Duo Perse-Inca - Echos Des Montagnes - COMPACT DISCS [CD]

The French and Italian Renaissance song repertoire, immortalised during the first three decades of the sixteenth century by the printed editions of Pierre Attaingnant in Paris and Ottaviano Petrucci in Venice, invites audiences, and in former times performers, to immerse themselves in a world in which memories of medieval courtly poetry, the austerity (as reimagined in the fifteenth and sixteenth centuries) of ancient lamentations, and a fully polyphonic narrative style, were all collided and superimposed-a certain sense of conversation can remind us also of the French air de cour as well as the early Italian madrigal form. These chansons and frottole give rise to discrete, almost enigmatic emotions, where music and text unite as one, transparent and restrained.Guided by the subtle sound of Hopkinson Smith's lute, the diaphanous voice of German soprano Sophie Klussmann roams over this little-known early Renaissance territory through four sections which take the form of return journeys between France and Italy. The sly melancholy of songs by Claude de Sermisy (Puisqu'en amours) and other French contemporary figures, some of them settings of poems by Clement Marot, thus collides with more plaintive pieces, by Marchetto Cara (Io non compro piu speranza) and Bartolomeo Tromboncino, whose supplicatory Per dolor me bagno il viso and final, heady Dolermi sempre voglio both attain peaks of intensity, at the same time being two sumptuous examples of the frottola form. During these sixty minutes, Sophie Klussmann produces exquisitely subtle and precious wisps of sound, recalling that the heart and soul of these snapshots very often remains the matter of love. Her dark gold timbre hints at the eternal in the one piece in the programme whose text is of a religious nature, the sublime, questioning prayer Se mai per maraveglia.

A classically trained orchestra string bassist from the age of eleven, Amos Larkins II transitioned to the electric bass to practice the Jazz/ Fusion Rock genre that he so admired as a teenager. A natural talent, Amos was fortunate to have studied with the legendary bassist Jaco Pastorius and world-renowned pianist Chick Corea. Amos has participated in workshops with Stanley Clarke, George Duke, Billy Cobham, Jean-Luc Ponty, Al Di Meola and countless others. From the age of 16 he became a studio bassist at the Miami Sound Machine and TK Records studios in Miami where he also learned the art of sound engineering and worked on many sessions as an engineer. While producing music for the ill-fated movie Cry of the CityInch he met Barry Gibb of Bee Gees fame. Gibb allowed Amos to moonlight at his Middle Ear Recording Studios, and it was there that Amos produced some of the first (if not the first) hip-hop music to be heard in Miami, Florida. He took his hip-hop productions that he produced at Barry Gibb Studio and played them for Henry Stone, the legendary music mogul and founder of the highly successful T.K. Records tag. Henry had just formed a new record company by the name of Sunnyview Records. After Stone listened to this new, ground-breaking style of Miami Rap music production, Henry told Amos that he could make lots of money producing this type of music. Amos soon began working as a producer under Stone at the newly formed Sunnyview Records. This is where he came up with and developed the Miami bass genre that continues to inform and influence hip-hop and rap music to this day. Today Amos is widely known as the progenitor of the movement.

Wayna Picchu - Folk Music from Peru [COMPACT DISCS] date 10/28/2016