Bonnie "Prince" Billy I

Superwolf

Will Oldham's musical personality is strong and distinct enough that when he collaborates with another artist, with rare exception he firmly takes the lead (whether or not that was the intention). And while guitarist Matt Sweeney (formerly of Chavez and Zwan) gets equal billing with Oldham's alter ego Bonnie "Prince" Billy on 2005's Superwolf, one listen confirms that this is primarily Oldham's work, with Sweeney obviously second in command. (The liner notes state that Oldham wrote the lyrics and Sweeney wrote the music, though to these ears Sweeney is either remarkably gifted at channeling Oldham's musical notions or the lyricist passed along a few melodic ideas as well.) However, this isn't to say Sweeney's presence isn't strongly and clearly felt here -- Superwolf exists in a musical landscape very much like Bonnie "Prince" Billy's earlier recorded work, such as Ease Down the Road and I See a Darkness, but Sweeney's periodic interjections of hard guitar lines give this a firmer musical texture and a stronger structural backbone than one might expect. Also, withSweeney on hand, Oldham has kept some of his less appealing musical eccentricities in check -- this is one of his strongest and best-focused works in years, with the slow tempos adding drama to songs that manage to go somewhere in dramatic fashion despite their deliberate pace, and Sweeney's spare but evocative guitar lines fill the spaces without cluttering the frames. Even if Oldham ends up being front and center on Superwolf, the results make it clear the man works best with a strong collaborator, and it's hard not to hope Oldham and Sweeney continue to work together in the future.

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Lie Down in the Light

So who's been giving Will Oldham singing lessons? The artist currently known as Bonnie "Prince" Billy has displayed a rather inconsistent skill set when it comes to vocals in the 15 years since the Palace Brothers' debut album, but on 2008's Lie Down in the Light, Oldhamsounds more tuneful than ever before; on the opener, "Easy Does It," he could pass as the leader of some better than

average country-rock outfit from the early '70s, which matches the jaunty but laid-back vibe of the tune. Some of the songs here recall the more spare and troubling style that marked Oldham's earlier work, such as "So Everyone," "Willow Trees Bend," and "What's Missing Is," but he's still showing a greater control over his vocal instrument than before, sounding like a real singer in a way he often hasn't in the past, and while the production and arrangements on this album are lean and uncluttered, they're rooted in a warmth and lyricism that make this one of the most satisfying albums Oldhamhas offered as Bonnie "Prince" Billy. Oldham's obsession with Southern gothic archetypes hasn't changed much on this set, but the 11 new songs here feel fresh and unforced, with a grace in the wordplay that matches the natural flow of the music, and whether the mood reflects hope ("For Every Field There's a Mole"), longing ("Lie Down in the Light"), or contemplation of the mysteries ("You Want That Picture"), these songs hit their target true and clean. Lie Down in the Light doesn't sound like an immediate masterpiece in the manner of 2006's The Letting Go, but on the whole it's as strong and satisfying as anythingOldham has released in the last ten years, and it's encouraging that he keeps getting stronger and refining his gifts with the passage of time. And who knows what will happen if he keeps seeing that vocal coach.

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Ease Down the Road

Will Oldham has long confused record buyers with his constantly changing monikers. Though the persona attached has remained fairly consistent, his releases under Bonnie "Prince" Billy brought a subtle but undeniable shift. Following the cracked, wayward style he adopted on 1997s Joya, Oldham settled on the steady understated "Bonnie" voice of I See a Darkness. The lyrics became more direct and the narrator's strange mythology deepened. If that album embraced its subject as a necessary, even beautiful aspect of life, Ease Down the Roadfinds the singer comfortable with this new-found acceptance. Backing Oldham is a cast of new and old faces who deliver their parts with an unusually soft, smooth touch. The singer eases into this setting, singing of his estranged upbringing, plans to construct his own kingdom (through questionable means), and love. The latter is Oldham's biggest preoccupation, finding its way into nearly every song, like the album's subplot. Though unable to choose between the love of one woman and the ability to be with whomever will suit his needs, the narrator is largely unconcerned with the conflict. Ease Down the Roadfeatures some of his most direct dealings with the subject on "May It Always Be" and "After I Made Love to You." As the album develops, this material is balanced with the more characteristic musings of "The Lion Lair," "Sheep," and "Grand Dark Feeling of Emptiness": songs that trace the same fictional histories found on I See a Darkness. The end result is the natural and necessary expansion of a unique songwriting voice. Seeming more confident than ever, Oldham's Ease Down the Road is a wonderful addition to a catalog that should earn him a place among the finest songwriters of his age, or any age.

