Paula Lambert

This Real Gone Jazz compilation shows just why few recording artists can claim this level of innovation let alone revolution. The late-50's vocal trio of Lambert, Hendricks & Ross fit into that small category of performers who effectively turned a genre upside down. Expanding upon the technique known as vocalese, by which a jazz singer adapts an instrument to the human voice, Dave Lambert, Jon Hendricks and Annie Ross applied the style beyond the usual intimacy of a small combo to full big band arrangements. Their sharp and witty vocals, energetic delivery, and stupendous harmonies took the jazz world by storm, making instant stars of the three performers and inspiring a host of similar acts, such as the Hi-Los, the King Sisters, and the Manhattan Transfer…

Lambert Ringlage is a German musician from Essen, Germany born on 26 October, 1966. He started his own musical label Spheric Music and began releasing his own albums through his label in 1991. Lambert's musical style closely follows the Berlin School of electronic music. He has also worked with and/or released music with Palantir, Stephen Parsick, and Alien Nature.

Although it does not say it anywhere in the reprinted liner notes by the late Dick Wellstood or the outside of the CD, all of the music on Recorded 1959-1961 was previously released by the now-defunct Pumpkin label. The 14 selections from Pumpkin's LP Classics in Stride are here plus ten of the 15 from Harlem Stride Classics. Donald Lambert was one of the all-time great stride pianists, but living in New Jersey and reluctant to visit New York, he only made one record date, just four titles in 1940. Fortunately some of his live performances from the 1959-1961 period were recorded by fans, including the music on the two Pumpkin LPs and a collection put out by IAJRC…

Queen is back to Palco Mundo 30 years after the first Rock in Rio, this time with Adam Lambert giving voice to the themes which Freddie Mercury originally sang.

John McCabe's recording of Herbert Howells' clavichord music is a chance to hear some twentieth century music inspired by C.P.E. Bach's favorite instrument. While other composers were re-discovering the harpsichord, Howells' love for early English music and the instruments of two modern clavichord makers led to the composition of the three sets of miniatures: Lambert's Clavichord and Howells' Clavichord Books One and Two. Howells dedicated every piece in each set to a friend, and in the last two sets he even sometimes attempted to put something of the dedicatee into the music, whether it was a description of that person's character or an imitation of a fellow composer's style. Howells' titles, and in many instances the style of the piece, is a reference to the keyboard compositions of the English virginalists of the late sixteenth/early seventeenth centuries. On the one hand, "Lambert's Fireside" and "Goff's Fireside," named after Herbert Lambert and Thomas Goff, the two clavichord makers, are almost completely idiomatic of virginal music. On the other, the meandering tonality of "Rubbra's Soliloquy" and "E.B.'s Fanfarando" marks them as twentieth century compositions.