Milano, 26 nov. (askanews) – Davide Locatelli è pronto a sorprendere e incantare tutti ancora una volta! Uscirà venerdì, 29 novembre, “Merry Dave Christmas” (Warner Music Italy), il primo album natalizio del pianista di fama internazionale e uomo dei record. L’album sarà disponibile in formato digitale, da oggi in pre-save. “Merry Dave Christmas” è il quinto album di Davide Locatelli e si presenta come un progetto innovativo e completamente diverso dai precedenti. Contiene 10 delle canzoni natalizie tra le più iconiche e famose di tutti i tempi che, reinterpretate in chiave jazz e contaminate dallo stile inconfondibile del “pianista rock”, danno vita a un risultato unico nel suo genere.

Christopher Herrick makes no quasi-intellectual claims for this album: its intention is to entertain. And with twelve tracks of (largely) ridiculous organ fare, and the beast of an instrument that is the new Metzler organ of Poblet Monastery in Catalonia, the requisites quickly fall into place. If you like your organs meaty, but with a good sense of humour, this one is for you.

"Puccini? Sì, Puccini con le sue arie così attuali e cantabili da qualsiasi voce. Perché un brano, quando coinvolge e appassiona, è di tutti. Ho immaginato Puccini che, ascoltando queste particolari trasposizioni, si sia divertito ad uscire dal territorio granitico del mondo dell'opera, diventando a sua volta protagonista di sé stesso nei giorni nostri". Così Antonella Ruggiero parla dell'album 'Puccini?', in uscita il 29 novembre a 100 anni dalla morte del compositore, disponibile nei vari formati CD Digipack, vinile e in digitale su etichetta Libera/BMG. Produzione artistica e musicale di Roberto Colombo, adattamento musicale di Francesco Buzzurro nei brani in cui è presente la chitarra. Puccini? è un lavoro iniziato dall'artista nel 2001 con un primo avvicinamento al mondo e alle arie del musicita, registrando in studio un primo brano, a cui è seguito nel 2009 un percorso di rilettura di sette arie, in ambito elettronico, partendo dalle partiture originali. La scelta del repertorio è stata fatta seguendo l'amore per le singole arie, senza considerare se si trattasse di arie per voce femminile o maschile. Nemmeno le tonalità sono quelle originali, ma sono state decise cercando quelle che risultassero più naturali.

The Yes Album is the third studio album by the English progressive rock band Yes, released on 19 February 1971 by Atlantic Records. It is their first album with guitarist Steve Howe, who replaced Peter Banks in 1970, and their last in the 1970s to feature keyboardist Tony Kaye. The album was the first by the group not to feature any cover versions of songs. The band spent mid-1970 writing and rehearsing new material at a farmhouse at Romansleigh, Devon, and the new songs were recorded at Advision Studios in London in the autumn.

Wang Chung's eponymous debut – released when they were still called Huang Chung – is a misguided collection of light New Romantic pop that relies less on drum machines and stylized keyboards than their contemporaries. The group also fails to write any convincing hooks, which makes Huang Chung little more than a vaguely interesting new wave artifact.

In every sense, A Day at the Races is an unapologetic sequel to A Night at the Opera, the 1975 breakthrough that established Queen as rock & roll royalty. The band never attempts to hide that the record is a sequel – the two albums boast the same variation on the same cover art, the titles are both taken from old Marx Brothers films and serve as counterpoints to each other. But even though the two albums look the same, they don't quite sound the same, A Day at the Races is a bit tighter than its predecessor, yet tighter doesn't necessarily mean better for a band as extravagant as Queen. One of the great things about A Night at the Opera is that the lingering elements of early Queen – the pastoral folk of "39," the metallic menace of "Death on Two Legs" – dovetailed with an indulgence of camp and a truly, well, operatic scale.

A master class in distinctive, contemporary roots music and positively brimming with catchy lyrics, undeniable grooves and some of the most exhilarating guitar playing in any genre. Thirteen compelling originals include guitar-driven, horn-fueled declarations of love, rocking reflections on modern life and low and slow ballads, all bound together by Selwyn’s raw, urgent vocals and intense playing. Produced by Grammy winner Tom Hambridge (Buddy Guy, Christone "Kingfish" Ingram, Susan Tedeschi).