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V. A. Jazz Manouche Vol. 1 y 5

Variada compilación del género. Varios volúmenes. Muy interesante para introducirse al mismo.

bajar acá (vol 1)

y acá(vol 5)

El 2 y el 4 los pueden encontrar acá

Anouar Brahem

The role of the Arabic, lute-like, stringed instrument, the oud, has been revolutionalized through the playing of Anouar Brahem. While used in the past to accompany vocalists, the oud is used by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, "Tunis-Hebdo", wrote, "If we had to elect the musician of the 80s, we would have, without the least hesitation, chosen Anouar Brahem". The British daily newspaper, "The Guardian", that Brahem was "at the forefront of jazz because he is far beyond it".

Barzakh (1991)

This starkly beautiful collection of 13 tracks by Tunisian composer Anouar Brahem is his debut release for the

ECM label. The album spotlights Brahem's solo oud pieces, which range from the meditative ("Sadir") to the propulsive ("Ronda"). This solo work is nicely augmented by stellar contributions

from violinist Bechir Selmi and percussionist Lassad Hosni; Selmi is featured on the transcendent "Barzakh," while Hosni

figures

prominently on "Souga" and "Bou Naouara." The three musicians come together for the joyous dance number "Parfum de Gitane." Throughout Barzakh

, Brahem and the others forge an appealing mix of Middle Eastern sonorities and jazz phrasing, an intimate sound perfectly suited to the clean and spacious ECM recording styl

e. This is a great title for fans of both international music and jazz.

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Le Pas du Chat Noir (2002)

Oud player Brahem has established his own little niche with t

he instrument; his music, strongly Arab-inflected, has the spare, chamber feel that makes it a perfect fit in the ECM catalog. He's a contemplative player, and this melding with piano and accordion suits his style perfectly, as notes and ideas draw out marvelously. The interplay between musicians is as delicat

e as lace -- thoughtful, with everyone listening as much a

s playing. It's a record with many moments of great beauty, like the exquisite piano on "C'est Ailleurs" or the filigree touches between accordion and piano that decorate and nudge along many of the tracks. Brahem is a superb, if reserved, musician, as are his colleagues: Francois Couturieron piano and Jean-Louis Matinier on accordion. To

gether they trace something exquisite, an experience for the eras and the heart.

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The Astounding Eyes of Rita (2009)

The Astounding Eyes of Rita (ECM) is the title of the new album by T

unisian world jazz musician Anouar Brahem. The recording features Anouar Brahem on oud, Klaus Gesing on bass clarinet, Björn Meyer on bass, and Khaled Yassine on darbuka and bendir.

There has long been a balance between Western and Eastern components in Anouar Brahem’s work. “I need both elements”, he says, but ratios change with

each project. His early discs (such asBarzakh and Conte de l'Incroyable Amour ) carry a strong sense of traditions - including Brahem’s own - while his last two recordings, Le Voyage de Sahar (2005) and Le Pas Du Chat Noir (2001) found him at the center of a trio oriented more towards Eurocentric chamber music. With The Astounding Eyes of Rita there is a sense of coming full circle. Brahem introduces a new gr

oup in a sinuous dance of dark sounds (oud, bass clarinet, bass guitar and hand drums), strong melodies, and earthy textures.

Born in Halfawine (Halfaouine), Tunisia in 1957, Brahem is regarded as his country’s most innovative oud player. As a former pupil of oud master Ali Sriti, he is thoroughly steeped in the secrets and subtleties of Arab classical music. He has absorbed this information and, armed with it, gone out to meet the world, a contemporary musician of profoun

d historical knowledge.

“When I write music”, he explains, “my focus is simply on the melodic universe. Ideas for instrumentation come later.” Perhaps significantly, the music for Rita was composed on the oud, where the Pas de chat noir concep

t had been sketched and shaped from the piano. The new music modulates between the disciplines, as befits a line-up pooling payers from Tunisia, Germany, Sweden and Lebanon. “As the new work developed I thought about traditional players and perhaps using more middle-eastern instrumentation but there were also pieces of a different character emerging. I knew I needed darbuka [the goblet-drum of Arab tradition], for instance, and I thought about bass. It took quite a while to find the right combination of instruments and personalities. While I can easily find fantastic traditional players in my region, I often miss qualities specific to European jazz players, a certain open-mindedness in approaches to improvising, aspects to do with freedom”.

