39 Results for : flautist
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Out of the Shadows
Flutist/Pianist has new CD release (2009) Together at last, flute & piano recorded by the same performer, Toronto musician Susan Piltch, on a CD of classical music. Her own composition, Out of the Shadows, is the title tune, inspired by a comment made to her about coming out of the shadows and into the spotlight. Music on the CD includes Rachmaninoff's famous Vocalise, Schumann's Three Romances, Purcell's Air & Hornpipe, a Sonata by Herbert Murrill. Contemporary melodic music includes compositions by Ben Steinberg, Bernard Piltch, Stephen Richards, Oliver Schroer, Robert Fleming. Three of Susan's compositions are on this recording. A mix of classical, contemporary and original music. _____________________________________________ 'Susan's brilliant new album explores beautiful original and classical repertoire while sharing magical moments of growing up in an illustrious musical family. I love your CD. The flute draws me in so deep that I forget that you are also playing piano. Upon remembering, I am always astounded.' [Ron Korb, flutist] __________________ 'I am enchanted by the selections which were chosen, and very impressed by your gorgeous tone. It reminds me of James Galway in it's sweetness, warmth and variety of tone colour. I particularly love the 'Out of the Shadows' and the Romance #2 from op. 94, by Schumann, and of course, the Rachmaninov Vocalise. Your work was obviously a labour of love of music and love of family.' [Jan Szot, violinist] __________________ 'What Susan has done here is truly remarkable! To accompany a soloist residing in ones' head... and then solo to an existing accompaniment that is pre-recorded by ones' self is no simple matter. The result is a fantastic recording by two very like-minded people in a great acoustic space!' [Charlie Gray, musician/composer/mastering engineer] ______________________________________________ Review of Out of the Shadows - Flute Focus Magazine, May 2010 "Out of the shadows" sees the versatile Toronto based musician Susan Piltch drawing on her skills as a composer, flautist and pianist to produce a very personal album of original works and fresh classically inspired miniatures. The title track was written by Piltch and is scored for 7 flutes, all of which are played by the composer. Inspired by friends joking about her playing flute and piano at the same time, Susan used the recording studio to do just that and layer her recording one part at a time. Piltch accompanies herself on a journey of sentimental melodies in arrangements for solo flute, solo piano, flute and piano. Alongside three of her own original compositions, Susan performs classical favourites such as Robert Schumann's "Three Romances' and Rachmaninoff's 'Vocalise'. Contemporary offerings include Oliver Schroer's "Healing" which sounds like a modern Irish folk song for solo flute, the reverant Jewish influenced "I lift up my eyes" by Ben Steinberg, and Robert Fleming's romantic "Dialogues" for flute and piano. The album is a heartfelt recording that is dedicated to her parents and celebrates the influence of the artist's late father, jazz saxophonist Bernard Piltch. [Laila is a reviewer for Flute Focus Magazine] _______________________________________.- Shop: odax
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Bhakti: Devotion
BABA "The end goal of education is character. The end goal of knowledge is unconditional love. The end goal of wisdom is freedom. The end goal of culture is perfection." - Bhagwan Sri Satya Sai Baba Few have influenced the spirit of modern India as Bhagwan Sri Satya Sai Baba. Baba's thoughts, words, sentiments and actions permeate the lives of human beings everywhere regardless of origin or faith. Baba's vision of a better world is exemplified in the exceptional schools, universities, hospitals, housing and drinking-water supply projects built by his charities to serve and enhance societies in hundreds of countries. A life of truth, righteousness, peace, love and non-violence is a life dedicated to Baba. THE MUSIC BHAKTI : DEVOTION celebrates the eternal spirit of Baba through music. The inimitable sisters Kalaimamanigal Radha & Jayalakshmi join some of the most eminent musicians of India to sing twelve songs espousing Baba's values composed and conducted by Pt. Vijay Raghav Rao. Through the past seven decades, legendary flautist, innovative composer, pioneering choreographer and erudite musicologist Pt. Vijay Raghav Rao has shaped and indelibly influenced the essential form and derivatives of culture known to the world as classically Indian. Pt. Vijay Raghav Rao's is a rare brilliance on the cultural firmament in India and abroad. Marked