Smooth Gentlemen - New - COMPACT DISCS [CD]

Deeply committed to a beauteous aesthetic, composer John Robertson's second album Symphony No. 1 once more delivers a neoclassical triumph with tremendous potential for repeated listening. This flaunts an unapologetically exuberant elegance ever-present in the composer's oeuvre. The heart of the album is, of course, Robertson's Symphony No. 1, a three-movement epos that explores the vast realm of classical tonality. While the first movement starts out touching upon 20th-century harmonies reminiscent of Prokofiev, the second one already harkens back to the late Romantic school. Still, remaining very much a contemporary composition in it's essence, this symphony offers plenty of innovation not only does it push the limits of the traditional symphonic fast-slow-fast movement order, it also spearheads intensely lyrical soloistic parts such as the third movement's elaborate solo violin introduction, from which all other instruments organically spring forth. In the same vein, the Suite for Orchestra Op. 46 is easy on the ear, oscillating between the exaltation of the introductory Fanfare, the natural grace of the subsequent Waltz, the profound tristesse of the Elegy, and the uplifting, resolute splendor of the concluding March. The form of musical variations, the calling card of a composer's skill and craftsmanship throughout the ages, receives an apt treatment in the form of Robertson's Variations for small orchestra, Op. 14. In just over 18 minutes, they explore the possibilities of thematic development from every imaginable angle, ranging from the solidly-classical to the breezingly and self-confidently outlandish. John Robertson's straightforward formal choices render all of these compositions intuitively accessible, yet make no compromises in terms of technical and musical complexity, which remain sophisticated throughout. Symphony No. 1 proves that new music can be

The Gentlemen - The Gentlemen [COMPACT DISCS] Digipack Packaging date 08/14/2012

Before they even hit a chord, this supergroup has your attention! Their bloodlines tower above all, as the Allman & Neville Brothers cast a magic spell. They said that rock 'n' roll was dead, but they were wrong. Right now, there's something in the air, as Royal Southern Brotherhood drags their thrilling new brand of blues-rock and white-hot musicianship from the Southern States onto the world stage! In the last seven years, Devon Allman has plotted an old-school ascent, crossing 14 countries on tour and watching as fans and heroes alike fall under his spell. There was a Top 10 hit in Spain with Javier Vargas, albums alongside Jack Bruce, and jam sessions with heavyweights like Les Paul and Billy Gibbons. When Devon takes the stage-either with Honeytribe or during cameos with his father and the Allmans-fans are wowed by a guitarist who can be smooth, savage or seismic, but it's in Royal Southern Brotherhood that you'll hear this modern master playing at full-throttle. Not many guitarists could stand toe-to-toe with him. Step up Mike Zito, the blues ace whose ear for melody provides the counterpoint to his wingman's rocking tendencies. Nominated in 2011 for the Blues Music Foundation's Best Blues Rock Award, and winner of 2010's Blues Music Award for Song of the Year, few stars are rising faster. Giving Royal Southern Brotherhood it's hip-shaking groove are bassist Charlie Wooton and drummer Yonrico Scott, both heavyweight names in their own right, with Charlie's bass chops celebrated on the Southern jam scene for his sets with the Woods Brothers, and Yonrico hitting the skins for luminaries including the Derek Trucks Band, Gregg Allman, and the Allman Brothers themselves.