Producer Manfred Eicher helped bring Brahem together with German bass clarinetist Klaus Gesing and Swedish bassist Björn Meyer, players heard on ECM in, respectively, the groups of Norma Winstone and Nik Bärtsch. “Manfred knew, from our experiences with John Surman [see the Thimar album of 1997] that I liked very much the combination of bass clarinet with the oud: the instruments just seem to belong together. In Klaus’s playing on Norma’s album (Di

stances), I thought I could hear ways in which we might work together. Manfred helped to set up rehearsals, with just Klaus and myself, in Udine. The potential was there, I felt. But we really came together as a band during the record production – until that point, I’d played only separately with each of the musicians.”

Björn Meyer and Klaus Gesing share Brahem’s interest in a broad range of musical expression. The classically-trained Gesing has been extensively involved also with East European musics and with jazz, while Meyer grew up listening to Cuban music, and played flamenco before diving deep into Swedish folk. He also plays music influenced by Persian tradition in groups with harpist Asita Hamidi and his bass often serves as a lyrical lead voice in the throbbing cellular music of Nik Bärtsch’s Ronin (ECM albums: Stoa and Holon).

The band’s fourth member, Lebanese percussionist Khaled Yassine, was brought to Brahem’s attention by his sister-in-law, choreographer Nawel Skandrani. Khaled’s experience of working with dancers helps to give this music its gently insinuating, swaying pulses. “Khaled’s a very interesting player. He is deeply grounded in the traditional music, but also very

open-minded: he plays in a lot of different contexts, is very informed. There is a new generation of musicians emerging in countries like Lebanon.” Anouar suggests that these are players of broader vision.

After a highly-productive recording session in Udine’s Artesuono studio, Anouar Brahem brought the new band to Tunisia where they played to enthusiastic audiences in Carthage. The musicians are currently preparing for international performances. A first European tour is scheduled in October, November and December with concerts in Austria, Bosnia, Germany and France, climaxing at Paris’s Salle Pleyel.

The album’s unusual title references the poetry of Palestinian writer Mahmoud Darwish, 1941-2008, to whom the disc is dedicated. A hugely-influential figure in the Arabic world, Darwish wrote more than 20 volumes of poetry, and his readings frequently commanded audiences of thousands. When he died in 2008 he was honored with three days of national mourning and a state funeral in Palestine.

http://worldmusiccentral.org

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ROBERT FRIPP POR 3

The First Day

David Sylvian & Robert Fripp

Robert Fripp and David Sylvian's first official release together, The First Day, is a much funkier and m

ore percussive affair than its bootleg predecessor, The Day Before

(which contained radically different versions of these songs). An obvious reason for its higher quality is that it was recorded in a studio, while the bootleg consisted of in-concert demos, and the songs here have been worked to completion. Fripp has found an extremely talented singer/partner in Sylvian, who adds a lot to his quirky compositions. Trey Gunn (who plays a bass-like instrument called the stick) makes each track pra

ctically groove and br

eathe on his own, and allows Fripp to stretch out and experiment in ways previously unheard by this guitar icon. The First Day is a very consistent album, with the musician's excitement and energy easily being felt on such tracks as "God's Monkey," "Brightness," and the ten-minutetour de force

"Firepower." Other lengthy tracks follow (the 11-minute "20th Century Dreaming" and the 17-minute "Darshan"), but it never becomes self-indulgent or boring. Certainly one of Robert Fripp's best and more inspired King Crimson side projects.