by characteristic excellence, his work has always carried an exuberance of spirit. In BHAKTI : DEVOTION Panditji leads a stellar cast of renowned singers and musicians to celebrate the aesthetic joy inherent in spirituality. ART & SPIRITUALITY In the interview below, Pt. Vijay Raghav Rao elaborates on the confluence of art and spirituality. Question: What is spirituality? Answer: It is perhaps an inwardly soulful vivacity, well defined as an immaterial, eternal, pure state of mind devoid of all physical tensions, illusions, or wants. It is what makes the mortal an immortal. Q: Are you spiritual? A: Just to say 'yes, i am' is sheer hypocrisy. All achievements, attainments or professional skills of a human being - I think - are ultimately aimed at making him/her a ' spiritual' person: a true human being guided by a spirit that can conquer his / her self. That spirit embodies my ideals. As I seek it through my thoughts, it transforms my actions. In the serene, unconscious manner of a prayer with tangible consequences, my spirituality allows me successively increasing amounts of self-fulfillment. Complete self-fulfillment is a state of true independence. Liberation is another moniker for that state of being. As we seek what we know is an infinite expanse of ideals, we regulate our processes accordingly, and eventually liberate ourselves. I think liberation is the process of fully coming to terms with oneself, free from non-idealistic bondage. Every human is endowed with a fund of divinity, the complete potential of our ideals. Artistes seek it as a matter of skill, those less prone to expression seek it through prayer. When we strive to realize that innermost being and it's consequent divinity, we seek to be spiritual. 'Spirituality' is a process of such realization. If I am engaged in this process, I am spiritual. I wish to be spiritual in every action of mine and earnestly attempt to seek it's blessings. Q: How does your spirituality influence your expressions? A: My spirituality guides me when I create. It offers me inspiration. It makes me humble. It provides me with an anchor. It puts my muse in perspective. It is the essence of any innovation I attempt. When my creations rise above what is mundane and appear to be genuine, everlasting, they implicitly suggest a lingering, pervasive aesthetic. That aesthetic is significantly intertwined with my spirituality. Because what I seek through my spirituality is intrinsically unique to my being, my aesthetic is original too. Technically perfect pieces of art begin to enlighten beyond their compass if they were founded on the basis of spirituality. Entertaining is no longer an audience driven exercise - with spirituality, the performer begins to express a soul. Q: Can there be such an entity as a non-spiritual artiste? A: The world is populated with human beings of all kinds. Simple expression sometimes becomes high art. Much vacuous expression is passed off as art. Intentions drive human beings to the extremes of their potential: evil masquerades under guises of acceptable expression. There is much tacit approval of non-art, rooted as it is in a confusion of metaphor or medium. A lot of this comes from non-spiritual expressionists. They exist, and they practice, and they foist their mindsets on unsuspecting audiences. They are a necessary barometer of free societies: for every action, the unavoidable reaction. Yet, in my opinion, true art has always had it's roots in introspection. Art is a journey from the realms of the self to the non-self. The moment one undertakes the responsibility of making that trip, he / she invariably operates in the realm of spirituality. To be an artiste, therefore, is to be spiritual. Art is the language of the spirit. A non-spiritual artiste, thus, is a rare species. Q: Is the artist's nature the same as his spirit? A: Through constant 'sadhana', by virtue of an innate discipline in consequent expression, an artiste could attain a level of maturity that allows him / her to realize all his / her visions and his / her dreams, consistently, at the level of complete perfection. In that stratosphere, over time's passage, he /she could conceivably express his / her imagination through the process of conquering self-defining traits, so that his / her spirit is allowed free reign. What he / she expresses then is the spirit in it's full glory. Shorn of what is fleeting, devoid of the artiste, completely representing his / her art. The spirit is the art, then, the spirit is the artiste. There is a resplendent symmetry in the artiste's nature, his / her medium, and what it carries outward. Perhaps this is utopian, maybe it is an ideal as unattainable as the spirit itself. Perhaps that state of being is what characterizes saints