| | Couperin: Leçons De Ténèbres CD Couperin / Les Arts Florissants / William Christie CDS
Couperin: Leçons De Ténèbres Music | List Price | $24.98 (You save $6.63) | | Label | Erato | | Orig Year | 5/27/1997 | | All Time Sales Rank |  23678  | | CD Universe Part number | 1224079 | | Catalog number | 17067 | | Discs | 1 | | Release Date | May 27, 1997 | | Recording Time | 47 minutes |
Couperin: Leçons De Ténèbres Review
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Purchase Couperin: Leçons De Ténèbres To buy, Click on price to add to cart | Kelly Willis What I Deserve CD (1999)
Couperin: Leçons De Ténèbres
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In a different world, Kelly Willis would be a huge country star. Blessed with an emotional, pure voice, songwriting talent and good looks, she's the whole package and then some. But she didn't quite fit in with the Nashville scene, so she's based in Texas, where she's been dubbed "The Voice of Austin." Her previous albums only hinted at the full scope of Willis' artistic vision, but her fourth full-length release WHAT I DESERVE is the first one on which it truly shines through.
Willis wrote or co-wrote half the tracks on the album, but she's also chosen material by her husband Bruce Robison, Nick Drake, Paul Kelly and even the Replacements' Paul Westerberg. It's her unmistakable voice which ties it all together, whether she's crooning her way through the dreamy "Not Long for This World" and "Time Has Told Me," getting bluesy on "Got A Feelin' For Ya" or tackling upbeat numbers like "Take Me Down." Highlights include the title track and great versions of Westerberg's "They're Blind" and Robison's "Wrapped." Listeners who find mainstream country music too slick and obvious will enjoy Willis' down-to-earth, highly personal take on the genre.
Recorded at The Hit Shack, Cedar Creek Studios and Congress House Studio, Austin, Texas; Brilliant Studios, San Francisco, California.
Engineers: Dave McNair, Norman Kerner, Daniel Presley.
Personnel: Kelly Willis (gut-string guitar); Chuck Prophet, Mark Spencer (acoustic guitar, electric guitar); Jon Dee Graham (electric guitar, lap steel guitar); Max Butler (electric guitar); John ...
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WHEN I LOOK IN YOUR EYES won the 2000 Grammy Award for Best Jazz Vocal Performance and for Best Engineered Album, Non Classical. WHEN I LOOK IN YOUR EYES was nominated for the 2000 Grammy Award for Album Of The Year.
WHEN I LOOK IN YOUR EYES, a 1999 Verve release, heralds the return of the cool and groovy Latin-tinged jazz of the '60s. Upon hearing the opening track, a bossa-nova-fied version of Irving Berlin's "Let's Face The Music And Dance," one might think he had accidentally put on a Getz/Gilberto record. In fact, it's hard to avoid comparing Krall's breathy alto to that of Astrud Gilberto-particularly on the more samba-flavored numbers.
But Krall ultimately resists comparisons. Her simultaneously textured and smooth tone, warm timbre, and conversational phrasing mark her as unique. The set of standards here, including "Let's Fall In Love," "I've Got You Under My Skin," and "Pick Yourself Up" among others, is enhanced by fine session musicians and Johnny Mandel's tasteful arrangements. While Krall is more than comfortable with a sly swing (Michael Franks' "Popsicle Toes"), it is the stirring ballads-like the title track-that show her skill to best advantage. Krall is a considerable talent, and the time-tested, well-loved sound that characterizes these tracks should ...
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After 1997's IF YOU'RE FEELING SINISTER made them critics' darlings, Scottish octet Belle And Sebastian ran straight into a series of label woes, and into the inevitable feeding frenzy that surrounds a free agent with their prodigious talents. Their experience with one label exec is detailed in "Seymour Stein" on THE BOY WITH THE ARAB STRAP, which finds the band building on the pastoral pop charms of SINISTER, adding a palpable layer of anger and an increasingly rich sonic palette to their painfully shy tales of despair.
Near-overnight success taught the band a lot. This album moves from their trademark confessional diary sketches (still in abundance, as on the disarmingly naive "Is It Wicked Not To Care," and the tender "Rollercoaster Ride") to genuine social criticism, as on the title track, a narrative meditation on Britain's pretensions and societal ills. "Chickfactor" pulls apart the banality the band encountered on arrival in New ...
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The Rudy Van Gelder Edition of OUT TO LUNCH includes an essay by Bob
Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of the Blue Note Rudy Van Gelder Editions series.
Before leaving the U.S. for Europe and his premature date with destiny, reedman/composer Eric Dolphy collaborated with Blue Note auteur Alfred Lion in early 1964 to produce his finest, most forward-looking recording. Having already stretched the bebop vocabulary beyond its breaking point as a sideman and leader, Dolphy finally zeroed in on his ideal vision of freedom and form with OUT TO LUNCH, creating a style of group interplay that remains unique more than 30 years later.
That's because in vibraphonist Bobby Hutcherson, bassist Richard Davis and 19-year-old drummer Tony Williams, Dolphy encountered a dauntless, intuitive rhythm section that could delineate time without stating it, while providing a harmonic backdrop that was expressive and free. On the odd metric figurations of the title tune, the rhythm section constantly reacts and regroups around Dolphy's fulminating, vocalized alto lines. Occasionally they come together to swing in the traditional sense of ensemble interplay--as they do on Freddie Hubbard's bumble bee trumpet solo--but more often than not they abstract the pulse in bold cubist slivers of color and wide expanses of silence.
Thelonious Monk's influence is keenly felt in Dolphy's playful writing, especially on "Hat and Beard" and "Straight Up And Down." The latter employs ...
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Collection Du Millenaire.
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The famous new year concerts in vienna are so popular that tickets are only available ...
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