Søgeresultat: extensions
Holland Dave Extensions

Holland Dave Extensions

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Pris 139.00,-

Holland Dave Extensions
Dday One Loop Extensions

Dday One Loop Extensions

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Pris 149.00,-

Dday One Loop Extensions
Elements Of Life (louie Vega) Extensions

Elements Of Life (louie Vega) Extensions

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Pris 159.00,-

Elements Of Life (louie Vega) Extensions
Download: Extensions Of Eternity - All Over

Download: Extensions Of Eternity - All Over

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Download: Extensions Of Eternity - All Over
Download: Mccoy Tyner - Extensions

Download: Mccoy Tyner - Extensions

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Download: Mccoy Tyner - Extensions
Download: The Manhattan Transfer - Extensions

Download: The Manhattan Transfer - Extensions

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Download: The Manhattan Transfer - Extensions
Dave Holland Extensions

Dave Holland Extensions

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Release Date: 1990-11-05, Audio CD, Ecm
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Pris 122.85,-

Dave Holland Extensions
Dday One Loop Extensions

Dday One Loop Extensions

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Release Date: 2006-03-26, Audio CD, Needle Work
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Dday One Loop Extensions
Ligeti: Chamber Music

Ligeti: Chamber Music

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These chamber works bring Sony's adventurous, timely Ligeti series to a natural pinnacle. Long the challenger of stylistic stasis and customary demonstrations of excellence, Ligeti has outdone himself here (as he did with the fantastic Mechanical Music release). The Trio for Violin, Horn, and Piano (1982) challenges its players to stay in step with each other even while expanding virtuosity to the breaking point. Marie-Luise Neunecker plays such full horn parts that they roll flow over the tonal bounds, as does Saschko Gawriloff's violin and Pierre-Laurent Aimard's piano. The Ten Pieces for Wind Quintet (1968) and Six Bagatelles for Wind Quintet (1953) are each pivoted on a mixture of elongated and quickly abrupted figures. The wind quintets echo Neunecker's horn parts in their extensions of typical note ranges. Ligeti writes in the liner essay about looking to script extremities. The power of the writing comes across in the mottled mix of multiple instrumental pitches, making these fantastic. --Andrew Bartlett
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Ligeti: Chamber Music
Julio Iglesias Romantic Classics

Julio Iglesias Romantic Classics

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Julio Iglesias--he of the endearing Latin accent, endless-summer suntan, and stunning charisma--could make "Mary Had a Little Lamb" sound sexy, so it's no surprise that the selections here smoulder with the approximate heat of high noon in his native Madrid. What may be surprising to longtime listeners, though, is the range of songs he chose to cover. While "It's Impossible," the Perry Como hit with the famously pretty-sad melody, comes across an obvious choice and benefits from a swooning yet sure-footed performance, two Foreigner classics, "I Want to Know What Love Is" and "Waiting for a Girl Like You," seem somehow beneath our debonair ladykiller. Still, smothered by his signature passion, they play like entirely new songs--less earnest and searching, more insistent and sweet. Such is the case with Richard Marx's "Right Here Waiting" and, to some extent, the Cars' "Drive"; instead of sounding like lite-FM retreads, they become heated extensions of his Julio-ness. Older hits--"This Guy's in Love with You," "The Most Beautiful Girl"--benefit from a certain effortlessness; these are numbers pre-dipped in the knee-weakening romance Julio specializes in. Overall, it's a modern/classic commingling that proves what millions of women worldwide have suspected for decades: where practitioners of pulse-quickening, fantasy-fueling vocals are concerned, there is no equal. --Tammy La Gorce
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Julio Iglesias Romantic Classics
Pink Floyd Atom Heart Mother

