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Czech Chamber Philharmonic Orchestra Pardubice & Marek Štilec – Wranitzky: Orchestral Works, Vol. 3 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:46 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Paul Wranitzky moved to Vienna from his native Moravia at the age of 20, mixing with the likes of Haydn and Mozart. As the most important symphonist in Vienna in the late 1790s, his style influenced the early symphonies of Beethoven. The Symphony in D major “La Chasse” reflects the popularity of hunting music, and is heard here for the first time in its expanded version. The overtures to Mitgef”uhl and Die gute Mutter represent Wranitzky’s skill as a composer for the theatre, as does the masterfully scored Symphony in C major in which the composer repurposes some incidental and ballet music.
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Czech Chamber Philharmonic Orchestra Pardubice, Marek Stilec – Wranitzky: Orchestral Works, Vol. 2 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:13:50 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Czech by birth, Paul Wranitzky settled in Vienna where he became highly respected as an orchestra leader and composer. Today overshadowed by his friends Haydn, Mozart and Beethoven, Wranitzky was the most important symphonist in Vienna in the late 1790s. The colourful overture to Der Schreiner (“The Carpenter”) is followed by three contrasting symphonies. The dramatic La Tempesta contains elaborate storm effects, which predate Beethoven’s “Pastoral” by over a decade. The compact Symphony in A major represents Wranitzky’s early symphonic period of the mid-1780s while the Symphony in F major is notable for its catchy themes and masterful scoring.
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Czech Chamber Philharmonic Orchestra Pardubice & Marek Štilec – Wranitzky: Orchestral Works, Vol. 1 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:08:47 minutes | 1,14 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Czech-born Paul Wranitzky, a contemporary of Mozart, was the most important symphonist in Vienna at the turn of the 18th century. To mark the ascension to the throne of Franz II in 1792, Wranitzky wrote the grand Symphony in C major, a work of regal quality and festive exuberance. Wranitzky’s mature symphonic style is on display in the Symphony in B-flat major, with its expanded orchestral forces, contrasting textures and broad musical invention. Overtures from two operas offer a sampling of Wranitzky’s dramatic writing for the stage.
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Cyrus Chestnut – There’s a Sweet, Sweet Spirit (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 59:58 minutes | 1,16 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © HighNote Records
A decorated veteran of the Betty Carter Trio, pianist Cyrus Chestnut came out the experience relatively unscathed with a style and directive clearly his own. It’s one steeped in the gospel church traditions of his native Baltimore, but also enlivened by an open ear aimed at a multitude of other influences. He has enjoyed stints with the Lincoln Center Jazz Orchestra, Vanessa Williams, Freddie Hubbard and Joe Lovano. He also speaks fondly of his valuable tenures with vocalists Jon Hendricks and Joe Williams. With the fleetness of Bud Powell and his own distinctive two-handed lushly impressionistic harmonies, Cyrus offers an imaginative setlist with his long-time friends Buster Williams and Lenny White and together they breathe new life into the vernerable jazz piano trio format.
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Cyrus Chestnut – Natural Essence (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:14 minutes | 1,26 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © HighNote Records
From his emergence in the mid-Eighties to the present, pianist Cyrus Chestnut has declared himself a committed stylist completely infatuated with his instrument and the art he’s sworn allegiance to, jazz. Chestnut has consistently shown himself an improviser of rare ingenuity and grace, yet what most distinguishes him from other gifted pianists of our era may be the sheer pleasure that radiates from all that he plays. While the characteristic cheer that Chestnut displays on “Natural Essence” can be attributed to his undiminished vigor and attentiveness, the presence of his notable cohorts also contributes to the leader’s focus. With the dynamic Lenny White on drums and the redoubtable Buster Williams on bass Cyrus & company breathe new life and vitality into that most venerable of jazz ensemble formats, the piano trio.
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Cyrus Chestnut – Kaleidoscope (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:59 minutes | 1,16 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © HighNote Records
The jazz piano trio, a specialism with its own lineage and admirers, is currently alive and well thanks to the artists here on KALEIDOSCOPE. A keyboard master such as Cyrus Chestnut can imbue this tried-and-true format -whose practitioners range from Jelly Roll Morton to Robert Glasper – with a relevance for today’s listeners and expand its parameters without losing sight of its historic past. For this recording Cyrus has arranged 8 compositions by the classical pianists W.A. Mozart, Claude Debussy, Maurice Ravel and Eric Satie, taking the classical themes through a series of rhythmic and harmonic turns and twists and subjecting them to a wildly innovative series of transformations. Through it all Cyrus Chestnut emerges as a multi-faceted artist who, using the venerable jazz piano trio format, can refract the past through his own imagination and create something new which is always fresh and exciting.
