After several years without contact, Martijn visits his sister Daantje, who just started to live on her own in Amsterdam. He tells her he is going to make a documentary from her life, and enters her home live with a video camera. This creates tension between Daantje and her brother because he wants to recall something that happened between them in the past. To keep Martijn at a distance, Daantje starts a relationship with Ramón, but Martijn gets between them. He manages to talk to her so that she remembers the things that happened when they were kids. This helps him to overcome his obsession for his sister, and after playing over their history, he is finally able to see her without the video camera like he did during the course of the movie.
The Allman Brothers Band's fifth live release in 25 years, cut during 1994 in Raleigh, NC, and at the Garden State Arts Center in New Jersey, is a high-water mark in their Epic Records catalog. If anything, they're even better here than they were on the earlier Evening with the Allman Brothers Band, the old material getting fresh new approaches – the band was on for both nights, and presented sets, including an acoustic version of "In Memory of Elizabeth Reed" and "Jessica" (which won a Grammy Award), that soared and flowed, especially Dickey Betts and Warren Haynes' guitars. What's more, the clarity of the recording and the volume at which it was recorded make this a most rewarding 70 minutes of live music on a purely technical level – you can practically hear the action on the guitars during the acoustic set. It won't replace Live at Fillmore East or the live portions of Eat a Peach, but it deserves a place on the shelf not very far from them.
Astor Piazzolla’s tangos, beloved around the world for their pathos, passion, longing and sensibility, are here given fresh interpretations in arrangements for piano by the Argentinean-born, Brussels-based pianist Aquiles Delle-Vigne. A disciple of Claudio Arrau and winner of the Grand Prix ‘Alberto Williams’, the most prestigious competition in South America, he has been hailed by Le Figaro as a ‘fantastic, incomparable pianist and artist’, while The New York Times characterized his playing as ‘aristocratic, sophisticated and charming’. Piazzolla’s earthy yet highly developed music gains a new dimension of intimacy but also of power in the hands of this master of the keyboard.
Mariah Carey certainly knows how to construct an album. Positioning herself directly between urban R&B with tracks like "Fantasy," and adult contemporary with songs like "One Sweet Day," a duet with Boyz II Men, Carey appeals to both audiences equally because of the sheer amount of craft and hard work she puts into her albums. Daydream is her best record to date, featuring a consistently strong selection of songs and a remarkably impassioned performance by Carey. A few of the songs are second-rate – particularly the cover of Journey's "Open Arms" – but Daydream demonstrates that Carey continues to perfect her craft and that she has earned her status as an R&B/pop diva.
The St Petersburg State Symphony Orchestra was founded in 1967 by Nikolai Rabinovich, Karl Eliasberg and Edward Grikurov and until 1985 was known as the Orchestra of Ancient and Modern Music. Renowned soloists and conductors, including Yuri Temirkanov, Mariss Jansons, Svyatoslav Richter, and many others, have performed with the orchestra. In 1985 the orchestra was enlarged, developing as the Leningrad State Orchestra under Ravil Martynov and undertaking concert tours of China, Japan, Germany, Austria, Mexico, Spain, Finland, Norway, Sweden, France and Belgium. From 2004 until 2007 the orchestra was headed by Martynov’s pupil Vasily Petrenko. The orchestra’s artistic director and chief conductor from 2007 to 2013 was Alexander Titov, who has recorded significant Russian compositions from the period of the Second World War.
Karen Carroll has plenty of opportunity to strut her stuff on her debut, Had My Fun. Unlike many contemporary blues albums, which are highly polished blasts of blues-rock, Had My Fun takes its time. Many of the songs are torchy slow blues or down and dirty Chicago blues – either way, they sound natural, never forced. That's appropriate, since Carroll sings like a natural, caressing the ballads and growling the nastier numbers. Best of all, there's actual grit in the production – four of the songs were recorded live – and that allows Carroll to achieve her full potential on this impressive debut.
All the tribute albums in the Magna Carta catalog tread dangerous ground. How can they give the artists room to stretch and still maintain enough of the original spirit to capture the art-rock audience that knows these songs by heart? "Supper's Ready" manages to walk that fine line for the most part, with strong contributions by Annie Haslam, Kevin Gilbert (a trombone solo on "Back in NYC" works impossibly well) and Magna Carta label workhorses Robert Berry, Trent Gardner and Magellan, and Shadow Gallery. On the down side, John Goodsall, guitarist of Phil Collins' jazz offshoot, Brand X, is wasted on "Carpet Crawlers." Matching him with vocalist Michael Zentner is a disservice.