In the Victorian London, the barber Benjamin Barker is married to the gorgeous Lucy and they have a lovely child, Johanna. The beauty of Lucy attracts the attention of the corrupt Judge Turpin, who falsely accuses the barber of a crime that he did not commit and abuses Lucy later after gaining custody of her. After fifteen years in exile, Benjamin returns to London under the new identity of Sweeney Todd, seeking revenge against Turpin. He meets the widow Mrs. Lovett who is the owner of a meat pie shop who tells him that Lucy swallowed arsenic many years ago, and Turpin assigned himself tutor of Johanna. He opens a barber shop above her store, initiating a crime rampage against those who made him suffer and lose his beloved family.
This DVD celebrates Chris Barber's 50th anniversary as a professional musician. Recorded at Germany's Hot Jazz Festival 2002, he presents his eleven-piece Big Chris Barber Band.One of the leaders of England's early-'60s trad jazz movement, Chris Barber (a solid trombonist) began leading his own bands in 1948. In 1954, trumpeter Pat Halcox joined Barber, and with the later additions of clarinetist Monty Sunshine, banjoist/singer Lonnie Donegan, and blues singer Ottilie Patterson, Barber had an all-star crew. Sunshine's hit version of 'Petite Fleur' made both Barber and the clarinetist into big names. Although his group was based in Dixieland, Barber has long been open-minded towards ragtime, swing, mainstream, blues, R&B, and rock.
Patricia Barber's unique style and unusual voice made her an easy target for critics in the early days of her career. Her piano playing and singing, while inventive, never ventured close enough to the avant-garde to earn her artistic license, and her insistence on writing her own material and adapting songs from the pop world made her difficult to categorize…
Drawing lesson for beginners. In this exciting new DVD released by Massive Black, Shawn Barber reveals his unique approach to the art of painting. While watching Shawn work, students will learn about many of the basic elements of painting including drawing, composition, color, form, and value. Shawn also demonstrates many of the important lessons one must understand before even picking up a brush: stretching canvas, color mixing, palette setup, and choosing the right medium.
These two American violin concertos, written 60 years apart, were both commissioned for a young virtuoso but are basically songful and lyrical; indeed, though the Barber is now a staple of the repertoire, its beautiful first two movements were originally rejected as not effective enough, the brilliantly motoric Finale as too difficult. Meyer's was written in 1999 for Hilary Hahn, who premiered it last summer, and for whom nothing is too difficult. She seems equally at home in all the various styles Meyer combines with his usual inventiveness, making the lovely folksong-like melody, which opens the piece and reappears later, sing and soar, then turning into a bluegrass fiddler, swinging along and trading riffs with the orchestra, using drones to produce astonishing double stops, holding the listener's interest even when the music gets repetitious and static. She is a superb violinist, brilliant but not showy; her tone is strikingly beautiful, warm, pure, focused–and she can vary and intensify it with bow and vibrato. Her concentrated expressiveness never flags; she changes moods on a dime. The Barber has controlled passion and ecstasy, and a pensive, contemplative inwardness remarkable in a 19-year-old.
Patricia Barber is a crack jazz pianist, an innovative composer, a singular vocal stylist, and among the most original lyricists/song-poets to come down the pipe in 40 years. Her use of metaphor and metonymy is woven inextricably into her trademark melodies, which create mental and sonic images that evoke insight and emotion. Smash, Barber's debut for Concord, is comprised of original material performed by an excellent band that includes guitarist John Kregor, bassist Larry Kohut, and drummer Jon Deitemyer.