| | The Best Of Ireland: 20 Great Favorites CD
The Best Of Ireland: 20 Great Favorites Music The Best Of Ireland: 20 Great Favorites Songs | 1. | It's a Great Day For the Irish |
| 2. | Little Bit of Irish, A |
| 3. | When Irish Eyes Are Smiling |
| 4. | I'll Take You Home Again Kathleen |
| 5. | Irish Washerwoman |
| 6. | Dear Little Shamrock |
| 7. | Dear Old Donegal |
| 8. | Eileen Alannah |
| 9. | Kerry Dance |
| 10. | Mother Macree |
| 11. | If You're Irish Come Into the Parlour |
| 12. | With My Shillelagh Under My Arm |
| 13. | Rose of Tralee, The |
| 14. | Galway Bay |
| 15. | Wearing O' the Green |
| 16. | Mountains of the Mourne, The |
| 17. | Cockles and Mussles |
| 18. | Phil the Fluter's Ball |
| 19. | Kathleen Marvourneen |
| 20. | Danny Boy |
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The Best Of Ireland: 20 Great Favorites Review
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Purchase The Best Of Ireland: 20 Great Favorites CD To buy, Click on price to add to cart | 25 Irish Favorites CD (2000) (Import)
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There's an eight-page booklet of liner notes in this anthology, but nowhere in the notes or on the case does it say precisely when these 18 tracks were recorded. That's never a good sign when you're deciding which one or two anthologies of an artist's work to start with. It does emerge in passing in the ...
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| | Deodato 2 CD (1973) (Import) Netherlands
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This 1973 album from jazz fusion act Deodato includes appearances from Stanley Clarke, Billy Cobham and John Tropea.
Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion formula tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its ...
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There's a huge legacy of Scottish material for the fiddle, and its melodies are vastly different from the Irish. Who better to explore it than Alasdair Fraser, who's not only a virtuoso on the instrument, but whose love of the music is apparent in every note he plays? In pianist Paul Machlis he has a very sympathetic companion -- a man who can not only play the ceilidh style, but who can offer some sophisticated, but never overly so, fingerings behind the fiddle. Add in a bass and cello on some selections (like ...
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The second volume of recordings done in 2005 from the Rashied Ali quintet has the same personnel as the first, falls along similar lines in hard-to-post bop elements, repeats two selections from the previous CD, and adds a pair of well-known standards. A less intense extension of the prior album, the group does keep the home fires burning, while Ali is the driving force that assures the music be placed squarely on the edge, only at times boiling over. Trumpeter Jumaane Smith is a real find, a post-Freddie Hubbard/Woody Shaw stylist who clearly studied with Charles Tolliver, displaying a sharp-tinged bite in his playing. Berklee College graduate Lawrence Clarke takes up a post-John Coltrane stance, but he's studied with fellow tenor Bill Pierce, himself a foremost proponent of the progressive style removed from the Michael Brecker school. Pianist Greg Murphy's written contribution to this date, "Skane's Refrain," starts things off, similar to Judgment Day, Vol. I's "Shied Indeed," a more forward-moving bopper with a great, inventive melody. There's a cover of "Thing for Joe," James Blood Ulmer's furious-fast hard bopper removed from the blues fusion the composer is well known for. A marvelous modal piano from Murphy and a terse ...
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