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IACT006 Action Vol. 6:
VictoryContemporary and uplifting pieces for Action and Sports related
themes, also good for news themes, and video games. Various tempos.
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IACT006 Action Vol. 6:
VictoryContemporary and uplifting pieces for Action and Sports related
themes, also good for news themes, and video games. Various tempos.
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IACT006 Action Vol. 6: VictoryContemporary and uplifting pieces for Action and Sports related themes, also good for news themes, and video games. Various tempos.
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IADV002 Adventure Vol. 2: Animal PlanetExotic Adventure
themes. Takes you on an animal safari from the deepest and darkest parts of the jungle, to the
wild and imperial heights of the mountains and everywhere in between.
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IADV002 Adventure Vol. 2: Animal PlanetExotic Adventure
themes. Takes you on an animal safari from the deepest and darkest parts of the jungle, to the
wild and imperial heights of the mountains and everywhere in between.
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IADV002 Adventure Vol. 2: Animal PlanetExotic Adventure themes. Takes you on an animal safari from the deepest and darkest parts of the jungle, to the wild and imperial heights of the mountains and everywhere in between.
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IADV006 Adventure Vol. 6: Fire DancerPanoramic music perfected
for creating landscape audio with a zest of flavor and dance. Perfect for scenic creation and
moods with video games, movies, commercial clips, etc.
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IADV006 Adventure Vol. 6: Fire DancerPanoramic music perfected
for creating landscape audio with a zest of flavor and dance. Perfect for scenic creation and
moods with video games, movies, commercial clips, etc.
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IADV006 Adventure Vol. 6: Fire DancerPanoramic music perfected for creating landscape audio with a zest of flavor and dance. Perfect for scenic creation and moods with video games, movies, commercial clips, etc.
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IAMB004 Ambient Vol. 4: Blow Up
HollywoodAn atmospheric and airy sounding album. Moody songs
interestingly arranged and spiced up with sound effects. Live instruments blending with synths
for a unique experience.
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IAMB004 Ambient Vol. 4: Blow Up
HollywoodAn atmospheric and airy sounding album. Moody songs
interestingly arranged and spiced up with sound effects. Live instruments blending with synths
for a unique experience.
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IAMB004 Ambient Vol. 4: Blow Up HollywoodAn atmospheric and airy sounding album. Moody songs interestingly arranged and spiced up with sound effects. Live instruments blending with synths for a unique experience.
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IAMB005 Ambient
Vol. 5: Tantric BlissNatural sounds are a way of life. From
calm and peaceful to loud and engaging, every piece plays a part in forming the puzzle that is
Bruce Hathaway's cultural masterpiece: Tantric Bliss.
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IAMB005 Ambient
Vol. 5: Tantric BlissNatural sounds are a way of life. From
calm and peaceful to loud and engaging, every piece plays a part in forming the puzzle that is
Bruce Hathaway's cultural masterpiece: Tantric Bliss.
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IAMB005 Ambient Vol. 5: Tantric BlissNatural sounds are a way of life. From calm and peaceful to loud and engaging, every piece plays a part in forming the puzzle that is Bruce Hathaway's cultural masterpiece: Tantric Bliss.
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IBLU001 Blues Vol. 1: Steve JohnsonGuitar slinger Steve Johnson blows out some killer Blues tunes. In the style of Johnny Winter
and Stevie Ray Vaughn, featuring some mean Slide and down south Dobro Guitar playin?.
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IBLU001 Blues Vol. 1: Steve JohnsonGuitar slinger Steve Johnson blows out some killer Blues tunes. In the style of Johnny Winter
and Stevie Ray Vaughn, featuring some mean Slide and down south Dobro Guitar playin?.
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IBLU001 Blues Vol. 1: Steve JohnsonGuitar slinger Steve Johnson blows out some killer Blues tunes. In the style of Johnny Winter and Stevie Ray Vaughn, featuring some mean Slide and down south Dobro Guitar playin?.
