Walter Wanderley's understanding of and digital skill with bossa nova rhythm patterns was enviable, comparable only to Joao Gilbertos genius. With dozens of phony, unmusical albums of Brazilian jazz and pop music inundating American record shops since bossa nova happily emerged from Brazil in mid-1962, Walter Wanderleys swinging style at the Hammond console epitomized the finest in authentic Brazilian entertainment.
It's not surprising that Steely Dan co-founder Walter Becker's debut solo album sounds like a Steely Dan record. What is a little surprising, though, is that, in his lead singing debut, he sounds so much like his erstwhile partner, Donald Fagen. Not that you'd mistake the two (Fagen projects more and is slightly grittier), but they sing in the same register with the same sly phrasing and the same accent. Other differences from the Dan are equally subtle: Becker adopts a sparer musical approach, for one thing, the missing element being the prominence of Fagen's keyboards (although Fagen does play on the record and co-produced it). Nothing gets in the way of Becker's voice, and he proves to be a less ornate lyricist than Fagen, restricting himself largely to tales of romantic dislocation. On the whole, this album sounds like what you'd expect – one half of Steely Dan.
Famed for his subtle shadings and irreproachable technique, Walter Gieseking was one of the most extraordinary pianists of his time.
À Kashin, petit village russe, Georgy Jachmenev, 16 ans, sauve la vie du tsar au péril de la sienne. Le destin du jeune paysan s'en trouve aussitôt bouleversée.
Nicolas II le fait venir à Saint-Pétersbourg, où il est admis dans la Leib-Garde de sa Majesté, avec pour mission de veiller sur le tsarévitch Alexei. …