Linda Ronstadt - Hummin' to Myself CD

Hummin' to Myself buy CD music Charles is joined by Elton John on a soulful exploration of the latter's "Sorry Seems to Be the Hardest Word," and sidles up next to Willie Nelson for a haunting version of the Frank Sinatra hit "It Was a Very Good Year," made all the more poignant in retrospect by its posthumous nature. Of course, it's not all bittersweet melancholy; Charles teams with Van Morrison for a jubilant soul/gospel reading of Van's MOONDANCE tune "Crazy Love," and the duet with James Taylor on the upbeat "Sweet Potato Pie" is probably the sassiest, perkiest thing in which Taylor's ever been involved. GENIUS LOVES COMPANY is a swan song that fittingly finds the titular genius surrounded by friends from varied musical worlds, all of whom he's touched with his rare gift. Though Ray Charles, one of the greatest singers of the 20th century, was never in need of vocal assistance, he was no stranger to duets either (one of his finest records is a duet album with Betty Carter). For as much of a musical giant as he was, Brother Ray knew how to share the spotlight, as evidenced by GENIUS LOVES COMPANY, his final project before his 2004 passing. In keeping with the eclectic nature of Charles's artistry, he partners with a wide assortment of performers here. N.Jones/J.Taylor/D.Krall/B.B. King/J.Mathis/G.Knight/W.Nelso Personnel: Ray Charles (vocals, piano); B.B. King, Willie Nelson (vocals, guitar); Bonnie Raitt (vocals, slide guitar); Norah Jones (vocals, piano); Michael McDonald (vocals, keyboards); Diana Krall, Elton John, James Taylor , Johnny Mathis, Van Morrison, Natalie Cole, Gladys Knight (vocals); Danny Jacob, George Marinelli, Jeff Mironov, Michael Landau, Michael Thompson , George Doering, Charles Fearing, Irv Kramer (guitar); Randy Waldman (piano, keyboards); Alan Pasqua (piano); Billy Preston (Hammond b-3 organ); Michael Bearden (keyboards); David Hayes, Abraham Laboriel, Sr., Trey Henry, Tom Fowler (bass guitar); James Gadson, Jim Keltner, ...

Hummin' to Myself songs Alison Krauss & Union Station: Alison Krauss; Ron Block (vocals); Barry Bales (bass instrument, background vocals); Dan Tyminski, Jerry Douglas . In a world where popular country music has lost much of its roots, Alison Krauss stands out among the pack because she remains true to the bluegrass traditions of Bill Monroe, Earl Scruggs, Lester Flatt, and others. However, more than just a revivalist, Krauss also has an unerring ear for elegant pop music. LONELY RUNS BOTH WAYS features, essentially, two types of music--burning-hot bluegrass compositions and delicate, heartrending country ballads. On the latter, Krauss's gossamer voice sears with deep emotion and lyrical clarity. For example, the last song on the album, "A Living Prayer," is a gospel lullaby featuring Krauss belting out long, legato notes over austere acoustic guitar accompaniment. In contrast, the instrumental piece "Unionhouse Branch" explores traditional Americana. Each Union Station member is featured on this track, and the level of technical skill displayed by these musicians (particularly by dobro player Jerry Douglas) is truly astounding. In many ways, this band represents a pinnacle in modern bluegrass. As for Krauss, her fiddle playing is understated on this release, but her beautifully penetrating voice more than makes up for it. Personnel: Alison Krauss (vocals, fiddle, viola); Dan Tyminski (vocals, baritone, guitar, mandolin); Barry Bales (tenor, bass voice); Ron Block (guitar, slide guitar, banjo); Jerry Douglas (lap steel guitar, dobro). Audio Mixer: Gary Paczosa. Recording information: 17 Grand Recording, Nashville, TN; Blackbrid Studio; Minutia Recording Studio. Photographer: Norman Jean Roy.

Hummin' to Myself album for sale Pop star Linda Ronstadt changes musical tracks here with a return to her roots. Performing a wonderful set of traditional Mexican music, the velvet-voiced diva is inspiring and impassioned. Many of these songs were passed on to the singer from her father, and are the indigenous folk songs of Sonora, Mexico. Recorded live in Los Angeles in 1991, this DVD showcases Linda's roots through song and dance and includes lush performances of songs from her two-times platinum CD of the same name. A first-rate stage show complete with the finest dancers, multiple stage sets, and Linda's impeccable vocal range, the concert also features entertainer Danny Valdez and Mexico's premier mariachi ensemble, Mariachi Vargas De Tacalitlan.

