| | VAGABOND OPERA Get On The Train CD VAGABOND OPERA Discography of CDs
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VAGABOND OPERA, a unique ensemble, plays Eastern-European, klezmer-based original, jazz and belly dance music with skill, exuberance, and a gritty vagabond edge. Eric Stern, operatic tenor, accordionist, pianist, and composer leads the band (accordion and vocals, saxophone, oboe, upright bass, percussion) as they play songs about thieves, Jewish weddings, Parisian tramps and the enigmatic Marlene Dietrich. Every show is a cabaret of rich musical phrasing, sparkling lyrics and indomitable stage presence. In two years of performance in the Northwest VAGABOND OPERA has built a dedicated following, the eclecticism of its music and mastery of genres luring audiences and creating fans. The Willamette Week called VAGABOND OPERA "...a six piece of alienated classicists and romantic bohemians. Gypsy music, opera, klezmer and cabaret come-ons mingle like emigres trading aliases at an after-hours night club. It's highly cultured." VAGABOND OPERA Get On The Train Songs | 1. | Fremont Street Stomp | |
| 2. | Avre Tu Puerta Cerrada | |
| 3. | Leyla | |
| 4. | Bei Mir Bist du Schone | |
| 5. | Chaplin Nonesense Song | |
| 6. | Vagabond Tango | |
| 7. | Dirty Old Town | |
| 8. | Reine de la Rocca | |
| 9. | Amsterdam | $0.99 | |
| 10. | 12th Street Rag | |
| 11. | Vive la Quince Brigada | |
| 12. | St. James Infirmary | |
| 13. | Scary Tale Theater | |
| 14. | Le Clochard de Paris | |
| 15. | Get on the Train | |
| Get On The Train Review
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$13.39 Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on EUGENE!. However, Pink Martini opt for a more unified sound here, one that draws on the more straightforward lounge-pop of their debut, SYMPATHIQUE, and the mellowness of '60s and '70s pop. SPLENDOR IN THE GRASS' first half is especially smooth, opening with the beautifully soft Neapolitan ballad "Ninna Nanna" and the title track, on which Forbes sings "I think we should take it slow" over swooping strings, brass, ...
| | Al Jarreau Breakin' Away CD (1981)
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$6.19 Released in 1981, Breakin' Away is not only a great follow-up to This Time, it all but perfected the effort. With an amazing batch of songs, producer/artist chemistry, and top-level players, Breakin' Away became the standard bearer of the L.A. pop and R&B sound. "Closer to Your Love" comes off as a tougher, more confident version of the songs from the previous album. However, in short order, Breakin' Away assumes its own identity with brilliant results. Everything works so well here that the hit, the pleasing "We're in This Love Together," comes off as the weak link. "Easy," with its gorgeous and subtle Latin ...
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$9.79 Digitally remastered using 20-bit K2 Super Coding System technology.
In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively. These are three great examples of McLean attempting to make the tunes his own, adding a flattened, self-effaced, almost grainy-faced texture to the music without concern for the perfectness of the melody. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," with Byrd and McLean's quick replies, faint and dour, that somewhat illuminates the darker side. As a stand-alone recording, 4, 5 and 6 does not break ...
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