic partnership with writer-producer Joachim Ernst Berendt (Berendt helped further Powell’s European career by inviting him to play at the Berlin Jazz Festival in 1967), Powell was without a doubt the most inventive Brazilian guitarist of the period. On this album Powell and his new quartet sketch the sound tableaus that color the background for French singer Janine Waleyne. The singer had partnered with the likes of Stan Getz and Michel Legrand. For Powell she was an ideal counterpart to his guitar playing. The journey begins with the sedate, almost somber samba “Até-Eu”. With its wandering nocturnal melancholy “Violão Vagabundo” follows a similar musical path. There’s a funky feel to the popular hit “Blues À Volonté”. It also harbors one of the most brilliant scat choruses to be heard between Rio, Paris, and Baden-Baden. The theatrical finesse of “Images” insures that virtuoso solo interludes shine between the vocal pieces. This is where we find the LP’s other famous pieces – the classy “Petit Waltz” with its capricious, careening rhythms in the second section, and “Conversação Comigo Mesmo” (conversation with myself), a fantastic hybrid of choro and baroque with a percussive foundation. The unpretentious serenade “Sentimentos” presents Powell as a profound lyricist; and “É De Lei” is a tongue-in-cheek celebration of chromatics. With its intensive dialogue between rock-oriented improvisation and a magical sensuousness, “Canto” closes out this richly colored album.
Despite its reputation as one of the most exciting live bands to ever rock an arena in the Seventies, Bad Company never released a live album during its meteoric rise to the top of the charts. That has changed as Rhino introduces the first-ever official live album to spotlight the original Bad Company line up: Paul Rodgers, Mick Ralphs, Simon Kirke and Boz Burrell.
The collection includes more than two-and-half hours of unreleased music taken from 24-track tapes in the band’s vault. The music heard on this live collection features absolutely no enhancements or overdubs, nothing but the band as they performed live on the night of the concert.