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IBRA001 Brazil Vol. 1: Gary "Headman" HaaseProducer/Bassist Gary "Headman" Haase, who has worked with N*SYNC, Chaka
Khan, Grover Washington, Celine Dion and George Benson, takes us to the shores of Brazil, with
the sounds of Samba to Bossa Nova in a Contemporary Lounge feel.
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IBRA001 Brazil Vol. 1: Gary "Headman" HaaseProducer/Bassist Gary "Headman" Haase, who has worked with N*SYNC, Chaka
Khan, Grover Washington, Celine Dion and George Benson, takes us to the shores of Brazil, with
the sounds of Samba to Bossa Nova in a Contemporary Lounge feel.
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IBRA001 Brazil Vol. 1: Gary "Headman" HaaseProducer/Bassist Gary "Headman" Haase, who has worked with N*SYNC, Chaka Khan, Grover Washington, Celine Dion and George Benson, takes us to the shores of Brazil, with the sounds of Samba to Bossa Nova in a Contemporary Lounge feel.
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ICHI003 Children Vol. 3: ABCThemes designed for varied applications of TV styles-sitcoms, children's shows (some playful),
melodrama, romance, family drama.
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ICHI003 Children Vol. 3: ABCThemes designed for varied applications of TV styles-sitcoms, children's shows (some playful),
melodrama, romance, family drama.
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ICHI003 Children Vol. 3: ABCThemes designed for varied applications of TV styles-sitcoms, children's shows (some playful), melodrama, romance, family drama.
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ICHI005 Children Vol. 5: Joy RideGroovy tunes
that people of any age can move to, this Children's album mixes flare and fire with good vibes
and swanky orchestral jazz. "Race Against Time" winner of Konami Dance Dance Revolution contest
and placed into a recent DDR game. "Haunted Trailer" in the Broadjam Top 10 for Unique
Soundtracks. "Orchestral 1" in the Broadjam Top 10 for Unique Soundtracks.
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ICHI005 Children Vol. 5: Joy RideGroovy tunes
that people of any age can move to, this Children's album mixes flare and fire with good vibes
and swanky orchestral jazz. "Race Against Time" winner of Konami Dance Dance Revolution contest
and placed into a recent DDR game. "Haunted Trailer" in the Broadjam Top 10 for Unique
Soundtracks. "Orchestral 1" in the Broadjam Top 10 for Unique Soundtracks.
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ICHI005 Children Vol. 5: Joy RideGroovy tunes that people of any age can move to, this Children's album mixes flare and fire with good vibes and swanky orchestral jazz. "Race Against Time" winner of Konami Dance Dance Revolution contest and placed into a recent DDR game. "Haunted Trailer" in the Broadjam Top 10 for Unique Soundtracks. "Orchestral 1" in the Broadjam Top 10 for Unique Soundtracks.
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ICLA003 Classical Vol. 3: Nortman - Symphonies #3 & #12Roger
Nortman is a prolific composer who has written twenty-four symphonies, twelve concerti for
various instruments, six quartets and several other chamber works. He has won many awards
including The Beaux Arts Society?s Best Composer. The Third and Twelfth Symphonies depict
contrasting motions in Nortman?s Symphonic output. Written 10 years apart, the Third nervously
evolves from a slow introduction with sting tremolos in both the first and third movements, the
first into recognizable melodies developed with dramatic excitement, the third into resolving
affirmation. The in-between second movement is lively and tosses rhythms among the various
instruments. The thrust of the work is the gradual transforming of gloomy and stormy inner
feelings into a the grandeur of affirmation in the Finale. By contrast, the Twelfth, which barely
runs twelve minutes, is tightly knit, efficient in its treatment of material and proceeds
headlong through its 2 compressed movements without slow reflection. These two symphonies form
an excellent pairing of the versatility of Nortman?s compositional style.