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Cyrille Guion – Wyscnhegradsky, Bancquart, Moëne: Pianos quart de ton (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:15:47 minutes | 1,10 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Shiiin
Quarter-tonal music – in which every semi-tone is cut again in two, so that, for example, between C and C flat there is a C semi-flat, and so on, in a range that has 24 notes instead of the usual 12 – has existed, in western cultures at least, from the start of the 20th Century. Charles Ives, the great forerunner, would use it in 1924, Wyschnegradsky in 1920, both of them followed by dozens of other composers running up to the present day. But even so, its use remains rather marginal. Yes, we find quarter-tones used in many pieces by Bartók or Enescu or Szymanowski as they try to capture rural accents; and of course the traditional music of all the rest of the world has used them for centuries. The difficulty for standard western instruments is that they aren’t necessarily technically equipped to play quarter tones: and piano pieces have to be played on two pianos, each tuned a quarter tone off the other – which creates many logistical difficulties. String instruments, of course, can do what they like (as one can see on the album’s closing piece, Meditation on two themes from La Journée de l’Existence for cello and piano, where the cello speaks in quarter-tones and the piano sticks wisely with semi-tones), and wind instruments can too, up to a point; but that requires very specific training for the musicians, which doesn’t necessarily pay off, as the repertoire that the training opens up is very limited. And that long-winded explanation should give the reader an idea of what to expect with this album of works, all written to make use of quarter-tones, by Alain Bancquart, Ivan Wyschnegradsky and Alain Moene. The main work here is surely, Thus Spake Zarathustra by Wyschnegradsky, an ample fresco written between 1930 and 1936. It’s written in the language of its times, for sure, but with these unsettling, ghostly quarter-tones that make the work fascinating: it’s absolutely one to discover post haste!
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Cyrille Dubois & Tristan Raës – Lili et Nadia Boulanger: Mélodies (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:09 minutes | 1,15 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Aparté
After the very recent publication by tenor Nicolas Phan and pianist Myra Huang, this is another album dedicated to sisters Lili and Nadia Boulanger that sheds more light on their talent. If Lili Boulanger’s work has been starting to emerge from obscurity in recent years, that of her sister Nadia’s has remained largely unknown, partly her own fault as she stopped writing after the premature passing of her sister, whose talent for writing she thought was superior. Nadia Boulanger instead forged a name for herself through education and the discovery of new works.
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Cyrille Aimée – Move On: A Sondheim Adventure (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 44:24 minutes | 895 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Mack Avenue Records
The acclaimed vocalist Cyrille Aimée explores the Sondheim songbook for her scintillating album, ‘Move On: A Sondheim Adventure’. What began as a celebration of a legendary Broadway songwriter became a work of cathartic autobiography as one song after another captured her deepest personal feelings.
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Cyrille Aimée – Live (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 57:47 minutes | 697 MB | Genre: Vocal Jazz, Soul
Studio Masters, Official Digital Download | Front Cover | © Mack Avenue Records
As anyone who has followed her work over the last decade can hear, Cyrille Aimée thrives on living in the moment. Nowhere is that more evident than on stage; throughout ‘Cyrille Aimée Live’ she holds the audience in the palm of her hand. Rapt during quiet moments, raucous as the spirited band swings into high gear, roaring with laughter at Aimée’s charming and quirky banter, or singing along with a Michael Jackson medley, the crowd is an essential part of the buoyant show. The album finds the acclaimed vocalist bidding a fond adieu to her long-standing band and looking forward to a brand-new phase in her life and career. The August performance marked the band’s final show together, saying goodbye to this configuration of Aimée’s band while welcoming a new chapter of creative output. The concert captured here marks the end of an era, but the tone is celebratory, not bittersweet.
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Cyrille Aimée – Let’s Get Lost (2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 45:37 minutes | 791 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Mack Avenue Records
‘Let’s Get Lost’, Cyrille Aimée’s second album for Mack Avenue Records brings to light a different side of the radiant singer. After two years of dazzling audiences around the world with the joyful repertoire of ‘It’s a Good Day’, Winner of both the Montreux Jazz Festival’s Vocal Competition and the Sarah Vaughan International Vocal Competition, Aimée reflects on her musical and personal growth, telling us the story of a nascent love coming to full bloom.
Accompanied by two guitar wunderkinds, Adrien Moignard and Michael Valeanu, as well as an Australian rhythm section (consisting of bassist Sam Anning and drummer Raj Jayaweera) so tight-knit that they are almost the same person, she adds pensive touches to her usual zest and reveals a bittersweet depth that will have listeners daydreaming for a while.
‘Let’s Get Lost’ speaks of love in three different languages, wide ranging references, oldies and odd metered originals, yet it retains a distinct identity, like summer grass freckled with late afternoon sun. Aimée and her band weave confidently from one musical region to the next, and Valeanu’s guitar arrangements always underscore the meaning of every word in uncontrived and subtle fashion.
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Cyrille Aimée – It’s a Good Day (2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 43:02 minutes | 844 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Mack Avenue Records
It’s A Good Day is the major label debut by the widely acclaimed young jazz singer Cyrille Aimée—yet another step forward for the rapidly rising vocalist. Winner of both the Montreux Jazz Festival’s Vocal Competition and the Sarah Vaughan International Vocal Competition, Aimée explores a range of musical styles, eras, continents and moods on It’s A Good Day (Mack Avenue) with a singular voice on inventive arrangements, and produced by Fabrice DuPont (Shakira, Jennifer Lopez).
