35 Results for : crisply

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    2034
    An instant New York Times Bestseller!Consider this another vaccine against disaster. Fortunately, this dose won't cause a temporary fever and it happens to be a rippingly good read. WiredThis crisply written and well-paced book reads like an all-caps warning for a world shackled to the machines we carry in our pockets and place on our laps . . ." The Washington PostFrom two former military officers and award-winning authors, a chillingly authentic geopolitical thriller that imagines a naval clash between the US and China in the South China Sea in 2034 and the path from there to a nightmarish global conflagration.On March 12, 2034, US Navy Commodore Sarah Hunt is on the bridge of her flagship, the guided missile destroyer USS John Paul Jones, conducting a routine freedom of navigation patrol in the South China Sea when her ship detects an unflagged trawler in clear distress, smoke billowing from its bridge. On that same day, US Marine aviator Major Chris "Wedge" Mitchell is flying an F35E Lightning over the Strait of Hormuz, testing a new stealth technology as he flirts with Iranian airspace. By the end of that day, Wedge will be an Iranian prisoner, and Sarah Hunt's destroyer will lie at the bottom of the sea, sunk by the Chinese Navy. Iran and China have clearly coordinated their moves, which involve the use of powerful new forms of cyber weaponry that render US ships and planes defenseless. In a single day, America's faith in its military's strategic pre-eminence is in tatters. A new, terrifying era is at hand.So begins a disturbingly plausible work of speculative fiction, co-authored by an award-winning novelist and decorated Marine veteran and the former commander of NATO, a legendary admiral who has spent much of his career strategically outmaneuvering America's most tenacious adversaries. Written with a powerful blend of geopolitical sophistication and human empathy, 2034 takes us inside the minds of a global cast of characters--Americans, Chinese, Iranians, Russians, Indians--as a series of arrogant miscalculations on all sides leads the world into an intensifying international storm. In the end, China and the United States will have paid a staggering cost, one that forever alters the global balance of power. Everything in 2034 is an imaginative extrapolation from present-day facts on the ground combined with the authors' years working at the highest and most classified levels of national security. Sometimes it takes a brilliant work of fiction to illuminate the most dire of warnings: 2034 is all too close at hand, and this cautionary tale presents the reader a dark yet possible future that we must do all we can to avoid.
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    Fatal Discord: Erasmus, Luther, and the Fight for the Western Mind
    New York Times Notable Book of 2018 Library Journal Best Book of 2018 ?[2017] saw a profusion of books about Martin Luther to mark the 500th anniversary of his posting the 95 Theses. Massing widens the lens wondrously, bringing in Erasmus, the great humanist foe of Luther, and showing how their rivalry set the course for much of Western civilization. Reviewing the book, Rebecca Newberger Goldstein applauds this 'inspired approach:' 'Massing, a journalist, has produced a sprawling narrative around the rift between the two men, laying out the sociological, political and economic factors that shaped both them and Europe's responses to them, and tracing their theological disputes back to the earliest days of Christianity,? she writes. ?Though a massive amount of material is marshaled, Massing's journalistic skills keep the story line crisply coherent.'??New York Times Now in paperback, a deeply textured dual biography and fascinating intellectual history that examines two of the greatest minds of European history?Desiderius Erasmus and Martin Luther?whose heated rivalry gave rise to two enduring, fundamental, and often colliding traditions of philosophical and religious thought. Erasmus of Rotterdam was the leading figure of the Northern Renaissance. At a time when Leonardo, Michelangelo, and Raphael were revolutionizing Western art and culture, Erasmus was helping to transform Europe's intellectual and religious life, developing a new design for living for a continent rebelling against the hierarchical constraints of the Roman Church. When in 1516 he came out with a revised edition of the New Testament based on the original Greek, he was hailed as the prophet of a new enlightened age. Today, however, Erasmus is largely forgotten, and the reason can be summed up in two words: Martin Luther. As a young friar in remote Wittenberg, Luther was initially a great admirer of Erasmus and his critique of the Catholic Church, but while Erasmus sought to reform that institution from within, Luther wanted a more radical transformation. Eventually, the differences between them flared into a bitter rivalry, with each trying to win over Europe to his vision. In Fatal Discord, Michael Massing seeks to restore Erasmus to his proper place in the Western tradition. The conflict between him and Luther, he argues, forms a fault line in Western thinking?the moment when two enduring schools of thought, Christian humanism and evangelical Christianity, took shape. A seasoned journalist who has reported from many countries, Massing here travels back to the early sixteenth century to recover a long-neglected chapter of Western intellectual life, in which the introduction of new ways of reading the Bible set loose social and cultural forces that helped shatter the millennial unity of Christendom and whose echoes can still be heard today. Massing concludes that Europe has adopted a form of Erasmian humanism while America has been shaped by Luther-inspired individualism.