who practice artforms - Thyagaraja is a case in point. In such states of consciousness physical existence is not a desire. Art outlives the artiste. Q: Is God an artiste? A: Can you ever believe that nature - our nature, beautiful, colorful, multivariate - , throbbing with a multitude of energies, seething with a billion forms extending well into the reaches of time and space, that this nature could ever be the work of a non-artiste? I believe God is the net essence of all knowledge, truth, energy and purity. He / She is omniscient, omnipotent, omnipresent. That essence is achieved through several lifetimes of inculcating and honing of an ephemeral spirituality. The quest of a typical human lifetime is to harness it's skills, knowledge, capacity and deeds to move toward a sense of godliness. In that framework, we human beings are all engaged in the process of making art. An art that meshes with the grand order of natural process - the ultimate work of art. In that order worlds exist in majestic splendor to sustain life, and just as majestically self-destruct, so that newer worlds of fresher truths take their natural place. If that is not art, what is. If that is not the artiste's dream, what is. Q: What has been the role of God in your art? A: To me God represents exquisite energy: immaterial, immortal, eternal energy. As I create, I seek recourse to that perennial energy. I can seek to perfect my expressions that way. Work becomes a form of worship. I am able to sustain my spirits for interminable lengths of time. My creations take on a completeness of meaning. I seek symmetries with pieces of nature. Can my interpretation of a Raga induce it's natural mood in the ears and minds of my connoisseurs? I work within a divine frame of reference. I develop an aesthetic which is uniquely mine. I am more mature as an artiste because I- Shop: odax
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From Pandemonium to a View of Eidolons
This recording was made a few days before Hurricane Katrina devastated New Orleans. Any perspectives that I may have had about this recording prior to that event have changed deeply. For a long time we didn't even know whether the tracks from the session had even survived. Many of the musicians had left town. The whole town had had to leave town! We are now a few years past the August 2005 date of the recording. This is the second studio recording of the Naked Orchestra and five years after the first. There have been many personnel changes since that first recording though many of those first members are still with the band. The players and the ideas have changed over time, as have our cultural environment, music scene and music industry. There are many new economic and artistic pressures around us. A group of this size is certainly very vulnerable to all of these forces and yet what seems the factor that kept the Naked Orchestra together is the remarkable generosity of everyone involved. ,That is to say that from their belief in the art form of music, the musicians and the studio personnel gave freely of time and resources to make this happen. So we seem to be surviving on the fumes and fragrances of luck, love, and belief in the art form. Some of us are not surviving. ,Over the years we have lost a few members but most recently was our flautist and friend, Hart McNee (earlier on Frederick Sheppard, and Richard Theodore). ,In a lot of ways this record is a simple dedication to Hart. He wanted to see this out before he died and because of various financial difficulties it wasn't possible. ,However, ,Hart's strength, support and spirit buoyed us all through times that might have smashed this Ark-estra against the rocks. ,He was also one of the greatest flute players I heard because the marks of great originality and freedom were always evident in his playing and those personality and musical trademarks well reflected the striving nature of the group. Music and musical gesture are symbolic of ideas. Like all art from as far back as Paleolithic times music is a way that those with advanced vision can show the society what is possible to see while also refining the auditory sense. ,If we are lucky we have 5 sense portals into the universe that we inhabit. The greatness of music is that it hones one of these and gives us greater sensitivity to what might be the only life we have. , Therefore music is good--and important. ,The record you are holding has the ideas of over 20 players who care on this level. ,There is an elated light and heightened sensitivity that comes from attention to music. We can share the dreams, visions, and energy of our fellow humans by listening. , These players gave their best under the circumstances to communicate with you. We hope you enjoy it.- Shop: odax