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ICLA003 Classical Vol. 3: Nortman - Symphonies #3 & #12Roger
Nortman is a prolific composer who has written twenty-four symphonies, twelve concerti for
various instruments, six quartets and several other chamber works. He has won many awards
including The Beaux Arts Society?s Best Composer. The Third and Twelfth Symphonies depict
contrasting motions in Nortman?s Symphonic output. Written 10 years apart, the Third nervously
evolves from a slow introduction with sting tremolos in both the first and third movements, the
first into recognizable melodies developed with dramatic excitement, the third into resolving
affirmation. The in-between second movement is lively and tosses rhythms among the various
instruments. The thrust of the work is the gradual transforming of gloomy and stormy inner
feelings into a the grandeur of affirmation in the Finale. By contrast, the Twelfth, which barely
runs twelve minutes, is tightly knit, efficient in its treatment of material and proceeds
headlong through its 2 compressed movements without slow reflection. These two symphonies form
an excellent pairing of the versatility of Nortman?s compositional style.
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ICLA003 Classical Vol. 3: Nortman - Symphonies #3 & #12Roger Nortman is a prolific composer who has written twenty-four symphonies, twelve concerti for various instruments, six quartets and several other chamber works. He has won many awards including The Beaux Arts Society?s Best Composer. The Third and Twelfth Symphonies depict contrasting motions in Nortman?s Symphonic output. Written 10 years apart, the Third nervously evolves from a slow introduction with sting tremolos in both the first and third movements, the first into recognizable melodies developed with dramatic excitement, the third into resolving affirmation. The in-between second movement is lively and tosses rhythms among the various instruments. The thrust of the work is the gradual transforming of gloomy and stormy inner feelings into a the grandeur of affirmation in the Finale. By contrast, the Twelfth, which barely runs twelve minutes, is tightly knit, efficient in its treatment of material and proceeds headlong through its 2 compressed movements without slow reflection. These two symphonies form an excellent pairing of the versatility of Nortman?s compositional style.
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ICLA004 Classical Vol. 4: Nortman - Symphony #5The 5th Symphony in A Minor is Roger Nortman?s purest, most
stylistically Romantic symphony. Inspired by the death in 1981 of his maternal grandmother after
a good-sized life. The work is vastly heroic and dramatic and its composer?s best example of
Beethoven type drama expressed and its expansive canvass unfolds over an hour.
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ICLA004 Classical Vol. 4: Nortman - Symphony #5The 5th Symphony in A Minor is Roger Nortman?s purest, most
stylistically Romantic symphony. Inspired by the death in 1981 of his maternal grandmother after
a good-sized life. The work is vastly heroic and dramatic and its composer?s best example of
Beethoven type drama expressed and its expansive canvass unfolds over an hour.
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ICLA004 Classical Vol. 4: Nortman - Symphony #5The 5th Symphony in A Minor is Roger Nortman?s purest, most stylistically Romantic symphony. Inspired by the death in 1981 of his maternal grandmother after a good-sized life. The work is vastly heroic and dramatic and its composer?s best example of Beethoven type drama expressed and its expansive canvass unfolds over an hour.
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ICLA005 Classical Vol. 5:Nortman - Symphony #2Symphony #2 in G minor, is conceived as a grandiose fantasy
of immense proportion over 110 minutes, yet cast in 4 symphonic movements devoid of singing or
explicit program which often befits works of such dimension. In this work, the composer is
personally deeply involved in the panorama of emotions often saying that his 2nd embodies the
epitome of his feelings. Written in his late 30?s the symphony represents the composer at the
top of his game.
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ICLA005 Classical Vol. 5:Nortman - Symphony #2Symphony #2 in G minor, is conceived as a grandiose fantasy
of immense proportion over 110 minutes, yet cast in 4 symphonic movements devoid of singing or
explicit program which often befits works of such dimension. In this work, the composer is
personally deeply involved in the panorama of emotions often saying that his 2nd embodies the
epitome of his feelings. Written in his late 30?s the symphony represents the composer at the
top of his game.
