Recordings
Searching the universe...
Carrefour
Mov Sessian Project Available From Sunset Classics this month
Clarinetist Claudine Movsessian is one of the most acclaimed classical artists that has manifested in music today - renowned for her melodic, polished, dignified, imaginative, creative clarinet work and for her broad undertaking in delivering a modern day classical tradition to broader and youthful avid listener. Over the past few years, she has recorded many musical works including some of the best clarinet repertoire of the current day. Now, Sunset Classics is proud to announce that (Claudine) Movsessian has brought together two other music aficionados (Ema Dei and Dan Handrabur) for what is the first time recording of a full length album of masterpieces on its' debut self titled CD with Sunset (Classics). On this first release at the Sunset Classics & Jazz (SC&J) company, (Claudine) Movsessian performs her glorious clarinet works, along with a never-before-released 'clarinet and orchestral' arrangements of sound recordings, on a twelve (12) song full length album. The self titled debut album, is available in stores on February 10.
“This is one of the most traditional American klezmer albums that I have ever heard” says Don Lichterman, the head of Sunset, although that applies to the klezmer component of this intriguingly melange of music in general. French clarinetist Claudine Movsessian has gathered friends and created something quite different, yet timeless. Movsessian's clarinet is driving on the first single and the first video entitled "Heyser Bulger", as the trio blends in Rom fiddling to "Oi mama, bin ich verlieb." “There is also a sense of improvisation that pushed its' music to the edges of classical styles, yet it is very accessible for any avid music listener,” (Don) Lichterman continues to say about the self titled CD. “Overall, it is indeed a tad different from typical American klezmer music but there is that international feel throughout all of the recordings on it” states (Don) Lichterman.
The middle eastern style drums help make up the rhythms on the several klezmer and Yiddish ensembles and (Claudine) she has gathered musicians from around the world, that make up the diverse group. Influences include not only klezmer styles and what be described as Yiddish, its Middle Eastern rhythms are accompanied by clarinet krechts, that make up a lively and what has been described as syncopated classical compositions. The trio that make up the Mov Sessian Project blend itself gently together which creates a powerful group and moreover, a high leveled album from the beginning to the end of it.
(Claudine) Movessian's clarinet playing is second to none and the percussion work is a great blend for fans of world music and of klezmer styled music. The approach to building the songs on this debit album with Sunset (Classics) has been continuously evolving for many years. It just happened to culminate on what became this self titled album. “What fascinates me is how the beauty of the music shines through each song in such a lively way” says (Don) Lichterman, and is “performed in such a 'romantic' way too which is hard to accomplish this day and age.” (Claudine) Movsession has had the ability to now collaborate with two amazing crossover music artists, Ema Dei and Dan Handrabur, two music 'specialists' that have helped revolutionize the way that world music and electronic styled music is looked at today. They have all incorporated their own musical philosophies to create this very unique movement if you will, in this international style of music.
In its approach to making a 'modern' yet rooted group of songs on the CD, the hope is to fuse the old with the new, which is key to being a viable classical music artist in this modern day. Claudine Movsessian and her Mov Sessian project has only been an exclusive Sunset Classical artist for less than year, and they have already captured the attention of classical music listeners in no time at all, and in essence is alluring its audiences worldwide with her breathtaking playing and with the overall tones that are just wonderful to hear.
For more information on the Mov Sessian Project, please visit www.MovSessianProject.Sunset-Classics.com.
Mov Sessian Project Track listing:
1 Carrefour
2 Electro Transe
3 Cosmos
4 Kaleidoscope
5 Haiser Bulgare
6 Babilion
7 Hora
8 Tsumpa
9 Oxygene
10 Parfums D'Orient
11 Le Berger
12 Espace Intersiderale
Sunset Classics
A world renowned classical and orchestral record company with old school classical styles
blended with modern day artists that make up its musical works and great repertoire.
Bondage
Songs from the Award Winning Documentary Film, American Drug War: The Last White Hope Have Been Compiled to be Made Available on Sunset Records Soundtracks
Songs from the award winning documentary film, American Drug War: The Last White Hope have been compiled to be made available on a soundtrack CD that is now in stores everywhere that sell music, sells music downloads, streams music & as ringtones.
New York, NY, June 17, 2011 --(PR.com)-- The Sunset Records Soundtrack division has compiled music, songs and an incredible DJ-RX mix of the hit song, “White Lines” (Grandmaster Flash) song, with George Bush, Jr. on vox.
