Tracklista:1. Intro2. Don't You Ever3. In Clover4. For the Broken Hearted5. Good Deeds and Highs6. One Day On7. The Affirmation8. Last Days of the Feast9. The Kids from the Green10. Weakened11. Misunderstanding Burton Heel12. 30 Goes Around the Sun
Tracklista: 1. Put It Right Back (From Breakin' The Rules) 2. Begin Again 3. How Much Do You Want (From Breakin' The Rules) 4. Sweet As A Flower (From Prisoner Of A Dream) 5. Victor The Cajun (From Prisoner Of A Dream) 6. Kill The Monkey (From Transition) 7. Earrings On The Table (From Prisoner Of A Dream) 8. Fast Moving Traffic (From Transition) 9. Love In Vain (From Prisoner Of A Dream) 10. Motivation Of Love (From Transition) 11. If You Just Try (From No More Fish Jokes - LIVE) 12. Tribute To Muddy Waters (From Prisoner Of A Dream) 13. Life In The Jungle (Acoustic) 14. Big Chain (From Freebo Album) 15. So Sad To Be Lonely
Tracklista: CD 1 1. Only Yesterday 2. Solitare 3. There's a Kind of Hush 4. I Need to Be in Love 5. Sandy 6. All You Get from Love Is a Love Song 7. Calling Occupants of Interplanetary Craft 8. Sweet Sweet Smile 9. I Believe You 10. Touch Me When We're Dancing 11. When It's Gone 12. Those Good Gold Dreams 13. Where Do I Go from Here 14. You're the One 15. Now 16. Your Baby Doesn't Love You Anymore 17. Tryin' to Get the Feeling Again 18. Desperado CD 2 1. Ticket to Ride 2. (They Long to Be) Close to You 3. We've Only Just Begun 4. For All We Know 5. Rainy Days and Mondays 6. Superstar 7. Bless the Beasts and the Children 8. Hurting Each Other 9. It's Going to Take Some Time 10. Goodbye to Love 11. Top of the World 12. I Won't Last a Day Without You 13. Sing 14. Yesterday Once More 15. The Masquerade 16. Jambalaya (On the Bayou) 17. Please Mr. Postman
Tracklista:1. Paper Roses2. Louisiana Bayou3. Everything Is Beautiful4. You're the Only World I Know5. Fool No. 16. Least of All You7. Sweet Dreams8. Too Many Rivers9. It's Such a Pretty World Today10. True Love Lasts Forever11. In My Little Corner of the World12. Big Hurts Can Come (From Little White Lies)13. Invisible Tears14. I Love You So Much It Hurts15. Everybody's Somebody's Fool16. True Love's a Blessing17. I Love You Because18. It's Just the Other Way Around19. Crazy Arms20. Singing the Blues
Tracklista:1. Good Looking Boy (Feat. Warrior Queen)2. It's Rough (Feat. Fu Steps)3. Crisis4. Bad from Riddim
Tracklista: 1. Star Trek Theme (Main Title)2. Doctor Bartender3. Survivors4. Prime Specimen5. Bottled6. Probed7. Monster Illusion8. Monster Fight9. Kibitzers10. Vena's Punishment11. Pike's Punishment12. Picnic13. True Love14. Vena's Dance15. Torchy Girl16. Under the Spell17. Primitive Thoughts18. Wrong Think19. To Catch A T.20. Going Up21. Max's Factor22. Star Treck Theme (End Title)23. Where No Man Has Gone Before (Main Title From Star Trek)24. Star Date25. Episode Titles26. Force Field27. Silvery Orbs28. Crippled Ship29. Speedy Reader30. Hit The Button31. On Delta-Vega32. When Your Eyes Have Turned To Silver33. Instant Paradise34. End Title And Credits35. Additional Credits
Following Ensemble Caprice’s first recording of Vivaldi’s sacred music ( Gloria! Vivaldi and his Angels) we return to Vivaldi’s Venice and find ourselves yet again within the confines of the Ospedale della Pietà orphanage where, beginning in 1703, Vivaldi, the Red Priest, not only taught the orphan girls violin and singing (!), but also composed many of his most dazzling concertos as well as a substantial part of his highly inspired corpus of sacred music. To this day, it seems almost unbelievable that these very demanding scores could be successfully performed by young women. However, their concerts must have been of a very high standard, judging from the celebrity status they enjoyed throughout Europe. Of course the picturesque scenario of young women performing in church undoubtedly fired the imagination of countless listeners who would come from far and wide to hear the orphans perform musical miracles in Venice. In 1720 an English traveler, Edward Wright, gives us the following account of those events: Every Sunday and holiday there is a performance of music in the chapels of these hospitals, vocal and instrumental, performed by the young women of the place, who are set in a gallery above and, though not professed, are hid from any distinct view of those below by a lattice of ironwork. The organ parts, as well as those of other instruments, are all performed by the young women. They have a eunuch for their master, and he composes their music. Their performance is surprisingly good, and many excellent voices are among them. And this is all the more amusing since their persons are concealed from view. It was both absurd and comical for Wright to assume that the composer was a eunuch, but it shows how the imagination of the male listeners got carried away when hearing those celestial angelic sounds produced by an invisible female orchestra and choir. After having met Vivaldi in Venice in 1739, a French jurist, Charles de Brosse, reports that …about forty girls take part in every concert. I vow to you that there is nothing so diverting as the sight of a young and pretty nun in white habit, with a bunch of pomegranate blossoms over her ear, conducting the orchestra and beating time with all the grace and precision imaginable. Further proof of the incredible