Aimée’s musical outlook is reflected in an emphasis on the guitar, an instrument with an indigenous form in nearly every culture of the world—and it was the sound of the gypsy guitar that inspired Aimée to become a musician. While growing up in Samois-sur-Seine, Aimée snuck out of her home to the nearby gypsy encampments and was mesmerized by the music of those who followed the spirit of Django Reinhardt, revered as one of the world’s most influential guitarists. Aimée—who as a child also lived in Paris, Cameroon, Singapore and the Dominican Republic—later became fascinated with Brazilian guitar, and her music reveals a thorough understanding of bossa nova and samba idioms. She has now settled in Brooklyn, where she continues to absorb the inner workings of American jazz and the culture of the music’s homeland.
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Cyril Neville – Brand New Blues (2009/2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 45:15 minutes | 506 MB | Genre: Blues
Studio Masters, Official Digital Download | Front Cover | © M.C. Records
The youngest Neville Brother he may be, but Cyril Neville’s accomplishments are as impressive as those of his older siblings. He played with his brother Aaron in various soul and funk outfits before joining the Meters full-time in the early ’70s, and was one of the prime movers in getting his brothers together as the Neville Brothers. His discography is just as eclectic as the rest of the family’s; he’s played percussion and keyboards on records by Bob Dylan, Robbie Robertson, Edie Brickell, Willie Nelson, Los Hombres Calientes, and dozens of others. On Brand New Blues, his fourth solo outing, he teams up with Brooklyn, NY based producer and multi-instrumentalist Brian J., leader of the Pimps of Joytime, a band that is as indebted to the groove as Cyriland his brothers are. With members of his extended family along, Cyril lays down ten tracks that prove his New Orleans soul is intact, even though he’s lived in Austin since escaping the devastation of Katrina. In fact, the aftermath of the hurricane creeps into most of the original tunes here. On the title track, Neville lays down some Al Green-style Memphis fonk to implicitly address the “brand new blues” that the hurricane delivered. Brian J.’s nasty guitar complements Neville’s growling vocal. “Cheatin’ and Lyin'” is a spooky, swampy meditation on the indifference of the powers that be, from the “White House on down” as Neville sings. The song closes with a gospel-infused chant to the freedom the city still searches for. “Mean Boss Blues” features Tab Benoit’s gritty guitar, an angry vocal from Neville, and darkly humorous lyrics that portray the aftermath of the storm through the eyes of a man trying his best to make ends meet in a town with no jobs, electricity, or decent housing. Benoit lays down an raw, aggressive solo befitting the situation. But all is not lost. “Shake Your Gumbo” pays tribute to the city’s resilience with a percussion-heavy track that simmers like the thick, hearty dish of its title. Neville also tackles a few tasty covers: “I Found Joy,” the album opener, is a N’awlins revamp of a Jimmy Reed tune delivered as a jubilant strut. “Blue, Blue Water,” another Reed number, is given a stark reading, with just Neville’s vocals, Johnny Sansone’s harp, and Andy Cotton’s bass. Brook Benton’s “I’ll Take Care of You” has an old-time ’50s R&B flavor, with Art Neville on B-3, some shimmering fills from Brian J.’s guitar, and a melisma-drenched vocal from Cyril. The album closes with an extended version of Bob Marley’s “Slave Driver” with brother Art on organ. It’s cut as a slow blues, not a reggae tune, and explicitly addresses both the historical pains of slavery and the modern-day dilemma of post-Katrina New Orleans. Cyril writes new lyrics that indict the powers that be for their callous disregard of the city’s African American population.
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Cyril Huvé – Liszt, Debussy & Scriabin: Opus 102 (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:16:37 minutes | 1,15 GB | Genre: Classical, Piano
Studio Masters, Official Digital Download | Front Cover | © Evidence
It is on an extraordinary instrument that the french pianist Cyril Huvé performs selected works of Liszt, Schubert, Debussy and Scriabin. His disc-recital is called Opus 102, the name of the piano designed by Stephen Paulello. The former teacher and tuner released the sounding board and expanded the traditional Steinway ambitus to favor the production of a « high fidelity » sound, capable of restoring all the richness of the repertoire of the 19th and 20th centuries. Its power gives substance to the most formidable pages of Liszt and to his transcriptions of Schubert. Between light and shade, the program imagined by Cyril Huvé also draws from Debussy and Scriabine to showcase all the possibilities of this unprecedented instrument. This piano allows to refine the subtle shades of Des pas sur la neige or those of Scriabin’s poems, and to make their harmonies resonate with pure clarity.
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Cyril Guillotin – Helldunkel (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 02:39:11 minutes | 1,26 GB | Genre: Classical, Piano
Studio Masters, Official Digital Download | Front Cover | © Evidence
Getting at the root of musical inspiration on ancient and historical instruments, rediscover the forgotten reality to bring it back to life, to have it face our own modern ans innovating reality, and make it vanguard, such is the challenge splendidly matched by the young and brilliant French pianist Cyril Guillotin with this new record « Helldunkel – Twilight » in which he brings a new an authentic vision of the highest piano masterpieces.
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