| | Herb Geller That Geller Feller CD Herb Geller Discography of CDs
Personnel: Herb Geller (soprano saxophone, alto saxophone); Harold Land (tenor saxophone); Kenny Dorham (trumpet); Lou Levy (piano); Larance Marable (drums).
Recording information: 03/14/1957. Herb Geller That Geller Feller Songs | 1. | S'Pacific View |
| 2. | Jitterburg Waltz |
| 3. | The Fruit |
| 4. | Here's What I'm Here For |
| 5. | Marable Eyes |
| 6. | An Air For The Heir |
| 7. | Melrose And Sam |
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That Geller Feller Review
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Purchase That Geller Feller CD To buy, Click on price to add to cart | Billie Holiday The Complete Commodore & Decca Masters CDs (2009) Remastered; Box Set
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| | Al Jarreau The Very Best of: an Excellent Adventure CD (2009) Remastered
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| | Beegie Adair Jazz Piano Christmas CD (1999)
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| | Donny Hathaway Collection CD (1990)
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| | Jon Balke Siwan CD (2009)
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Personnel: Jon Balke (keyboards, conductor): ...
| | Jan Garbarek Dresden: In Concert CDs (2009)
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| | Chacales De Pepe Tovar Super Mix CD (2003)
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| | Andrew Hill Hommage CD (1975)
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| | Vibrations Vol. 2-Vibrations CD (2006) (Import)
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| | Alberta Adams Detroit Is My Home CD (2008)
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| | June Ilx CD (2008) (Import) Import
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| | Carleigh Nesbit Flower To The Bee CD (2008)
That Geller Feller
$18.99
"Disarmingly mature... Nesbit’s fantastic studio band steers the album right into the buzzing Blue Ridge." – C-Ville Weekly"Striking...highly recommended." – The Hook"Pound for pound, Charlottesville more than holds its own in the world of music. Devon Sproule, Shannon Worrell, Sam Wilson, Peyton Tochterman, Paul Curreri, Sarah White and many more (way too many to list here) all call Charlottesville home, and for good reason. The city has soul. The city has heart. More than that, the city has music. In boxcar loads.Write Carleigh Nesbit's name across one of those boxcars. With slight Southern drawl and a musical maturity way beyond her tender years, Nesbit embodies the spirit of modern mountain music, and why not? Well, it's not mountain music, and yet it is. It is pure and smooth and hauntingly melodic at times, upbeat and downright clog-worthy at others. It is dirt-under-the-fingernails from a voice which puts you at your ease. It is the mountain without the twang. You see, Nesbit grew up around the Blue Ridge Mountains. You almost have to live there to understand.Nesbit understands. Your City Skies, homage to the country more than a knock on the city, is direct and to the point. "I asked a man when's the last you heard a banjo," she sings, "He said oh no it's been so long/I said let me remind you where I come from fiddles cry all night/They sing mournful mountain songs". An insightful look at lonely in a song overflowing with insight, Nesbit goes for the heart. A direct hit—amongst eight other direct hits.Flower To the Bee is an album full of insight, actually. Love, life, whimsy, lonely, happy, sad—Nesbit covers it all like she is born to it. She is. You cannot go from the country-ish Three Steps Out the Door to the upbeat and poppish I've Got a Secret to the traditional and folky Anna's Tambourine without being grounded in the music. In a world of chaos, she reminds us how important being grounded can be.And Nesbit grounds you. With voice smooth and at times frail, she cuts through the chaff with a disarming honesty which is incredibly refreshing. She gives you musical versions of everything from friendly handshake to welcoming hug and beyond. Not once does she try to be who she is not. These days, that says a whole lot.This is one really fine album and producer Jeff Romano deserves a good deal of credit for the sound. Twisting dials to perfection, he also as provides his own instrumental expertise while gathering a superb crew of sidemen who play together as if they had been playing together for years: Stuart ...
| | Bluerunners Best Of The Bayou CD (2008)
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On October 14, 2008, Blue Moon Presents released their first CD, Best of the Bayou, a live recording of
Jeffery Broussard
 & the Creole Cowboys, 
Lost Bayou Ramblers, and The Bluerunners. Recorded at The Blue Moon Presents’ March 2008 South By Southwest showcase at Roadhouse Rags in Austin, TX, the album captures the raw, live performances of three of the Lafayette venue’s favorite bands.Jeffery Broussard & The Creole Cowboys is one of the few traditional Zydeco bands playing today. The band features Jeffery Broussard, one of the most ...
| | Terence Degnan BC CD (2008)
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Terence Degnan’s B.C. begins with three dissonant notes. Amidst their distorted vibrato, they reiterate themselves portentously. And then again. Noises begin to seep in from the background—startled elephants, crashing waves, bustling voices that for one reason or another had to have been overheard at some kind of depot. Almost a minute into “Harvest,” the opening track, you hear the poet’s voice, screaming from some distant cliff: “THE WORLD IS GOING TO END AT THREE TWENTY-FIVE, AND NOBODY BELIEVES ME.” The music, though, is not an accompaniment. With many spoken word albums, the background music exists to emphasize tone, not dissimilar to movie and television soundtracks. In B.C.¸ however, Degnan has pitted himself head-to-head with the music, screaming over its motifs, leveraging his raspy voice against the Floyd-esque minor progressions in a grappling match for importance. At times the music wins out. During interludes such as “Jazz for Jeff Dahmer” and “Harvest Companion II,” Degnan’s voice is absent from the palette, though the placement of these tracks suggest that pondering the previous track might be necessary. But no matter how insistent the music is, in the marginalized world of B.C. it is Degnan that is king. He bombastically quiets the sonic blizzard and then talks softly as if sitting on your shoulder, telling you a story. In “A Place to Die,” he recalls the true story of a Pittsburgh man who commits suicide by stepping in front of a train, identifying with him by comparing his state of mind to an imaginary, fettered dog up the side of the mountain. He drunkenly hypothesizes about the crow/scarecrow relationship; he contemplates burying his cell phone in a pothole; he screams violently from the fringes. Degnan is possessed by various personae. At times you feel like you are listening to a coffeeshop recording, at other times he is conversing with himself in triptych, playing not only the poet but a shouting corner preacher (Degnan’s version of the shoulder-angel) and a devilish deep voice, an underground rumbling that furnaces and ignites his internal but vocal confrontation with himself. It is specifically these vocal manifestations that perfectly parallel Degnan’s singular brand of schizo-verse, and gives a sense of the poet demanding ...
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