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ICLA005 Classical Vol. 5:Nortman - Symphony #2Symphony #2 in G minor, is conceived as a grandiose fantasy of immense proportion over 110 minutes, yet cast in 4 symphonic movements devoid of singing or explicit program which often befits works of such dimension. In this work, the composer is personally deeply involved in the panorama of emotions often saying that his 2nd embodies the epitome of his feelings. Written in his late 30?s the symphony represents the composer at the top of his game.
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ICLA006 Clasical Vol.
6: Nortman - Symphony #6, Piano Concertos #2 & #3These
three works present a side of the composer out of character with most of his output. The lyrical
Symphony #6 in Bb Major in 3 movements features Soprano and Harp in the 2nd Mvmt. Nortman after
writing five dramatic symphonies, this is almost pastoral in its lyrical demeanor. It is
especially apparent in the melodic flow of the 1st Mvmt. The Scherzo middle movement sings
subjective poetry by a talented poetess and is both melodic and dramatic. The Finale is rhythmic
with strings playing staggered bowing. The 2nd and 3rd Piano Concerti, both in minor, are cast in
a more clipped and less romantic vein, exhibiting the influences of Prokofiev as well as
Rachmaninoff and the Germans. The rapid, surging pace of the 1st Mvmt. belies the multitude of
pages in the work. Rather than any respite, the work is in three fast movements, the 2nd being a
sprightly scherzo with so interesting harmonic changes, The Finale is perpetual motion
throughout. While the 3rd Concerto with Tenor and Bass Vocals is stylistically like the 2nd, the
former has only two movements, almost as if it had a program. The 1st Mvmt., desperately
impassioned, could represent the storm and stress of life. The 2nd Mvmt., andante con moto,
begins in a reflective, ruminative manner and gradually grows more agitated until diminished
harmonies introduce two male voices, a tenor and a bass: they sing philosophically about life.
The sentences are marshaled together with appropriate dramatic musical background. A sudden
interruption in the Major brings the Concerto to an end. We have here three brief works, two
vocal, by Mr. Nortman, a composer whose specialty is symphonic grandeur.
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ICLA006 Clasical Vol.
6: Nortman - Symphony #6, Piano Concertos #2 & #3These
three works present a side of the composer out of character with most of his output. The lyrical
Symphony #6 in Bb Major in 3 movements features Soprano and Harp in the 2nd Mvmt. Nortman after
writing five dramatic symphonies, this is almost pastoral in its lyrical demeanor. It is
especially apparent in the melodic flow of the 1st Mvmt. The Scherzo middle movement sings
subjective poetry by a talented poetess and is both melodic and dramatic. The Finale is rhythmic
with strings playing staggered bowing. The 2nd and 3rd Piano Concerti, both in minor, are cast in
a more clipped and less romantic vein, exhibiting the influences of Prokofiev as well as
Rachmaninoff and the Germans. The rapid, surging pace of the 1st Mvmt. belies the multitude of
pages in the work. Rather than any respite, the work is in three fast movements, the 2nd being a
sprightly scherzo with so interesting harmonic changes, The Finale is perpetual motion
throughout. While the 3rd Concerto with Tenor and Bass Vocals is stylistically like the 2nd, the
former has only two movements, almost as if it had a program. The 1st Mvmt., desperately
impassioned, could represent the storm and stress of life. The 2nd Mvmt., andante con moto,
begins in a reflective, ruminative manner and gradually grows more agitated until diminished
harmonies introduce two male voices, a tenor and a bass: they sing philosophically about life.
The sentences are marshaled together with appropriate dramatic musical background. A sudden
interruption in the Major brings the Concerto to an end. We have here three brief works, two
vocal, by Mr. Nortman, a composer whose specialty is symphonic grandeur.
