| | Ana Caram Hollywood Rio CD - Import Ana Caram Discography of CDs
 (1 Customer Review)
A superior Brazilian jazz singer, Ana Caram takes a slight detour on this CD, stretching her repertoire while mostly still performing in a style influenced by bossa nova. One does not get to hear such songs as "I'm Getting Sentimental Over You," "Raindrops Keep Falling On My Head," "Smile," and "As Time Goes By" in a bossa nova setting that often. Also unusual is that Michel Freidenson plays all of the instruments other than the reeds (which are performed by Lawrence Feldman), and most of his electronic instruments sound real enough not to be an issue. The focus throughout is on Caram's lovely voice and she excels on this material, showing that it really is not what you sing but how you sing it. Recommended. ~ Scott Yanow
Liner Note Author: Ana Caram.
Recording information: Dangerous Music (02/09/2004-02/12/2004).
Editor: Nicholas Prout.
Photographer: Janette Beckman.
Arranger: Michel Freidenson.
Personnel: Ana Caram (vocals); Lawrence Feldman (flute, saxophone).
Audio Mixer: Barry Wolifson.
Ana Caram Hollywood Rio Songs | 1. | Estate |
| 2. | Summer Knows, The |
| 3. | Here, There and Everywhere |
| 4. | I'm Getting Sentimental Over You |
| 5. | Shadow of Your Smile, The |
| 6. | Raindrops Keep Falling on My Head |
| 7. | Linda |
| 8. | Tempero Brasileiro |
| 9. | Smile |
| 10. | As Time Goes By |
| 11. | I Will Wait for You |
| 12. | Pra Voce |
|
Hollywood Rio Music Review Purchase Hollywood Rio CD To buy, Click on price to add to cart | Allman Brothers Band Dreams CDs (1989) Box Set
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DREAMS is a 4-CD box set compiling in chronological order tracks by the Allman Brothers Band, as well as tracks by bands featuring one or more member of the Allman Brothers Band and solo performances by Gregg Allman and Dickey Betts.
Recorded between 1966 & 1988. Includes a 32-page illustrated ...
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In an industry where the most-often asked musical question is "what kind of music do you play?" it's perhaps not surprising that it would be a couple of guys from the west coast of Canada who would smile and answer "Strang". What the hell, you may well ask, is Strang? Well, it's a whole lot easier to listen to than it is to describe. The musical influences and evocations in Strang could fill a record catalogue, but the short answer would be "acoustic music that kicks ass". It's folk music for people who don't like folk music- and for people who love it dearly. Those that have been listening to roots music over the last 25 years or so might find some musical sign posts pointing towards the work of Bela Fleck, Tony Rice, Ry Cooder, Darol Anger and David "Dawg" Grisman. However, you would also have to remember that these are the musical milestones of a previous generation. For Steve Dawson and Jesse Zubot, this is just the starting point for the amazing musical journey that is Strang. While they were listening to all of the above, they were also listening to classical, country, folk, funk, rock, Hawaiian and bluegrass - all of which are now part of their musical DNA. You also have to add in 2 or 3 kinds of jazz, blues and electronica, all brought to you by 2 seriously accomplished musicians - Jesse on violin and mandolin and Steve on acoustic, National steel-bodied and Weissenborn Hawaiian guitars (a hollow-necked lap steel instrument). It's been a few years since they left the Spirit Merchants and pop music's yellow brick road to take a musical path a little less traveled, and a little quieter. Tired of the volume levels and a growing sense that nobody could hear what they were playing anymore, they stepped out into a new musical space, which they call Strang. There's a danger when musicians get a few too many chops, especially when they get them too young. There are a lot of young players out there these days that fall in love with their own technique and seem to think life is just one big solo, and there are some older ones who sometimes play like they get paid by the note. One of the uncanniest things about Steve and Jesse is that they seem to be about 20 years ahead of their own time. There's a mental telepathy between these two musical minds rarely heard in those who are not blood kin or have not been playing beside each other for a generation. There's no question that they can turn it on and burn, but they can also hang back and listen to the spaces between the notes and, just as important, to each other. They can drag a beat so far back you think it's going to break and then take off into a musical space where nobody's ever been before, combining melody, rhythm and a "no fear" approach to improvisation that will take your breath away. To really appreciate it, you have to listen to their recordings and go hear them live. The music they create with such care and craft in the studio opens up live into something that has to be heard to be believed. They've been nominated for all kinds of music awards at home and nationally and won more than their share. They've performed at most of the major folk and jazz festivals across the country (in many cases, ...
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