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Thursday, March 28, 2013
Wednesday, February 20, 2013
BMV Quantum Subliminal CD Subliminal Learn Trumpet: The Trumpeter Mind Training (Music Playing Learning Series)
BMV Quantum Subliminal CD Subliminal Learn Trumpet: The Trumpeter Mind Training (Music Playing Learning Series) Review
Program your subconscious mind to increase your ability to learn how to play the trumpet. This subliminal program is best used with some form of training, classes or self-study. Increase your learning curve using state-of-the-art subliminal and brainwave entrainment technologies. Tune your brainwaves by listening to this CD! Program your subconscious mind for positive lasting results, created by a Certified Hypnotherapist and NLP Practitioner (Neuro-Linguistic Programming). Silent affirmations, inaudible hypnotic suggestions and thousands of powerful subliminal messages program your subconscious mind for positive results. The first 3 tracks have an ocean background. The Silent Ultrasonic Track 4 is completely silent with no sound at all! BMV exclusive Quantum Subliminal Matrix Technology sets a new standard for the subliminal industry! BMV has merged existing subliminal neurotechnology with many new exclusive techniques to create the most powerful CDs on the market. This CD contains the following audio neurotechnologies to maximize your results: Ultra-Silent Ultrasonic Subliminal Frequency Modulation Technology- All subliminal messages are modulated to ultrasonic ranges (higher frequencies) for full meta-programming with no audible sounds at all on Track 4! You can use these powerful silent subliminals in any setting! Program yourself anywhere, anytime! Multi-channel Subliminal Replication Technology-100 times more subliminal messages makes it 100 times more powerful than other subliminal tapes or CDs. Autonomic Audio Pacing Technology-Relaxed heartbeat and breathing patterns cause physiological responses that trigger deep progressive relaxation to maximize your results. Brainwave Entrainment Technology- Embedded binaural beat frequencies and monaural tones create hemispheric synchronization while tuning your brainwaves to specific frequencies that are most effective for subliminal programming. Monaural entrainment tones- No need for headphones! Read more...
Thursday, February 7, 2013
The Furthur Adventures of Bix Beiderbecke (Minus Trumpet)
Wednesday, January 30, 2013
The Very Best Of Bert Kaempfert
The Very Best Of Bert Kaempfert Review
16 of the greatest hits from the first producer of the Beatles, who had over 40 albums on Decca & MCA in the '60s & '70s, including many tunes that he wrote. All the tracks on this disc appear for the first time on CD and appear here in great sound. Read more...
Sunday, January 27, 2013
Berio: Sequenzas
Berio: Sequenzas Review
Luciano Berio has always looked at his Sequenzas as building blocks among his other compositions. These solo works, sometimes written for specific performers, exist as elements of other, larger works or as platforms upon which he's built extensive structures. This three-CD set is the first to collect all Berio's Sequenzas, and the performances are peerless.
Berio's writing is, of course, unconventional, feeding off serialism and making complexity sound friendly. Sophie Cherrer's leaping flute on Sequenza I (1958) finds dozens of ways not to shriek, as does Gabrielle Cassone's Sequenza X for trumpet. There are two world-premiere recordings: Pascal Gallois's Sequenza XII for bassoon and Teodoro Anzellotti's Sequenza XIII for accordion (both 1995). Here Anzellotti conjures his playful 1998 recording, Satie on Accordion.
Berio envisions these works as suggestive of polyphony in their architecture and impact, which is to say that the aggressive juxtapositions within a solo work fool the ear into believing that the soloist is a small ensemble. The melodies get multiplied, from initial statements into transfigurations and harmonic variations, making the pieces at once tremendously complex and demanding but also totally inviting. The constancy of these 13 works is evidenced by two of the harmonically richest performances, Benny Sluchin's Sequenza V for trombone (1965, originally composed for Stuart Dempster) and Eliot Fisk's Sequenza XI for guitar (1987-88). The dialogue between density and pinpoint nodes remains a thematic constant, rendered almost in parallel on the various instruments. This is a dynamic, vital document of 20th-century music, one that shouldn't be missed. --Andrew Bartlett Read more...
Friday, January 25, 2013
It's Time
It's Time Review
Young crooner Michael Buble delivers an album of love songs as powerful as chocolate and candlelight. From covers such as Ray Charles' "You Don't Know Me" to "Home," penned by Buble and Amy Foster-Gillies, the album is a romantic treat. With total sales of his CDs and DVDs in the U.S. well over 1 million units, plus glowing reviews and standing ovations everywhere, Buble is set for an even bigger and better year. Read more...
It's Time Specifications
Michael Bublé's assured debut and the tireless year of globe-trotting touring he spent promoting it elevated the 20-something Vancouver native into the first rank of pop crooner revivalists. His sophomore studio follow-up largely turns on the same formula that helped make his considerable vocal prowess so attractive to mainstream audiences, mixing the nigh flawless, if expected Sinatra-channeling ("I've Got You Under My Skin") with more playful and inviting renditions of pop standards like the Gershwin's "A Foggy Day in London Town," "Feeling Good," "Try A Little Tenderness" and Cole Porter's "I've Got You Under My Skin." But it's the eclectic mix of more contemporary material the singer seasons them with -- apt tribute to Bublé hero Bobby Darin -- that keeps him walking the narrow tightrope between artistic intrigue (a blues-tinged vamp of Holland-Dozier-Holland's "How Sweet It Is," Leon Russell's lovely "Song For You," with a guest turn by Chris Botti) and the kitsch-laden abyss ("Quando, Quando, Quando"'s Euro-centric duet with Nelly Furtado, a ring-a-ding-fling with the Beatles' "Can't Buy Me Love" that echoes fellow Canadian crooner/rival Matt Dusk's more successful flirtation with Lennon-McCartney). Arranger/producer Tommy LiPuma offers Bublé a welcome swinging jazz showcase on "The More I See of You," a bracing respite from the rest of producer David Foster's slick, if typically bloodless MOR production. -- Jerry McCulley [Note: A special edition including two bonus tracks--"Dream a Little Dream" and "Mack the Knife"--is also available.]
Michael Bublé and More
 Michael Bublé |  Come Fly with Me |  Totally Bublé |
 Come Fly with Me (DVD) |  Two Shots |  Peter Cincotti |
Saturday, January 19, 2013
Henry Cowell plays his own Piano Music
Henry Cowell plays his own Piano Music Review
Cowell (1897-1965) invented ways to play the piano that no one had ever considered. Taking the whole world of music as his inheritance, Cowell created music which covered a wider range of expression and technique than that of any other American composer. Reissue of Folkways 3349. "A revealing reissue...You'd be thoroughly pleased you asked him into your house."-Classical Pulse Read more...
Henry Cowell plays his own Piano Music Specifications
Henry Cowell, a few years before his death in 1965, chose and recorded 20 of his own piano pieces, going from his first composition (1912), spreading out over 20 more years, and, more importantly, over the width, breadth, and depth of the piano itself. The pioneer in prepared piano techniques, Cowell's approach, at times, is really an attack--he strikes with elbows, climbs inside and plucks strings, uses his entire fist on the keys as a way of changing harmonic direction. Amidst this modern mayhem lands strong marching melodies and charging, bright clusters of chords. The piano, as a response, grumbles, rolls, and purrs, and even Cowell's gentle stroking of the keys can sound like thunder. His techniques were so groundbreaking and unidentifiable that even Bartok wrote to ask Cowell's permission in order to experiment with clusters himself. --Robin Edgerton
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