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ICLA006 Clasical Vol. 6: Nortman - Symphony #6, Piano Concertos #2 & #3These three works present a side of the composer out of character with most of his output. The lyrical Symphony #6 in Bb Major in 3 movements features Soprano and Harp in the 2nd Mvmt. Nortman after writing five dramatic symphonies, this is almost pastoral in its lyrical demeanor. It is especially apparent in the melodic flow of the 1st Mvmt. The Scherzo middle movement sings subjective poetry by a talented poetess and is both melodic and dramatic. The Finale is rhythmic with strings playing staggered bowing. The 2nd and 3rd Piano Concerti, both in minor, are cast in a more clipped and less romantic vein, exhibiting the influences of Prokofiev as well as Rachmaninoff and the Germans. The rapid, surging pace of the 1st Mvmt. belies the multitude of pages in the work. Rather than any respite, the work is in three fast movements, the 2nd being a sprightly scherzo with so interesting harmonic changes, The Finale is perpetual motion throughout. While the 3rd Concerto with Tenor and Bass Vocals is stylistically like the 2nd, the former has only two movements, almost as if it had a program. The 1st Mvmt., desperately impassioned, could represent the storm and stress of life. The 2nd Mvmt., andante con moto, begins in a reflective, ruminative manner and gradually grows more agitated until diminished harmonies introduce two male voices, a tenor and a bass: they sing philosophically about life. The sentences are marshaled together with appropriate dramatic musical background. A sudden interruption in the Major brings the Concerto to an end. We have here three brief works, two vocal, by Mr. Nortman, a composer whose specialty is symphonic grandeur.
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ICLA007 Classical Vol. 7: Nortman - Symphonies #9, #16 &
#18Symphonies #9, 16 and 18th probe several facets of the
Composer?s large symphonic output. Faced in his mid-40s with the Beethoven-jinxed number, which
wrought havoc on Bruckner, Mahler, Gade and Glazounov among others, Nortman sought to create a
relatively cheerful 9th Symphony of classical proportions without distinguishing features before
he rapidly moved onto his 10th. This mind-set culminated in a 9th Symphony that is a well
balanced structurally sound work of modest proportions that is devoid of the subjective effusion
of some of Nortman?s longer symphonies. Even the Romantic style is more tempered and
harmonically less intense, yet does not sacrifice developmental ingenuity. The 2nd later
symphonies both emanate from negative events in the composer?s life and reflect an intensity very
different from Nortman?s earlier symphonies. Each is in 3 movements with a Scherzo in the
middle. The 16th is driven by rhythmic force throughout, employing repetition of its rhythmic
figures and very rapid motion, creating a strident and drilling impact. The First Movement
imposes impact, the Finale yields resolution, and the flashy Scherzo features a pungent
xylophone. The 18th?s First and last movements both grow out of and return to darkness and low
string rumblings. Shrouded in mystery, the First Movement evolves from chromatic string motion,
growing in intensity to ominous thematic material. After development, the music returns to its
"shell", so to speak. A more melodic respite follows the Scherzo, after which the Finale, marked
Lugubre, springs from an undulating and somewhat reflective figure, which gradually dissipates
into a silence unusual for it?s composer.
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ICLA007 Classical Vol. 7: Nortman - Symphonies #9, #16 &
#18Symphonies #9, 16 and 18th probe several facets of the
Composer?s large symphonic output. Faced in his mid-40s with the Beethoven-jinxed number, which
wrought havoc on Bruckner, Mahler, Gade and Glazounov among others, Nortman sought to create a
relatively cheerful 9th Symphony of classical proportions without distinguishing features before
he rapidly moved onto his 10th. This mind-set culminated in a 9th Symphony that is a well
balanced structurally sound work of modest proportions that is devoid of the subjective effusion
of some of Nortman?s longer symphonies. Even the Romantic style is more tempered and
harmonically less intense, yet does not sacrifice developmental ingenuity. The 2nd later
symphonies both emanate from negative events in the composer?s life and reflect an intensity very
different from Nortman?s earlier symphonies. Each is in 3 movements with a Scherzo in the
middle. The 16th is driven by rhythmic force throughout, employing repetition of its rhythmic
figures and very rapid motion, creating a strident and drilling impact. The First Movement
imposes impact, the Finale yields resolution, and the flashy Scherzo features a pungent
xylophone. The 18th?s First and last movements both grow out of and return to darkness and low
string rumblings. Shrouded in mystery, the First Movement evolves from chromatic string motion,
growing in intensity to ominous thematic material. After development, the music returns to its
"shell", so to speak. A more melodic respite follows the Scherzo, after which the Finale, marked
Lugubre, springs from an undulating and somewhat reflective figure, which gradually dissipates
into a silence unusual for it?s composer.
