| | Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti CD Carreras / Domingo / Pavarotti CDS
| Category | Classical, Opera/Operetta, Live Performances, Romantic Period, 20th Century Period, Opera, Song, Classical Vocal Crossover, Aria, Duet, Trio, Film Score, Operetta, Canzona, Musical Comedy, Zarzuela |
Live At Dodger Stadium, L.A. Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti Music | List Price | $11.98 (You save $2.63) | | Label | Atlantic | | Orig Year | 8/30/1994 | | All Time Sales Rank |  1864  | | CD Universe Part number | 1097386 | | Catalog number | 82614 | | Discs | 1 | | Release Date | Aug 30, 1994 | | Mono/Stereo | Stereo | | Recording Time | 1 14 |
Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti Review
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Purchase Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti To buy, Click on price to add to cart | Joao Gilberto Amoroso/Brasil CD (1993)
Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti
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Joao Gilberto is perhaps forever destined to be lesser known to casual jazz fans than his occasional collaborator Stan Getz (whose GETZ/GILBERTO albums introduced the United States to bossa nova) and his ex-wife Astrud Gilberto (whose shy, delicate voice made her one of the most distinctive and beloved jazz vocalists of the '60s). However, true fans of Brazilian music recognize that Gilberto is second only to Antonio Carlos Jobim as a writer and interpreter of traditional Brazilian music and Brazilian-influenced jazz.
These two albums, collected in full on one CD, are among Gilberto's best solo albums. Alternating between standards like "'S Wonderful" or "Besame Mucho" and Brazilian tunes like Jobim's "Wave" and the original "Triste," AMOROSO is a fine, romantic jazz album. BRASIL, as the title suggests, consists of six traditional-style sambas, sung in Portuguese to acoustic guitars and hypnotic percussion. Both are essential to Gilberto fans and neophytes.
AMOROSO ...
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Interestingly, Horn rarely takes a solo, but repeats the songs over and over, slightly changing the phrasing and continuously building on the piano to change the emphasis. Every cut is a masterpiece, but the stand out is the title cut. Drummer Steve Williams sets up a strange, repetitive quarter ...
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The record that started the bossa nova craze of the mid-'60s, GETZ-GILBERTO is a justly recognized classic. The disc's success is attributable to its spectacular personnel: the man who basically invented bossa nova, Antonio Carlos Jobim; the man who defined and perfected the genre, Joao Gilberto; his charmingly waifish-sounding wife, Astrud Gilberto; and American tenor saxophonist extraordinaire Stan Getz. Jobim plays guitar and piano; Getz provides remarkably lyrical, complementary lead lines, and Joao Gilberto plays and sings in Portuguese with the most understated, romantic, and artful vocal delivery imaginable. It's a hard combination to beat.
Opening track "The Girl From Ipanema," a breezy, infectious Jobim composition with vocals by both Joao and Astrud, became one of the biggest (and most recognizable) hits of the era, and the single most popular Brazilian tune in America. The exquisite shuffle "Desafinado," the Joao-Astrud duet "Corcovado," and the eminently grooving "So Danco Samba" have gone on to become standards of both bossa nova and jazz, and the versions here are ...
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Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti
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Comprised of the last five studio dates Holiday did for Verve, SONGS FOR DISTINGUE LOVERS finds Lady Day operating within her ideal environment; that of a small jazz combo. Accompanied by a legendary line-up including Sweets Edison, Ben Webster and Barney Kessel, Holiday sang with the clear enunciation and easy swing that had become her trademark. Wrapping her phrasing around standards by Rodgers & Hart, The Gershwins and Cole Porter, Billie Holiday demonstrated how years of singing with various jazz bands sharpened her ability to turn a song on its head through slight fluctuations in pitch ...
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I REMEMBER MILES won the 1999 Grammy Award for Best Jazz Vocal Performance.
This stunning album is Shirley Horn's loving tribute to her friend and colleague, the legendary late Miles Davis. Davis was so taken by Horn's first album EMBERS AND ASHES that he forced The Village Vanguard to let her virtually-unknown trio open for him during his 1961 run there. Their friendship and admiration for each other's music lasted through the years, and Shirley Horn's 1991 recording YOU WON'T FORGET ME, was one of the last recordings Miles Davis made.
Horn selected mostly ballads from Davis' Columbia Records catalogue for her tribute because, as she explains in the liner notes, Davis liked her to sing ballads, and ballads are Horn's specialty. She can slow down time in a unique and spellbinding way. Her sultry and smoky vocals are intimate and conversational, relying on odd metered timing and silence, rather than volume, to make an emotional point.
This album's knock out punch is the epic (over 10 minutes ...
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Three Tenors In Concert 1994 / Carreras, Domingo, Pavarotti
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Additional personnel includes: Ken Yerke, Harris Goldman (violin); Rollice Dale (viola); Dennis Karmazyn Harry Schultz (cello); Fred Jackson Jr., Herman Riley, Jerome Richardson (saxophone); Tommy Johnson (tuba); Harvey Mason, Paulinho Da Costa (percussion); Beloyd Taylor (background vocals).
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