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Unearthly Music
Praised for her virtuosic skill and evocative musicality, Australian based flautist Kathryn Moorhead enjoys a diverse career as a soloist, chamber artist, and orchestral performer. She has received Master of Music degrees from the University of Melbourne Conservatorium and Brabants Conservatorium in Holland. Scholarships from the Australian Elizabethan Theatre Trust and the Ian Potter Foundation enabled her to study at the Amsterdam Conservatory and Lulea University in Sweden, taking lessons and masterclasses from Harrie Starreveld, Leon Berendse, Andreas Blau, Emmanuel Pahud and Goran Marcusson. Kathryn has performed with the Melbourne, Adelaide, Tasmanian and the Netherlands Symphony Orchestra, the Adelaide Chamber Orchestra and Orchestra Victoria. She has performed in guest Principal positions with the Queensland Orchestra, the Auckland Philharmonia and the Malaysian Philhamonic Orchestra, as well as appearing with ensembles in International Arts Festivals in Melbourne, Adelaide, Brisbane, Aberdeen, and London. Kathryn has won prizes in the Leslie Barklamb Flute Competition and the Australian International Solo Flute Competition. Her CD 'Unearthly Music' for flute and piano has received frequent airplay on ABC Classic FM, Radio National Australia, and radio stations across the USA and Asia. Kathryn currently freelances with the Melbourne Symphony Orchestra, Orchestra Victoria, the Miscellany Ensemble, and is completing a PhD in Music at the University of Adelaide, Australia. Claire Cooper studied with John Winther at the Canberra School of Music, and later at the Hong Kong Academy for Performing Arts. She spent five years as repetiteur and accompanist for the Victorian College of the Arts and is currently a member of staff at the Faculty of Music, University of Melbourne as an accompanist. Claire has worked extensively in Melbourne with major music organisations and festivals, and has an extensive and wide-ranging repertoire. This CD is a tribute to 20th century Australian women composers.- Shop: odax
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Rainbow: A Tone Poem
PT. VIJAY RAGHAV RAO R A I N B O W : A TONE POEM R A I N B O W : A TONE POEM is an orchestral work exemplifying the innovative canon of music by the legendary flautist, composer, conductor, choreographer and poet Pt. Vijay Raghav Rao. The work highlights Panditji's lifelong pursuit to spark social change through brilliant, pioneering music. At it's heart, R A I N B O W is a work of art that represents the best in music. Some of the finest Indian vocalists, percussionists and instrumentalists collaborate to perform a dazzling composition that spans the gamut of human emotion. R A I N B O W's soul transcends cursory musical ambit by articulating the divine symmetry between notes of a musical scale that collaborate to make music, and colors of the spectrum - that make for a rainbow. When diverse human beings unite in the face of calamity, the rainbow thus formed is a beautiful example of what is possible. After all, like the colors of light that originates from the sun, diverse human beings share a common, unifying origin. R A I N B O W is composed as a tone poem in two parts. Part 1: WORK IS WORSHIP This composition describes life in a small farming town, a metaphor for our world. When drought disrupts life as it is meant to be, it's inhabitants are distraught. Unquestionable faith in God comes undone. Relationships are tested, the townspeople resort to devious practices. Righteousness is up for trade. In this god- forsaken land, to each his own becomes the unmentioned rule for survival. Then a lonely farmer with nothing better to do picks up his plough and tills his small, barren plot of land. I know nothing else but to farm, he says. And he tills and he prepares his land - defying signs of futility. Soon, his neighbor joins him. Despite a lack of fresh grain the owner of the flour mill reopens it's doors, making pre-purchases of grain from the farmers on credit. The local grocer pitches in, buying invisible flour from the mill. What townspeople still remain, visit the grocery and, despite little resource, buy what flour they can on the basis of trust. The school reopens - children prepare for their future. Soon, there is renewed optimism in the air. An uncommon, emotional vigor pervades despite what is real. The townspeople have in them the consummation of their most cherished wish. Lo and behold: the clouds gather in the sky, there is rain, and the drought is dispelled. Faith is not subject to fate - when the faithful unite despite calamity, work is worship. Part 2: UNITY IN DIVERSITY This composition mines the intrinsic