Pink Floyd Atom Heart Mother

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In the grand, colour-bending tradition of psychedelic experimentalism, Pink Floyd's Atom Heart Mother takes as its title an inscrutable phrase and under the title launches a similarly inscrutable--or at least dense--musical concatenation. The title suite features French-horn-led brass melodies riffed on by David Gilmour's guitar and the rhythm section, all of which veers into choral passages that recall György Ligeti's vocal works and then almost atonal pulses of keyboards that mask reams of audio snippets swirling underneath. There's some moody folk from Roger Waters, an almost Kinks-ish rambler from Richard Wright, then more moody folk (this time from Gilmour) on "Fat Old Sun" and, to close, the spirited melodic runaround of "Alan's Psychedelic Breakfast". Pink Floyd offers a range of emotion here, from doleful to crazed to humorous (especially the dramatised comments on macrobiotics in the closer). Atom Heart Mother was a spotlight ahead for Pink Floyd, showing the extensions of form the band would engage in so successfully on Dark Side of the Moon just a few short years later. --Andrew Bartlett
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Pink Floyd Atom Heart Mother
John Coltrane Ken Burns Jazz Collection: The Definitive John Coltrane

John Coltrane Ken Burns Jazz Collection: The Definitive John Coltrane

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John Coltrane spent little more than a decade of his career in the public eye before his death in 1967, but during that time his work was in a state of constant, often turbulent change. In the process, he created one of the most influential bodies of work in jazz. Many of Coltrane's greatest recordings were long, and it's no easy task to create a single CD that reflects his creative range. However, this remarkably good selection manages to include several extended performances, as well as documenting moments both of profound meditative beauty and creative onslaught. On "Giant Steps", Coltrane pressed the boundaries of chordal improvisation, creating a high-speed maze of harmonic extensions. In perhaps his most famous vehicle, he recrafted "My Favourite Things" in the image of Indian music, spinning scalar improvisations on his soprano saxophone over a repeating piano figure and the molten drums of Elvin Jones. "Chasin' the Trane", from his great 1961 Village Vanguard recordings, uses a simple blues as the platform for an extended solo that tests the tenor's expressive limits. "Jupiter", a duet with drummer Rashied Ali recorded in the final months of Coltrane's life, finds the same intensity still burning within him, his tone compressed to a tight vibrato and his circular lines spinning in still fresh directions. Along the way are those serene islands that always marked Coltrane's work: he produced some of the most beautiful and direct ballad and blues playing in jazz, from his own "Naima" to an ethereal version of "In a Sentimental Mood" with its composer, Duke Ellington, at the piano. --Stuart Broomer
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John Coltrane Ken Burns Jazz Collection: The Definitive John Coltrane
Culture Club Greatest Moments

Culture Club Greatest Moments

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Fronted by the flamboyant Boy George, Culture Club was one of the super groups of the 1980s, and Greatest Moments charts the group's defining compositions, as well as a selection of George's solo hits. When the group first arrived on the UK charts in 1982 with their number one debut "Do You Really Want To Hurt Me?", Boy George's androgynous image threatened to undermine the group's musical potential. However, as Greatest Moments highlights, Culture Club have always been much more than eye shadow and hair extensions: their songs are a unique mixture of George's husky tones, reggae beats, and orchestral melodies. Twelve years after their split, the group reformed in 1998 to tour and to record new material. Greatest Moments includes the first single to be released after their reunion, "Just Wanna Be Loved". -- John Galilee
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Culture Club Greatest Moments
Missy Elliott This Is Not a Test

Missy Elliott This Is Not a Test

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This Is Not a Test is not all about Miss E. With her beat-wizard buddy Timbaland, she's on a crusade to revitalise what they feel is a stagnating commercial rap marketplace. There's a reason rap enthusiasts breathlessly await new Missy albums. Maybe it's because her work is so uninhibited--who else but Missy would marvel at the magic of, er, self-love gadgets like she does on "Toyz"? And tastefully too. Perhaps most A-list rap stars don't need sexual aids to get their groove on, but Missy's looking out for the 95 per cent of the female rap population who might not look like Halle Berry. Some would apologetically rock fake hair extensions, but Missy celebrates them on "Let Me Fix My Weave." The self-deprecation continues on the jazzy "I'm Not Perfect." It reaches its apex on "Wake Up" (featuring Jay-Z), where she reminds us that wearing big Liberace chains and driving high-end sport utility vehicles is not all that important. Sure, most of the guest collaborations here either sound unpolished or unnecessary, but as Bahamadia, Missy's one of the few modern-day femcees who would rather push envelopes than lick 'em. Despite its title, this album does test rap's experimental boundaries with much success. --Dalton Higgins, Amazon.com
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Missy Elliott This Is Not a Test
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