A unique pianist and composer, Thelonious Monk (1917-1982) is one of the greatest jazz legends of all time. Thelonious is surrounded by his legendary quartet featuring Charlie Rouse (tenor saxophone), Larry Gales ( double bass) and Ben Riley (drums). First ever official release of this lost ORTF recording performed live in Paris at Studio 104, Maison de la Radio. Remastered from original tapes in high resolution.

Celebrate 30 years of Andrea Bocelli's iconic voice with this special anniversary album, 'Duets'. This double vinyl LP set features the legendary Italian tenor performing timeless duets with some of the biggest names in music. Immerse yourself in Bocelli's rich, emotive vocals and powerful stage presence captured in stunning clarity. Whether you're a longtime fan or discovering his artistry for the first time, this commemorative release is a must-have for any music lover's collection. Note: This vinyl album is a limited edition release, so order yours today before they're gone.

"Come Together As One" is a soulful album by Will Downing, released in 1989. It is his second studio album and features a mix of smooth jazz, R&B, and soul influences, showcasing Downing's rich baritone voice. The album is often regarded as a classic in his discography, with lush arrangements and sophisticated production.

Mardi Gras.BB's Zen Rodeo is an album released in 2002 by the band Mardi Gras.BB, a project known for its fusion of New Orleans funk, rock, and world music influences. The band's name, derived from the festive and celebratory essence of Mardi Gras and the 'BB' symbolizing a loose association with jazz and blues, reflects their eclectic and vibrant sound.

Described by one critic as "Bessie Smith meets Diana Krall meets Janis Joplin," other reviewers have compared Eden Brent to Dinah Washington, Sarah Vaughn and Norah Jones. Never mind the comparisons. Eden’s fresh voice is one-of-a-kind, and her distinctive style, fusing elements of blues, jazz, soul, gospel and pop, is turning the heads of roots music lovers nationwide.

In the dense annual blizzard of holiday albums, A VERY SPECIAL ACOUSTIC CHRISTMAS shines like a gleaming treetop star from a warm, inviting living room, thanks to its organic, no-frills approach and its remarkable lineup of performers. Dan Tyminski (of O BROTHER, WHERE ART THOU? fame) offers up a charming version of "Frosty the Snowman," while Willie Nelson lends his legendary voice and guitar playing to a fine take on "Please Come Home for Christmas." Alison Krauss contributes her surprisingly poppy "Only You Can Bring Me Cheer (Gentleman's Lady)," Marty Stuart confides that "Even Santa Claus Gets the Blues," and Pat Green saunters through a relaxed "Winter Wonderland." Bringing the Yuletide album to an appropriate close is Norah Jones, in a beautiful solo rendition of Horace Silver's "Peace".

So much more than just the archetypal jam band, the Grateful Dead grew to become an artistic and cultural institution that existed entirely on their own terms. While the band initially came out of a psychedelic revolution in the Bay Area's musically and chemically exploratory mid-'60s, they quickly evolved from their acid rock beginnings, incorporating elements of Americana and Bakersfield country into gently majestic albums like 1970's American Beauty. Their live shows were completely separate from their studio output, based on freeform improvisation borrowed from jazz and made up of extended performances and set list variations that ensured no two shows were exactly like. Though the band recorded only 13 studio albums between 1967 and 1989, an entire counterculture formed around their endless touring, and they even broke through to the mainstream with an unlikely radio hit in the MTV era.

Scoring an unexpected novelty hit with the title track in 1956, Henry disappeared from the charts for four years before roaring back with two smashes in the early '60s, "(I Don't Know Why) But I Do" and "You Always Hurt the One You Love." Actually, Clarence recorded a fair number of singles for Chess' Argo subsidiary between 1956 and 1964 in the relaxed New Orleans R&B styles of his big hits. Ain't Got No Home includes 18 of these sides, most of which were previously unavailable on U.S. album. Henry developed slightly over the course of his career, adding beefier horn sections that occasionally reached back to the spirit of Dixieland. Crescent City legends like saxophonist Lee Allen and pianists Allen Toussaint and Paul Gayton crop up on these sessions; when Henry traveled to Memphis for a session, he was backed by the all-star band of Bill Justis (guitar), Boots Randolph (sax), and Floyd Cramer (piano). A bit more eccentric and unpredictable than Fats Domino, not as contemporary or inventive as, say, Lee Dorsey, Henry's vocals were consistently warm and humorous, his recordings always polished. That said, the hits remain the standouts on this collection. The rest is pleasant and fun, but don't vary much from the prototype or cause exceptional interest.