diversity in musical tone, rhythm and arrangement to delineate one truth: that diversity is at the core of lasting, beautiful unity. At the height of prosperity the farming town thrives on interdependent differences. The farmer produces food for consumption. The lender provides money for new ventures. The teacher infuses future generations with values. The priest instills faith. The trader introduces new ways and means of living. The physician heals. The mayor organizes. The artist shows a vision of a world that can be. Each needs the other. With time, each believes there can be no life without the other. When adversity strikes this society it's diversity makes it resilient. The inability of one element to thrive is more than compensated by the collective efforts of the others. As in the transcendent emotions evoked by a composition that relies on the creative use of some (not all) notes in a scale, so does a society express unique emotions born of the collective efforts of some of it's constituents. The rest plow life's challenges in the firm belief that their turn will come. By making brilliant use of the diversity inherent in his musical palette, Panditji's composition makes such truth come alive. Diverse musical scales drive variegated melodies set to rhythmic cycles of varying meters. One melody seamlessly blends into another, preserving it's nature while suggesting what is common. In theme and music, abstraction finds eternal life resulting in a work of profound art. ABOUT PT. VIJAY RAGHAV RAO 'No substitute for his flute...the complete master' - The Hindustan Times "A volcano of creative expression' - The Indian Express "His flute is an unending fountain of myriad melodies, always fresh, always original..." - The Patriot 'Creator of beautiful, wide and ethereal canvasses...' - The Deccan Herald '20th Century Renaissance Genius..' - The Cleveland Plain Dealer 'Intensely romantic...lyrical...extremely serene...' - Rave Magazine "Innovator in the world of music.. a versatile genius.," -The JS Magazine "Seeker of truth through music. One of the greatest flautists of this world" - The Times of India "Reflective music, refreshing and genuinely haunting" - The New York Times "Awe inspiring. Freshness and finesse in every note. Marked by gay abandon, innovativeness and imaginative vitality" - The Statesman "Suave tonicity, lyricism, rich melodic beauty" - The Listening Post PT. VIJAY RAGHAV RAO R A I N B O W : A TONE POEM Recorded at the HMV Studios in Bombay, India Digitally remastered at The Red & Green Company, VA, USA Panditji & family thank the following artists with love - Ustad Ghulam Mustafa Khan, Smt. Zarin Daruwala, Smt. Lakshmi Shankar, Kum. Sarla Bhide, Pt. Manas Mukherjee, Pt. Kartick Kumar, Ustad Shamim Ahmed, Pt. Brij Narayan, Pt. Arjun Shejwal, Pt. Ronu Majumdar, Pt. Giridhar Prasad Jaipurwale, Pt. Janardhan Abhyankar, Pt. D.K.Datar, Vd. T.K. Ramakrishnan, Pt. Datta Thakar, Vd. V.R.Gopalakrishnan, Pt. Anna Joshi, Pt. Ganapat Rao, Pt. Vijay Indurkar, Pt. Ashok Bhoi, Pt. Kamal Ganguly, Pt. Rijhram Deshadh, Pt. P.G. Parab, Pt. Balabhau Yarkunthwar Special thanks and love to Shri Badri Narayan & family Special thanks to Shri G.N. Joshi & Shri V.K. Dubey CD Version of RAINBOW : A TONE POEM manufactured by Disc Makers, Philadelphia, PA, USA Sound Executive Dr. Vijay Elchuri Executive Producer Sanjay Kumar From The Red & Green Company (c) (p) 2013 by Pt. Vijay Raghav Rao & Family.- Shop: odax
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Dans Le Piano De Claude Bolling (Un Film De Vincen
Vincent Perrots 90 min documentary deals with a great pianist. Claude Bolling is the ambassador of big-band jazz and one of the greatest film-music composers of the 20th century. He's also the man behind the term "crossover" designating the music-genre which mixes jazz with classical music, thanks to a dozen duo records which paired Bolling with trumpeter Maurice André, guitarist Alexandre Lagoya, cellist Yo-Yo Ma or flautist Jean-Pierre Rampal... Claude Bolling's "Suite for Flute and Piano" wit- Shop: odax
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Claude Debussy-Preludes