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    Take Love Easy
    Popular Mainstream Jazz - Fans von Diana Krall, von Jamie Cullum, Melody Gardot oder Tierney Sutton sind hier gut aufgehoben.Produziert hat -Take Love Easy- kein geringerer als Steven MacKinnon (Molly Johnson, Marc Jordan, Natalie Cole), zu hören sind neben dem strahlenden Stern Sophie Milman: Wessell Anderson (Wynton Marsalis, Lincoln Center Jazz Orchestra), Guido Basso, P.J. Perry, Michael Kaeshammer und Robi Botos. Je älter Sophie Milman wird, desto abgeklärter erscheint sie, lotet ohne jede Scham ihre musikalische Grenzen neu aus. Auf -Take Love Easy- interpretiert Milman mit der ihr angeschlossenen All-Star Band Klassiker von Duke Ellington und Cole Porter über Bruce Springsteen, Joni Mitchell bis hin zu Paul Simon. Die nordamerikanische Presse urteilt darüber: Globe and Mail : Take Love Easy, her third album, delivers the goods instantly. The very first thing we hear is her voice, dark and lustrous, over a walking bass line as she gently but decisively swings -Beautiful Love-, and it's clear that this is no pop jazz confection. Between her honeyed tone and relaxed, back-of-the-pocket phrasing, Milman sings with a maturity beyond her years Die New York Times urteilt: She could remake a T-Pain come-on into a Carmen McRae entreaty. The opener, -Beautiful Love- combines a crisply swinging tempo with a sultry minor key, -Where Do You Start?- closes things on a subtly dramatic note. ... But Ms. Milman's core philosophy might best be summed up by the Joni Mitchell tune she covers here: -Be Cool-. TRACKS: 01. Beautiful Love 02. Take Love Easy 03. I Concentrate On You 04. Day In, Day Out 05. Be Cool 06. My One And Only Love 07. I Can t Make You Love Me 08. That Is Love 09. Love For Sale 10. I m On Fire 11. Triste 12. 50 Ways To Leave Your Lover 13. Where Do You Start?
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    How Long Blues
    Jesse Gelber was born too late for 78s, twenty-five cent pizza slices, beer cans without pop-tops. But he is a solid sender, to use the old phrase - a swinging jazz pianist who will remind you of a time when improvising musicians were proud of their instantly recognizable selves. In four bars, you knew it was Tatum, Waller, Wilson, Stacy, or Monk - no need to wonder, 'Which clone is mongering those familiar bebop licks tonight?' Jesse's no repertory robot, in thrall to the old records, although he can read the proverbial flyspecks off the paper and whip through a rag or a Jelly Roll Morton etude with great panache if you ask him nicely. He knows the tradition all the way from deeply felt down-home blues to infinite variations on the theme of hot piano, but he has melded them into his own style. His lively 'Maple Leaf Rag,' his mournfully seductive 'Make Me a Pallet on the Floor' are all the evidence anyone will need. His playing is free and inventive, two-handed and mobile, and he never overwhelms with flurries of notes, whirlpools of technical displays. In his kind of classical simplicity, every note counts, reminiscent of Basie (without the clichés some pianists offer, as if to say, 'I know all about Kansas City: I learned it all from Ken Burns!'), Monk without his self-conscious angularities, Jimmy Rowles, Nat Cole, Pete Johnson. Yet the ghosts of the past never dominate Jesse's fresh, witty playing. Many jazz musicians confuse volume with emotional intensity, speed with heat, but he knows better. Since man does not live by recorded music alone, these comments are based on what the anthropologists might call field observation. In an assortment of New York clubs, each it's own novella, I have enjoyed hearing Jesse play alongside Kevin Dorn, Barbara Rosene, Michael Hashim, Pete Martinez, J. Walter Hawkes, Doug Largent, Charlie Caranicas, Dan Levinson, Dan Tobias, Jon-Erik Kellso, Craig Ventresco, Peter Ecklund, Simon Wettenhall, Eddy Davis, Scott Robinson, Orange Kellin, and many others. Their faces light up when they see that Jesse is coming to play. In these loose, informal contexts, his crisply articulated piano cuts through exuberant jam sessions, and his solos are fascinating interludes. But this is the first