quality (and attraction) of these concerts is provided by no less a celebrity than the sophisticated French philosopher (and part-time composer) Jean-Jacques Rousseau, who in 1743 had nothing but praise for the achievements of the young girls: Every Sunday, vocal music for a large chorus with a large orchestra, which is composed and directed by the greatest masters in Italy, is performed in barred-off galleries solely by girls, of whom the oldest is not twenty years of age. One can conceive of nothing as voluptuous, as moving, as this music. Knowing for instance that J.S. Bach only heard his own sacred music sung publicly in church by boys and men and never by women, we can only assume how much the titillation of these exciting rumours about the female choir and orchestra in Venice must have stirred the imagination of music lovers north of the Alps. During the course of the present recording, we move from Vivaldi’s description of war to his musical depiction of the joys of peace. Juditha triumphans Juditha triumphans from 1716 is the best known of the Vivaldi oratorios (of which only four have survived). Subtitled Sacrum Militare Oratorium, it relates the gruesome Old Testament story of Judith, a beautiful widow chosen by God to put an end to the life of the Assyrian general Holofernes – who was out to destroy her hometown – by decapitating him. At the time the oratorio was composed, the Republic of Venice was engaged in its 6th war against the Ottoman Empire and despite its ultimate triumph in 1718, the situation looked rather bleak two years earlier after two successive crushing defeats by the strong Ottoman army. In a typical baroque crossover mingling religious and worldly matters on the same battlefield, the oratorio Juditha triumphans was obviously aimed at strengthening the war efforts of the Venetian Republic. We know that this oratorio was performed at the Ospedale della Pietà, with an all-(young)-woman cast on both vocal and instrumental parts. It could only have added to the already wide range of exotic sensations when the overwhelmed listener heard these young women in nun’s habits engaging in musical warfare. Gloria, RV 588 However, let us not forget that Vivaldi’s talent also radiated its light upon the depiction of peace. The intense plea Et in terra pax (from Gloria RV 588), with its gripping harmonic tensions, serves as a worthy final statement for this recording, where war is gradually replaced by the hope for peace. Psalms, Concertos, Motet On the road towards peace we encounter brilliant psalm settings with powerful rhythms in choir and orchestra (In exitu Israel RV 604, Laudate Dominum RV 606), two virtuoso concertos for multiple soloists (RV 566 and RV 563) and a beautiful solo motet O qui coeli terraeque serenitas RV 631, praising serenity in heaven and on earth. Vivaldi entertained a close relationship with Dresden, the Florence of the Elbe, both as a performing artist and as a composer; indeed, his pieces were frequently performed at court. One of his illustrious colleagues in Dresden, Jan Dismas Zelenka, was obviously inspired by Vivaldi’s sacred music when he composed the heart-rending lament Misera Madre in which Mary’s suffering at the foot of the cross is set for high-voice choir. It becomes quite obvious from the striking dissonances in this piece that the transition from war to peace is not always an easy one… And just as our plea for peace is here put forward with music from the past, we fervently hope that peace will reign in our present time and the future: Et in terra pax! © Matthias Maute, Montreal, 2011
Tracklista:1. Humanoids from the Deep2. The Tazer3. Trapped in the Playground4. Meat Beat
Nagrania zostały zarejestrowane w Nowym Yorku w latach 1949-1952 w składzie Charlie Parker, Ray Brown, Buddy Rich, Joseph Singer, Maurice Brown, Bernie Leighton. Charlie Parker - niekwestionowany twórca modern jazzu. Uznany dziś za jednego z najwybitniejszych saksofonistów oraz innowatorów w historii tej muzyki oraz za "ojca" bebopu. Jego nazwisko – na równi z Armstrongiem, Ellingtonem, Davisem i Coltrane’em – tworzy najważniejszą część panteonu Jazzowego. Tracklista: 1. Dancing In The Dark 2. Just Friends 3. I Didn't Know What Time It Was 4. April In Paris 5. Everything Happens To Me 6. Summertime 7. If I Should Lose You 8. Out Of Nowhere 9. I'm In The Mood For Love 10. Laura 11. They Can't Take That Away From Me 12. East Of The Sun (And West From The Moon) 13. I'll Remember April 14. Easy To Love 15. Temptation 16. Lover 17. Autumn In New York 18. Stella By Starlight 19. What Is This Thing Called Love? 20. Repetition 21. Rocker
Tracklista:1. Help Me Make It Through the Night2. For the Good Times3. Loving Her Was Easier (Than Anything I'll Ever Do Again)4. Me and Bobby McGee5. Nobody Wins6. Why Me7. Sunday Morning Coming Down8. Jody & the Kid9. Please Don't Tell Me How the Story Ends (With Rita Coolidge)10. The Taker11. Stranger12. Help Me13. Put It Off Until Tomorrow (With Dolly Parton)14. Breakdown (A Long Way from Home)15. Hello in There (With Joan Baez)16. The Pilgrim (Chapter 33)17. From the Bottle to the Bottom18. Somebody Nobody Knows19. I'd Rather Be Sorry (With Rita Coolidge)20. Once More With Feeling21. We Must Have Been Out of Our Minds (With Rita Coolidge)22. Come Sundown23. Kiss the World Goodbye