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Chamber Music - Released November 3, 2017 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
The cream of the crop of French musicians—well, okay, Swiss for the flautist Emmanuel Pahud—come together to bring us a sumptuous album devoted to Debussy’s chamber music: Edgar Moreau for the Sonata for cello and piano, Renaud Capuçon for the Sonata for violin and piano, Gérard Caussé, Marie-Pierre Anglamet and Emmanuel Pahud for the Sonata for flute, viola and harp (these three very belated sonatas are the only ones that the composer had time to finish in his planned series of “Six sonatas for various instruments by Claude Debussy, French musician”). We find the same Emmanuel Pahud performing solo for Syrinx, and the album closes with the Trio for violin, piano and cello written in a still very classic—or even conventional—style and architecture (the shadows of Franck, Massenet and Fauré undoubtedly loom) in 1880, when the composer was residing in Florence with the von Meck family. This last work was released only a hundred years later… On the piano in all the collective works, you’ll find Bertrand Chamayou. © SM
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Classical - Released January 1, 2011 | Universal Music Division Decca Records France

Booklets Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Reggae - Released May 26, 2017 | Soul Jazz Records

Distinctions The Qobuz Ideal Discography - Songlines Five-star review
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Full Operas - Released May 29, 2015 | La discothèque idéale de Diapason

Booklet Distinctions Diapason d'or - Le Choix de France Musique
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Classical - Released February 1, 2019 | Warner Classics

Booklet Distinctions Diapason d'or - 4F de Télérama
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Classical - Released March 25, 2016 | Bru Zane

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica
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Jazz - Released February 24, 2012 | ACT Music

Distinctions The Qobuz Standard - Hi-Res Audio

Africa - Released October 28, 2016 | Numero Group

Distinctions Best New Reissue - Songlines Five-star review
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Pop - Released January 1, 2011 | Fantasy Records

Distinctions 3F de Télérama - Sélection Les Inrocks
In some respects, Rave On Buddy Holly is a standard tribute album: it salutes a legend by rounding up classic rockers and hipsters to cover his canon, a practice that has been in place for nearly a quarter-century. In another regard, Rave On Buddy Holly is quite different. Encouraged by producer Randall Poster, the 19 artists involved do not settle for mere replications of Buddy’s hits, they play fast and loose, sometimes radically reinterpreting the original. Often, the effort is appreciated even when the rearrangement doesn’t quite work, as on Karen Elson's overly ornate “Crying, Waiting, Hoping” or Lou Reed’s turgid grind through “Peggy Sue.” Yet even if these particular cuts don’t click, they nevertheless sound faithful to both the artist and Holly, a trick that’s usually not pulled off on tribute albums yet often is here. This is as true of Nick Lowe’s casually straight-ahead “Changing All Those Changes” as it is of Florence & the Machine's “Not Fade Away,” which strips the tune of its signature Bo Diddley beat, and the pleasures of the album lie in discovering which direction an artist choose to follow: to discover Julian Casablancas turning “Rave On” into a Phrazes for the Young outtake, to hear Kid Rock try to wrestle “Well All Right” into the confines of a Stax stomper, to hear Modest Mouse work a handful of tempos into “That’ll Be the Day,” to hear Paul McCartney go inexplicably batty on his slow-grooving “It’s So Easy.” © Stephen Thomas Erlewine /TiVo

World - Released January 20, 2017 | Buda musique

Distinctions 4F de Télérama - Songlines Five-star review
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Concertos - Released January 1, 2002 | Delos

Distinctions 5 de Diapason - Recommandé par Classica
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Concertos - Released October 4, 2005 | Delos

Distinctions 5 de Diapason - Recommandé par Classica
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Classical - Released March 1, 2013 | Timpani

Booklet Distinctions 5 de Diapason - The Qobuz Ideal Discography
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Film Soundtracks - Released May 4, 1998 | Polydor Records

Hi-Res Distinctions The Qobuz Ideal Discography
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Alternative & Indie - Released November 13, 2020 | Captured Tracks

Hi-Res Distinctions 4F de Télérama
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Christmas Music - Released October 26, 2009 | Legacy Recordings