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ICLA007 Classical Vol. 7: Nortman - Symphonies #9, #16 & #18Symphonies #9, 16 and 18th probe several facets of the Composer?s large symphonic output. Faced in his mid-40s with the Beethoven-jinxed number, which wrought havoc on Bruckner, Mahler, Gade and Glazounov among others, Nortman sought to create a relatively cheerful 9th Symphony of classical proportions without distinguishing features before he rapidly moved onto his 10th. This mind-set culminated in a 9th Symphony that is a well balanced structurally sound work of modest proportions that is devoid of the subjective effusion of some of Nortman?s longer symphonies. Even the Romantic style is more tempered and harmonically less intense, yet does not sacrifice developmental ingenuity. The 2nd later symphonies both emanate from negative events in the composer?s life and reflect an intensity very different from Nortman?s earlier symphonies. Each is in 3 movements with a Scherzo in the middle. The 16th is driven by rhythmic force throughout, employing repetition of its rhythmic figures and very rapid motion, creating a strident and drilling impact. The First Movement imposes impact, the Finale yields resolution, and the flashy Scherzo features a pungent xylophone. The 18th?s First and last movements both grow out of and return to darkness and low string rumblings. Shrouded in mystery, the First Movement evolves from chromatic string motion, growing in intensity to ominous thematic material. After development, the music returns to its "shell", so to speak. A more melodic respite follows the Scherzo, after which the Finale, marked Lugubre, springs from an undulating and somewhat reflective figure, which gradually dissipates into a silence unusual for it?s composer.
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ICOU005 Country Vol. 5: Angel Ruiz - Banjo StoriesBanjo Stories is an album with thrilling banjo instrumentation, with
a mixture of fast, slow, medium and everything else in between tunes, this album will have
listeners bopping to the instrumentals for hours.
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ICOU005 Country Vol. 5: Angel Ruiz - Banjo StoriesBanjo Stories is an album with thrilling banjo instrumentation, with
a mixture of fast, slow, medium and everything else in between tunes, this album will have
listeners bopping to the instrumentals for hours.
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ICOU005 Country Vol. 5: Angel Ruiz - Banjo StoriesBanjo Stories is an album with thrilling banjo instrumentation, with a mixture of fast, slow, medium and everything else in between tunes, this album will have listeners bopping to the instrumentals for hours.
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IELE005 Elecronica Vol. 5: Or-If-IsOr-If-Is fits in well among the current Electronic music scene, but is also not afraid to stand
out from it. It is Eletronic music with depth, unique character, humor, hooks, and inventive
rhythms. Or-If-Is is composed of Electronic music producer Dave Levison in the styles of Bjork,
Moby, Fatboy Slim, Aphex Twins, Chemical Brothers, Photek, u-zik and Massive Attack.
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IELE005 Elecronica Vol. 5: Or-If-IsOr-If-Is fits in well among the current Electronic music scene, but is also not afraid to stand
out from it. It is Eletronic music with depth, unique character, humor, hooks, and inventive
rhythms. Or-If-Is is composed of Electronic music producer Dave Levison in the styles of Bjork,
Moby, Fatboy Slim, Aphex Twins, Chemical Brothers, Photek, u-zik and Massive Attack.
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IELE005 Elecronica Vol. 5: Or-If-IsOr-If-Is fits in well among the current Electronic music scene, but is also not afraid to stand out from it. It is Eletronic music with depth, unique character, humor, hooks, and inventive rhythms. Or-If-Is is composed of Electronic music producer Dave Levison in the styles of Bjork, Moby, Fatboy Slim, Aphex Twins, Chemical Brothers, Photek, u-zik and Massive Attack.
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