time I've heard him at length as solo pianist and singer, and it's truly rewarding. His spare, apparently unadorned treble lines are pungent examples of the right notes, struck with clarity and conviction, mingled with rhythmic, always varied left hand. Listen to his playful verse to 'Stardust,' which suggests Mondrian, who loved jazz. His stripped-down Ellington classics restore those now over-familiar melodies, the layers of paint removed so that their beauties shine through. Savor the harmonic densities of his 'Prelude to a Kiss.' When jazz musicians produce their own CDs, they are tempted to fill the discs with their originals. In all but a few cases, mind and ears go reeling, for many players expend their compositional impulses in their solos. But Jesse is a thoughtful composer, and that's no stage joke. Consider his weirdly lovely 'Halloween Waltz,' a vignette that turns 'Danse Macabre' into something tender. From it's title, I thought 'Boston in the Rain' would be a mood piece or a grim minor blues, but it's that rarity, a genuine Thirties rhythm ballad, earnest yet lighthearted. I am only sorry that it was written too late for Fred (Astaire) or Connee (Boswell) to have had the pleasure, but Jesse's comfortable, sleeves-rolled-up approach is a treat. He is a first-rate singer, offhanded but convincing, whether he's promising to write himself a letter (not an email?) or musing about Matters of the Heart. He never oversells a song, vocally or instrumentally, and his understatement woos us more than the usual histrionics. Jesse Gelber has more talent than any three men! His bucket, I am happy to say, has no hole in it. Listen and admire. Michael Steinman (All About Jazz, The Mississippi Rag, Cadence, Jazz Improv)
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    Richey, K: Thorn In My Heart
    Der 2-fach GRAMMY-nominierte Songwriter Richey hat schon Lieder für Brooks & Dunn, James Morrison, Mindy McCready oder die Dixie Chicks geschrieben. Gäste hier: Pat Sansone (Wilco), Carl Broemel (My Morning Jacket) and Trisha Yearwood.Der 2-fach GRAMMY-nominierte Songwriter Richey hat schon Lieder für Brooks & Dunn, James Morrison, Mindy McCready oder die Dixie Chicks geschrieben. Gäste hier: Pat Sansone (Wilco), Carl Broemel (My Morning Jacket) and Trisha Yearwood. Guests include Pat Sansone (Wilco), Carl Broemel (My Morning Jacket) and Trisha Yearwood. Twice GRAMMY nominated songwriter Richey s songs have been cut by Brooks & Dunn, James Morrison, Mindy McCready, Dixie Chicks and more. Kim Richey has never been afraid to go where the inspiration is. Early on, the Zanesville, Ohio native thrived on the progressive side of mainstream country, her albums (1995 s Kim Richey, 1997 s Bittersweet and 1999 s Glimmer, all on Mercury) showcasing twang-pop sensibilities, a rich, rounded vocal tone and effortlessly sophisticated songwriting that other discerning performers - Radney Foster, Trisha Yearwood and Pam Tillis to name a few - coveted for their own recordings. In the years since, Richey has made a subtly psychedelic album, Rise (Lost Highway), in Los Angeles with producer Bill Bottrell, flown to London to enlist the help of Giles Martin, emerging with the crisply orchestrated Chinese Boxes (Vanguard). Richey turned to her Nashville-based bandleader and frequent co-writer Neilson Hubbard to conjure the earthy feel of Wreck Your Wheels (Lojinx) and to complete her latest masterpiece of smart, sensual understatement Thorn In My Heart. The array of top-tier guests on the album include Jason Isbell, Wilco s Pat Sansone, My Morning Jacket s Carl Broemel, Will Kimbrough and Trisha Yearwood, who was, for the first time, returning the armony-singing favor. And the dozen songs themselves show that Richey s still dreaming up fetching melodies that arc and bend in unexpected ways, and still discovering fresh angles from which to articulate matters of the heart. TRACKS: 1. Thorn In My Heart 2. London Town 3. Something More 4. Breakaway Speed 5. Angels' Share 6. Come On 7. Love Is 8. I Will Wait 9. I'm Going Down 10. No Means Yes 11. Take Me To The Other Side 12. Everything's Gonna Be Good
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