Hi-Res Distinctions The Qobuz Ideal Discography
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Jazz - Released November 6, 2015 | BDMUSIC

Booklet Distinctions 4F de Télérama
When Cabu talked about his musical tastes, he couldn’t resist his desire to shock: “Not the stuff that sounds like pigs having their throats cut,” he said, referring to free jazz, which he hated, but swing, “which makes you want to dance.” After he first heard Cab Calloway’s orchestra in the mid-1950s, jazz took over his heart to the point that he spent the rest of his life frequenting clubs, festivals and concerts, sketchpad in hand, looking for the hottest swing he could find. Hating Johnny, applauding Trénet, this “crazy for jazz” guy, as people like to call him, showed an unquenchable passion to the point that he became an expert in the genre. He devoted several of his works to jazz, wrote the preface to a book celebrating the 60th anniversary of the Caveau de la Huchette club, illustrated several jazz albums and collections, and also became a radio announcer on TSF Jazz along with Laure Albernhe. Even better, his obsession led him to meet the greatest masters of orchestral swing, jazz vocals, Blues, cool jazz and BeBop, and he drew portraits of them that were filled with contagious energy: a hectic Slim and Slam, Django Reinhardt playing in a caravan, Chet Baker blowing his trumpet before a female audience that can’t wait to hear him sing… So many faces that we would recognize in a crowd of a thousand by their expressions, and which now adorn a gorgeous sonic tapestry that Cabu’s friends, Christian Bonnet, Philippe Baudoin, Jean Buzelin, Pierre Carlu, Claude Carrière, Irakli de Dawrichewy, Daniel Nevers, Alain Tercinet and Fabrice Zammarchi, contributed to. Beyond the personal vision that we each get from Cabu’s drawings, this quasi-mainstream fantasy world of jazz offers itself up to our eyes and ears. It opens with the funeral hymn New Orleans Function and finishes on an intense version, by Sylvia Howard and the Black Label Swingtet, of Duke Ellington’s renowned It Don’t Mean a Thing. A must-have!
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Classical - Released October 30, 2020 | Indésens

Hi-Res Booklet Distinctions Diapason d'or / Arte
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Film Soundtracks - Released January 1, 2014 | Abkco Music & Records, Inc.

Distinctions The Qobuz Ideal Discography
One of the most traditional soundtracks for a Wes Anderson film, Grand Budapest Hotel's music sidesteps pop songs in favor of pieces that highlight the story's setting. Befitting a caper set at a Central European hotel in the '30s, Alexandre Desplat's score and performances by ensembles including the Osipov State Russian Folk Orchestra create a lavish, Old World feel. Budapest's orchestral pieces, which include "Concerto for Lute and Plucked Strings I. Moderato" and "The Linden Tree" are particularly charming, setting a genteel mood echoed by the traditional arrangement of "Moonshine." Meanwhile, Desplat's score feels akin to his twinkly, mischievous music for Fantastic Mr. Fox, which was a caper of another sort. Indeed, this might be one of the twinkliest scores to an Anderson film, which is saying something. However, Desplat gives these sparkles nuance and depth, creating an entire vocabulary from them that spans the dreamy "Mr. Moustafa," "Night Train to Nebelsbad"'s jazzy insistence, the lively wit of "The Society of the Crossed Keys," and the oddly comforting "The War (Zero's Theme)." Most excitingly, the high-stakes nature of a heist film like this one allows Desplat to inject more drama and suspense into Anderson's ultra-stylish world, and at times his pieces echo iconic scores such as Dr. Zhivago and The Third Man. The winding melody that is one of the score's major motifs takes on a sinister cast on "The Family Desgoffe und Taxis" and "J.G. Jopling, Private Inquiry Agent," while "The Lutz Police Militia" and "Last Will and Testament" add some menace -- however stylized -- to the proceedings. As always, the collaboration between Anderson, Desplat, and music supervisor Randall Poster sets the mood perfectly, whether that mood is innocence, mischief, mystery, or beauty. © Heather Phares /TiVo
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Film Soundtracks - Released January 10, 1975 | Ode Sounds & Visuals

Hi-Res Distinctions The Qobuz Ideal Discography