“One person can't make an entire movement by themselves,” (Don) Lichterman states. “I realize that it takes more than one person to build a movement and build something bigger than one self, which is why I am grateful to the participants on the soundtrack, and I am especially grateful to Kevin (Booth) for allowing me to use my resources to do my part to spread the word.”
Kevin Booth is not only the writer, producer, director, narrator on the award winning documentary film, American Drug War: The Last White Hope, he is also a participant on the soundtrack CD with his “Drug War I,” song collaborated with Nick Knoc. From his (Kevin Booth) own ambient, electronic styled song, to other eclectic, yet edgy songs on the CD that are alternative songs, rap songs, hip/hop songs, let alone the Blind Willy Johnson classic blues track, “Dark Is The Night.” The album appropriately starts off with a song by the newest Sunset Urban recording artist, Phillip Morris rapping his; “A Dysfunctional Family Affair” which (Don) Lichterman says, “is a song that tells this entire story.” The CD continues with other recognizable tracks from the film like Da-Watchman’s distinctive, “V-Town Krack Haus” and the “Intro Secret Sauce” track by Beat Banga. If the statement made by (Don) Lichterman, (Kevin) Booth and Sunset Records on this soundtrack CD release does not say enough, the documentary film is also a “a must see” says (Don) Lichterman, “this (American Drug War: The Last White Hope) documentary film, and the 'The Corporation' are two of the most important documentary films released over the last decade and honestly, everyone needs to see them both in their life.” “Overall though,” says (Don) Lichterman, “no one needs to watch the film or listen to the CD itself in order to have a strong liberal viewpoint about the legalization of marijuana today and how private prisons work to create a criminal justice system that aims to get people in their facilities, let alone works to keep people in that system, in a very pro active way.”
The songs on the CD definitely go across many formats, they were all chosen for their lasting impacting message and even though some of the songs are not necessarily tied to the drug theme or about using marijuana, Don Lichterman (head of Sunset Records) says to “listen to songs like 'A Dysfunctional Family Affair'” by the Chicago native, Phillip Morris, “which I put first on the album for the sole reason that he raps about criminal justice system in not only a creative way, he also sends his message in a concise way.” But then (Don) Lichterman says, “most of all, these are not songs about smoking pot and partying Charlie Sheen style, this is all aimed to send out what is a very important message for people to know about how our criminal justice system works today.” The obvious anthem and theme song by hip-hop / rap artist, Phillip Morris is first track on a CD with all original compositions, except of course, for incredibly produced DJ-RX mix of the popular rap song by Grandmaster Flash, “White Lines” done with Gorge Bush Jr. on vocals (taken and spliced together from speeches (George, Jr.) Bush had as President). Songs both accompanying the title credits of the film at the beginning of it, throughout the film, and music played at the end are also featured on the soundtrack CD. Even though the CD is being worked to radio across many formats, the hope is that it will also set up the urge to want to watch the documentary film (Currently at Netflix and available in stores like Amazon, etc.). There is no real way of getting away from the context in the film; however, the soundtrack CD, let alone the subject matter in the film are memorable work and great productions.
Bill Haley_She taught me to yodel
Yodeling (also yodelling or jodeling) is a form of singing which involves repeated and rapid changes of pitch between the low-pitch chest register (or "chest voice") and the high-pitch head register or falsetto. The English word yodel is derived from the German (and originally Austro-Bavarian) word jodeln, meaning "to utter the syllable jo" (pronounced "yo" in English). This vocal technique is used in many cultures worldwide.[1]
Alpine yodeling was a longtime rural tradition in Europe, and became popular in the 1830s as an entertainment in theaters and music halls. In Central Africa, yodeling was a form of communication announcing the yodeler's location and identity. In the United States, traveling minstrels were yodeling in the 1800s, and in 1920 the Victor recording company listed 17 yodels in their catalogue. Music historians credit the first country recording to include yodeling to Riley Puckett in 1924. In 1928, blending Alpine yodeling with traditional work, blues, hobo, and cowboy music, Jimmie Rodgers released his recording "Blue Yodel No. 1". Rodger's Blue Yodel created an instant national craze for yodeling in the United States and, according to a black musician who lived near Rodgers in Mississippi, everyone, both black and white alike, began to copy Rodgers. The popularity lasted through the 1940s, but by the 1950s it became rare to hear yodeling in Country or Western music.[2]