Elisa Marzorati, born in 1977 in Aarau, Switzerland, is the daughter of the double-bass player Franco Marzorati and the flautist Marianne Fischer. She grew up in Venice, Italy, surrounded by a symphonic and opera environment and began to study the piano at the age of nine with Cristina Meyr. In 1988 she entered in the piano class of Giorgio Lovato at the Conservatory of Venice. During the school year 1994/1995 she joined the "Exchange Program STS" at the Winston Churchill High School (Potomac, MD) where, as a member of the school band (keyboards and piano), she played in some school concerts such as the musical 'Chicago'. During this period, thanks to the many visits to Washington DC and New York City, where she saw concerts in important concert halls, jazz clubs and, in New York, Broadway, several musicals, her interest for 'non classical' music grew stronger, both from a theoretical and a practical point of view. In 1999 she achieved her Diploma at the Conservatory of Venice, attaining the highest possible grade. She continued her studies with Lucia Romanini (in Milan) and with Giorgio Vianello (Venice). In 2001 she moved to Switzerland to study chamber music at the Musikhochschule of Zurich with Eckart Heiligers. In 2002 she joined the Masterclass of Alexander Lonquich organized by the Musikhochschule. She receives her Concert Degree for Piano Chamber Music in 2004 and in 2005 her Masters of Teaching. Elisa Marzorati performs as a soloist, with singers, or in chamber music ensembles. She got a B.A. in Music History Magna cum laude in 2001 with a Thesis about the contemporary Italian composer Luca Mosca, and in 2004 a M.A. in Ethnomusicology Magna cum laude with a Thesis about the Afro-Cuban Carnival Music, both at the University Ca' Foscari of Venice in Italy. Her continuous interest for other music styles opened to her several new paths, among them the collaboration with the rock-country band 'Guido Marzorati & the Blugos', the experimentations of ambient, drone, glitchy music of the 'dyanMU' project with Enrico Coniglio and, since 2004, the study of jazz, first at the Musikhochschule of Zurich (with Chris Wiesendanger and Adrian Frey), then, since September 2005 at the Taller de la música in Barcelona (with Ana Rosa Landa, Riqui Sabatés and Vincenç Solsona). DEGREES May 2005: 'Lehrdiplom' Masters of Teaching - Musikhochschule Zürich, Swizerland July 2004: 'Klavierkammermusikkonzertdiplom ' Concert Degree for Piano Chamber Music, Song Modelling, Accompaniment - Musikhochschule Zürich, Swizerland February 2004: M.A. Ethnomusicology Magna cum laude - University Ca' Foscari, Venice, Italy. Thesis about the Afro-Cuban Carnival Music (research, recordings, interviews and pictures realized directly on place, summer 2002) July 2001: B.A. Music History Magna cum laude - University Ca' Foscari, Venice, Italy. Thesis about the Contemporary Italian composer Luca Mosca and his music. (data and info directly received from the composer) June 1999: Piano Soloist Diploma with honours - Conservatory of Music B. Marcello, Venice, Italy.- Shop: odax
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Shades of Love-Werke für Flöte & Klavier
When the Russian-Swiss flautist Sofia de Salis, together with her piano accompanist Iryna Krasnovska, performs such well-known chamber music works as Franz Schubert's Arpeggione Sonata or César Franck's Violin Sonata on the flute, she astonishes us not only once.- Shop: odax
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Expressions
This self taught virtuoso guitarist stands out because of his extraordinary musicianship and original interpretations of so many different musical styles, with more than two decades of artistic life to his credit. He picked up a guitar at the tender age of 12 in his native Buenos Aires, Argentina and has not looked back since. Dani has had the opportunity to tour extensively in South America, Europe and Japan, not only as a soloist, but also as a member of several musical ensembles. He has shared the stage with numerous renowned Jazz greats. In Japan, his ensemble "los Indios" was requested for a private concert for the Heir Prince Naruhito and other Imperial Japanese family. His varied musical styles include: The Argentine samba, Chacarera, Tango, Milonga, Chilean Cueca, and the Paraguayan Polka and Guarania as well as the Waltz, Bolero and cha-cha-cha to name a few. In 1991, Dani decided to dedicate himself to his true passion, Latin & Brazilian Jazz. Another moment where he didn't look back. A special Kennedy Center Concert brought Dani Cortaza to Washington DC in 2002, where he now calls home. Dani is the founder of two dynamic musical groups specializing in latin jazz and Brazilian music of which he directs. Additionally, he teaches guitar at the Falls Church Conservatory as well as privately. Dani has had many crowning moments, among them is the 2004 concert with Flautist Nestor Torres and Jazz pianist Dick Morgan. April 2005 found him in the Teatro Tom Jobim in Asuncion, where he received excellent review by the press. Currently Dani is basking in the success of his debut CD "Expressions" and poised for the next level. Dani Cortaza is a Master Guitarist, plain and simple. He has earned that title. Once you see him live it will be evident when his fingers begin to fly!- Shop: odax
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