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The Equatorial Stars

Fripp & Eno

Almost 30 years on since Evening Star, Robert Fripp and Brian Eno resume their collaboration, and remarkably, they seem to have picked up right where they left off. Remarkably, because Fripp's more recent soundscaping has had a different quality than either his collaborations with Eno or his proper "Frippertronics" albums like Let the Power Fall or the solo side of God Save the Queen/Under Heavy Manners. Surely they're not back to using the old Revox tape machine setup, but having Eno in the producer's chair (not to mention making his own musical contributions) seems to add a warmth that's been missing from albums like 1999. But much like Evening Star showed a progression from No Pussyfooting, The Equatorial Stars is another step forward while retaining all the same elements as their previous work together. On "Meissa," there's just a bit of glitch periodically applied to the back

ground keyboards and guitar harmonics with Fripp soloing softly over the top. "Lyra" is even prettier, and you can really hear Fripp's guitar lines trailing off into the distance. His tone here is less saturated than on the earlier albums, but there's just as much sustain and his playing is beautiful and lyrical. "Ankaa" bears the strongest resemblance to the material on Evening Star, with that classic "Frippertronics" guitar tone. And just as their previous efforts were mostly, but not entirely, placid, The Equatorial Stars takes on a slightly more aggressive tone (if you can call it that) toward the end. "Lupus" adds the pulse of a heartbeat and a bit of sonic scuzz to the mix, and "Terebellum" takes on a slightly more ominous tone. Most surprising is "Altair," which almost gets funky with a bit of bass and some chicken scratch rhythm guitar work. While Fripp is nominally at the forefront on The Equatorial Stars, Eno's contributions and excellent production are just as important. There seems to be a genuine synergy when these two work together, and The Equatorial Stars is a worthy successor to their earlier brilliant albums together.

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Evening Star

Fripp/Eno

Robert Fripp's second team up with Brian Eno was a less harsh, more varied affair, closer toEno's then-developing idea of ambient music

than what had come before in No Pussyfooting. The method used, once again, was the endless decaying tape loop system of Frippertronics but refined with pieces such as "Wind on Water" fading up into an already complex bed of layered synths and treated guitar over which Fripp plays long, languid solos. "Evening Star" is meditative and calm with gentle scales rocking to and fro while Fripp solos on top. "Wind on Wind" is Eno solo, an excerpt from the soon to be released Discreet Musicalbum. The nearly 30-minute ending piece, "An Index of Metals," keeps Evening Star from being a purely background listen as the loops this time contain a series of guitar distortions layered to the nth degree, Frippertronics as pure dissonance. As a culmination of Fripp andEno's experiments, Evening Star shows how far they could go.

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Keep on Moving: The Best of Angelique Kidjo (2001)

Angélique Kidjo's greatest-hits CD is a broad introduction to the popular African world music artist, whose styles include Zairean rhumba, reggae, jazz, funk, zouk, and makossa, and zilin vocals. Designed to condense her career down to one disc, Keep on Moving: The Best of Angelique Kidjo is a record for new fans. The disc contains 17 songs from her five full-length albums from the 1990s and one previously unavailable track. More than any other Kidjo release, Keep on Moving showcases the burgeoning relationship between modern African music and American soul. As energetic and upbeat as some of the tracks on this album are, Angélique Kidjo is equally represented here by ballads like "Fifa." While all 18 tracks are good, this collection has a somewhat schizophrenic feel. The decade-long evolution from African-infused rock to more R&B and pop songs seems jarring in the span of 74 minutes. Afro-pop dance songs like "Agolo," "Babalao," and "Aye" seem almost out of place next to some of the set's bluesy and spare numbers. The track order is not chronological either, and a longtime fan will tell when a track from 1991 gives way to one from 1998. Since Kidjo's albums are not singles-oriented, Keep on Moving lacks the unified mood of her best albums. Often a "Greatest Hits" or a "Best Of" compilation collects all the good material an artist has to offer and becomes a band's only essential release. (Famous examples include the Spin Doctors' Just Go Ahead Now or Duran Duran's Decade.) Keep on Moving might be the first Kidjo CD for some people, but it only scratches the surface of her rich catalog. Keep on Moving is a very good sampler of her career, but doesn't contain all of Kidjo's best songs. This disc should serve as an invitation to discover the rest of her music. This Best Of has only one song from her debut. Parakou, three from Oremi, four each from Logozo and Aye, and five from Fifa. What is included, however, is exciting. Of interest to new fans will be Kidjo's pop collaborations: "Naima" with rocker Carlos Santana and "Open Your Eyes" with hip-hop star Kelly Price. Other standout songs include "Malika," her creative take on Jimi Hendrix's "Voodoo Child (Slight Return)," and a cover of George Gershwin's "Summertime." Use this as a beginning point, but keep in mind that their are other great hits not included here, including her Cassandra Wilson duet "Never Know," "Easy as Life" from Elton John's Aida, and "Ife," which is only available on Ace Ventura: When Nature Calls. Keep on Moving might be the best introduction to the wonderful world of Angélique Kidjo but Oremi is still her best record