Hummin' to Myself CD music Madeleine Peyroux's unique blend of jazz and pop was first unveiled on 1996's DREAMLAND, where she sounded like a postmodern heir to the smoky-voiced tradition that ran down from Billie Holiday through the likes of Karen Dalton and Judy Roderick. Though Peyroux made a splash with her debut, she quickly dropped out of the music scene, not to appear again until eight years later with the long-overdue follow-up, CARELESS LOVE. Here, Peyroux tackles material from a variety of sources; some songs were written expressly for her by such contemporary songsmiths as Jesse Harris (who penned Norah Jones's breakthrough hit, "Don't Know Why"). Perhaps most striking, though, are her interpretations of older compositions. Peyroux redefines the darkly yearning Leonard Cohen tune "Dance Me to the End of Love" as a sultry invitation rather than a heart-on-the-sleeve plea. Her lighter-than-air stroll through the clouds of Bob Dylan's "You're Gonna Make Me Lonesome When You Go" has a graceful ease that puts the song's many previous cover versions to shame. Throughout CARELESS LOVE, Peyroux--with highly sympathetic production from Joni Mitchell right-hand-man Larry Klein--proves fully up to the task of redefining the role of torch singer for the careworn 21st century. Liner Note Author: Madeleine Peyroux. Recording information: Market Street, Venice, Italy; Paramount Recording Studios, Hollywood, CA. Author: Dylan Thomas. Photographer: Andrew MacNaughtan. Personnel: Madeleine Peyroux (vocals, acoustic guitar); Madeleine Peyroux; Larry Goldings (piano, celesta, Wurlitzer piano, Hammond b-3 organ, pump organ, Wurlitzer organ); David Piltch (bass instrument); Jay Bellerose (drums, percussion); Dean Parks (guitar); Lee Thornburg (trumpet); Scott Amendola (percussion). Audio Mixer: Helix Hadar.

Hummin' to Myself buy CD music It may or may not be significant that Diana Krall's first album of new material since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy album of her career. In any case, it marks Krall's biggest departure to date; THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that constituted her previous repertoire, and it contains her first recorded batch of original songs. It's possible that new husband Elvis Costello, who co-wrote all six of those tunes with his wife, was the agent provocateur. It's also feasible that Costello, who has previously recorded Mose Allison material and palled around with Tom Waits, nudged Krall toward such choice selections as Allison's bluesy plaint "Stop This World" and Waits's cocktail rhumba "Temptation." Nevertheless, Krall delivers them--like the rest of the songs here--in a misty, laconic style very consistent with her earlier work. There's no attempt at pop-oriented production here, just the same piano-trio sound that's been Krall's stock in trade all along. Ironically, the jazziest tune here is Costello's early-1980s ballad "Almost Blue," previously performed by Chet Baker. Naturally, the new songs also bear the unmistakable stamp of Costello, but no matter how far afield her song sources (Joni Mitchell and Chris Smither's catalogs are drawn on as well), Krall maintains the trademark feel that made her famous. 6 Original Songs + Interpretations Recorded at Capitol Studios, Hollywood, California and Avatar Studios, New York, New York. Personnel: Diana Krall (vocals, piano); Neil Larson (Hammond B-3 organ); Anthony Wilson (guitar); Christian McBride, John Clayton (bass); Peter Erskine, Jeff Hamilton, Terri Lynne Carrington (drums). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Hummin' to Myself songs By the early 2000s Linda Ronstadt was galaxies away from the '70s soft rock on which she made her name. On a journey that led her deeper and deeper into American roots music she began working with traditional Cajun artist Ann Savoy (of the Savoy-Doucet Cajun Band), and the results of the collaboration can be found on 2006's graceful and beautifully measured ADIEU, FALSE HEART. The material is deep-roots folk with a strong Cajun flavor, and with top session players like mandolinist Sam Bush on board, the execution and playing is never less than flawless. Yet the arrangements and approach transcend any sort of genre exercise: Ronstadt and Savoy sing as though they are spirits resting between the past and the future, giving this mixture of originals, covers, and traditional songs a beautiful, timeless quality.