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Mary Gauthier Mercy Now

Since her second offering, the self-issued Drag Queens in Limousines in 1999, and continuing through the stellar Filth & Fire in 2002, Texas singer/songwriter Mary Gauthier has quietly and consistently raised the aesthetic bar for herself. She has been favorably (and accurately) compared to Townes Van Zandt for her literate American gothic songs about wasted lives, desolate characters who roam the highways like ghosts, shattered dreams, and frustrated expectations. But Gauthier never exploits her characters; she views them with a piercing tenderness and empathy, painting them with dignity and humanity. OnMercy Now, Gauthier digs a little deeper; she comes down on the side of the song itself. The protagonists whose tales she relates are given rich musical voices, adding depth, dimension, and flesh and blood as related by her keen-eyed observations, unflinching poetic language, and willingness to be subtle and not intrude. Her razor-wire, weatherbeaten, loving kindness digs deep as it pleads for release on "Falling Out of Love," which opens the record. With her acoustic guitar in minor mode, a deep, lonesome harmonica, hollow, sparse percussion, and producer Gurf Morlix's trademark slow-wrangle slide, she sings and even becomes the voice of the broken-hearted blues. There is no sentimentality in her view, just the taut edginess that is so wearying and anxious about trying to get past the addiction to a memory seared with every breath. On the title track, Gauthier's guitar and voice offer a gritty, moving meditation on compassion, invoking mercy for all those who suffer, from family to church and country to those who are nameless and faceless. There is nothing facile in Gauthier's words, nothing remotely trite or ordinary about the weariness in the grain of her voice, as Brian Standefer's cello and Morlix's lap steel fill the center and carry the message to the heavens humbly, slowly, purposefully. "Wheel Inside the Wheel," written for the late Dave Carter, is a spooky rolling and choogling banjo/guitar extravaganza. It features characters from Gauthier's New Orleans Mardis Gras: Louis Armstrong, Marie Laveau, the Krewes, etc. -- all of them metaphors for the transmigration of souls. Her cover of Harlan Howard's "Just Say She's a Rhymer" is as back porch as it gets, dressed in fiddle, steel, strummed six-strings, and plodding bass. Her delivery comes out of time and space and rests fully in this moment. Gauthier inhabits the song as if it were her own. The set closes with the punchy, electric "It Ain't the Wind, It's the Rain." A Hammond B-3 carries the tune from underneath as stinging guitars, throbbing basslines, and Gauthier's clear, prophetic voice rings over it all. What a finish; what a record. Mercy Nowcuts deep into the heart -- it showcases not only Gauthier's prowess with the poetry and craft of song, but her humility and wisdom as she digs further into its chamber of secrets.

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Wilco (The Album)

Rock & roll lifers that they are, Wilco knows the implications of a self-titled album, how any record bearing an eponymous name is bound to be seen as a reintroduction. That's why they puncture Wilco (The Album) with a parenthetical aside, a slyly ironic joke that deflates the notion that Wilco is returning to its roots while signaling that the band is finally lightening up again, a notion reinforced by the llama birthday party on the cover. And, to be fair, "reintroduction" is indeed too strong a term for a band that never went away, they merely spent a decade-and-a-half on a walkabout, consuming anything that came their way, changing their tone and tenor from record to record. Wilco (The Album) finds Wilco the band happily returning from the wilderness, taking stock of where they've been and consolidating all they've learned into one tight, likeable record. (The Album) never veers too far into the experimental — nor does it dabble in country-rock, a sound that's largely remained verboten in Wilco ever since their debut — but the reverberations of the Jay Bennett era can be heard in how "Bull Black Nova" builds to a shuddering, noise-filled coda, or the band's general mastery of varying degrees of light and shade. All this studio texture is not the focal point, it's the coloring on a collection of straight-ahead rock and pop songs, tunes that are generally soft, sunny, and hazy — quite exquisitely so on the '70s George Harrison pastiche "You Never Know" and the nearly Baroque "Deeper Down" — but also jangly and sparkly, as on "Sonny Feeling," or that have some measure of backbone, as on the spiky "I'll Fight" and the cool shuffle of "Wilco (The Song)." If Wilco (The Album) as a whole is considerably less ambitious than its predecessors, it compensates with its easy confidence and craft: it's the work of a band that knows their strengths and knows what they're all about, and it's ready to settle into an agreeably comfortable groove.

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Johan Sebastian Bach.Keith Jarrett. The French Suites (1991)

French Suite, for keyboard No. 1 in D minor, BWV 812 (BC L19)
French Suite, for keyboard No. 2 in C minor, BWV 813 (BC L20)
French Suite, for keyboard No. 3 in B minor, BWV 814 (BC L21)
French Suite, for keyboard No. 4 in E flat major, BWV 815 (BC L22)
French Suite, for keyboard No. 5 in G major, BWV 816 (BC L23)
French Suite, for keyboard No. 6 in E major, BWV 817 (BC L24)

1. French Suite No.1 in D minor, BWV 812 - 1. Allemande 4:05
2. French Suite No.1 in D minor, BWV 812 - 2. Courante 2:36
3. French Suite No.1 in D minor, BWV 812 - 3. Sarabande 3:32
4. French Suite No.1 in D minor, BWV 812 - 4. Menuet I 1:17
5. French Suite No.1 in D minor, BWV 812 - 5. Menuet II 2:26
6. French Suite No.1 in D minor, BWV 812 - 6. Gigue 2:53
7. French Suite No.2 in C minor, BWV 813 - 1. Allemande 2:54
8. French Suite No.2 in C minor, BWV 813 - 2. Courante 2:35
9. French Suite No.2 in C minor, BWV 813 - 3. Sarabande 3:26
10. French Suite No.2 in C minor, BWV 813 - 4. Air 1:55
11. French Suite No.2 in C minor, BWV 813 - 5. Menuet I-II 1:34
12. 6. Gigue 2:15
13. French Suite No.3 in B minor, BWV 814 - 1. Allemande 3:19
14. French Suite No.3 in B minor, BWV 814 - 2. Courante 2:46
15. French Suite No.3 in B minor, BWV 814 - 3. Sarabande 3:23
16. French Suite No.3 in B minor, BWV 814 - 4. Anglaise 1:53
17. French Suite No.3 in B minor, BWV 814 - 5. Menuet 1:36
18. French Suite No.3 in B minor, BWV 814 - 6. Trio, Menuet da capo 2:01
19. French Suite No.3 in B minor, BWV 814 - 7. Gigue 2:00

1. French Suite No.4 in E flat, BWV 815 - 1. Allemande 2:44
2. French Suite No.4 in E flat, BWV 815 - 2. Courante 2:35
3. French Suite No.4 in E flat, BWV 815 - 3. Sarabande 2:27
4. French Suite No.4 in E flat, BWV 815 - 4. Gavotte 1:29
5. French Suite No.4 in E flat, BWV 815 - 5. Menuet 1:07
6. French Suite No.4 in E flat, BWV 815 - 6. Air 2:14
7. French Suite No.4 in E flat, BWV 815 - 7. Gigue 2:26
8. French Suite No.5 in G, BWV 816 - 1. Allemande 4:02
9. French Suite No.5 in G, BWV 816 - 2. Courante 2:03
10. French Suite No.5 in G, BWV 816 - 3. Sarabande 4:40
11. French Suite No.5 in G, BWV 816 - 4. Gavotte 1:25
12. French Suite No.5 in G, BWV 816 - 5. Bourrée 1:37
13. French Suite No.5 in G, BWV 816 - 6. Loure 2:12
14. French Suite No.5 in G, BWV 816 - 7. Gigue 3:52
15. French Suite No.6 in E, BWV 817 - 1. Allemande 3:29
16. French Suite No.6 in E, BWV 817 - 2. Courante 1:57
17. French Suite No.6 in E, BWV 817 - 3. Sarabande 3:04
18. French Suite No.6 in E, BWV 817 - 4. Gavotte 1:19
19. French Suite No.6 in E, BWV 817 - 5. Polonaise 1:37
20. French Suite No.6 in E, BWV 817 - 6. Bourrée 1:47
21. French Suite No.6 in E, BWV 817 - 7. Menuet 1:19
22. French Suite No.6 in E, BWV 817 - 8. Gigue 2:27

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